Architects from the Swiss design firm Herzog & de Meuron unveiled their concept for a new Vancouver Art Gallery to a sold-out audience at the Queen Elizabeth Theatre last night. The presentation started with statements from individuals invested in the project. The lieutenant governor of British Columbia Judith Guichon spoke about Canada’s emerging national identity, a “coming of age” that will require a respect for Canadian artists and a desire to see them flourish. The aspiration to do justice to Vancouver’s contemporary art scene was a recurring theme among the speakers. Jeff Wall took the stage to voice what he claimed was “a point of view typical of artists in Vancouver.” Wall praised the new building’s capacity to host exhibitions that would be impossible at the gallery’s current site, as well as applauding the decision to overlay the building with wood, something he saw as a nod to Vancouver’s vanishing cityscape.
By the time the architects began their slide show presentation, there was little doubt that Vancouver is in desperate need of a new art gallery, somewhere for a new generation of artists to glean inspiration and for people from every strata of the city to gather. Gallery Director Kathleen Bartels described the current building as “literally bursting at the seams.” The proposed new structure will double the exhibition space of the gallery.
Herzog & de Meuron senior partner Christine Binswanger and project director Simon Demeuse, who are both based in Switzerland, provided an outsider’s perspective of Vancouver. It was lovely to be reminded of the things that make our cityscape unique, as Vancouver often fades to grey for those of us who live here. But Binswanger and Demeuse did not sugarcoat the problems with our city’s urban landscape, addressing such issues as underutilized public space and homogeneous glass towers in the downtown core. Before unveiling the concept design for the new art gallery, every facet of the project was explained, often in response to the perceived issues with Vancouver’s urban planning. A publicly accessible courtyard protected from rain, stacked floors that maximize natural light, and a flexible exhibition space that can used by curators in a variety of layouts.
The presenters leaned heavily on the idea of accessibility, citing free exhibition galleries and a courtyard that can be entered from all the surrounding streets. The new gallery’s role as a public space is rooted in the history of the site. Larwill Park, now a somewhat derelict parking lot, has a long history as a sporting field and gathering place, often for political demonstrations.
Although many in the audience had already seen images of the proposed building online that morning, applause broke out when Binswanger and Demeuse revealed the design; a wooden, stacked building, like a West Coast pagoda. The architects praised the softness and luminosity of the material, especially in contrast with the concrete and glass of the surrounding buildings.
After the presentation, the audience was invited to the nearby building site to have a drink and mingle. Discussions ranged from the gap between the secured funds and what is required to actualize the building to the high-maintenance reputation of wooden structures. The courtyard and sunken garden were the most talked about aspects of the building; most people were impressed with the design’s commitment to green spaces in and around the structure. The distinctive shape of the design caused many to reflect on the Vancouver Art Gallery’s increasing commitment to showcasing Asian art. In her opening remarks, VAG director Kathleen Bartels called Vancouver “a gateway to and from Asia,” something that seemed to inform the design of the new building. Not everyone I spoke to loved the design, although I personally did. One thing everyone could agree on, however, was that there is nothing like it in Vancouver today.