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Vancouver Art Gallery shortlists five architecture firms for new building, all international

January 9th, 2014 · 88 Comments

This just out from the VAG. I’m told by locals that the VAG discouraged anyone local from applying by themselves and instead encouraged them to partner up with an international firm.

 


Vancouver, BCJanuary 9, 2014 — The Vancouver Art Gallery has short-listed five architectural firms as finalists for the design of its new home in downtown Vancouver. Selected from a pool of 75 firms representing 16 countries, the finalists include Diller Scofidio + Renfro (New York), Herzog & de Meuron (Basel), KPMB Architects (Toronto), SANAA (Tokyo), and Tod Williams Billie Tsien Architects (New York).

Architects were invited to submit their credentials through an open request for qualifications (RFQ) process issued by the Vancouver Art Gallery in September 2013, following the Vancouver City Council’s unanimous approval to designate the city-owned site at West Georgia and Cambie Streets for the new Gallery. The Gallery’s Architect Selection Committee evaluated firms based on their ability to address the principal goals and objectives of the building project: to create an architecturally significant visual art museum that places prominence on artists and art and that celebrates the rich cultural context of Vancouver. Each submission was also assessed by a Technical Review Panel—a team of experts in architecture, design, and urban planning—who shared their findings with the selection committee. The Gallery will conduct in-person interviews with each of the finalists in the coming months and expects to be able to announce the final architect in spring 2014.

“The architects short-listed for the design of our new home collectively reflect the global aspirations and achievements of our museum,” said Bruce Munro Wright, Chair of the Gallery’s Board of Trustees and Chair of the Architect Selection Committee. “Each firm we selected is recognized for innovation and excellence in creating new spaces for engagement with arts and culture, and each demonstrated a strong and creative architectural vision that would support our mission and enhance Vancouver’s standing as one of the most exciting international centres of cultural production.”

The new museum building will allow the Vancouver Art Gallery to better serve its visitors, more fully realize the international reach and range of its mission and program, and will provide an international platform for local and regional artists. The new building will offer dedicated space for the Gallery’s growing collections, expanded indoor and outdoor exhibition spaces for its dynamic exhibitions, and new educational facilities that will allow the museum to dramatically increase its educational and public programs.

“The announcement of our short-list marks an exciting milestone in the realization of our new home in downtown Vancouver,” says Gallery Director Kathleen S. Bartels.  “As a champion of the many great artists from this place, the Vancouver Art Gallery has become a keystone of the country’s cultural community and a beacon internationally for cross-cultural dialogue and exchange in the visual arts. The new Gallery will tell the many stories of art-making in British Columbia, the Asia Pacific, and throughout the world, and will further strengthen links between diverse communities locally, nationally, and internationally.”

The finalists include the following five firms:

Diller Scofidio + Renfro (DS+R) is an interdisciplinary design studio that integrates architecture, the visual arts, and the performing arts. Based in New York City, DS+R is led by three partners: Elizabeth Diller, Ricardo Scofidio, and Charles Renfro. Completed projects include: Lincoln Center for the Performing Arts in New York, including the redesign and expansion of the Juilliard School, Alice Tully Hall, and the School of American Ballet; the High Line, an urban park situated on an obsolete elevated railway stretching 1.5 miles long through New York; and the Institute of Contemporary Art, the first new museum to be built in Boston in 100 years. Projects in progress include: the Broad Art Museum in Los Angeles; the Museum of Image & Sound in Rio de Janeiro; the MoMA Expansion in New York City; and Culture Shed in New York’s Hudson Yards Development. Elizabeth Diller and Ricardo Scofidio were the first architects to receive the MacArthur Foundation Fellowship, awarded for their commitment to integrating architecture with issues of contemporary culture.

Herzog & de Meuron are known for designs that are sensitive to the site, geography, and cultural context creating projects that are highly specific to their place and program brief, from small-scale private projects to large-scale public and cultural facilities. Recent and notable projects include: the Tate Modern in London; the Schaulager in Basel; the de Young Museum in San Francisco; the Pérez Art Museum Miami; and M+ in Hong Kong. Led by five Senior Partners—Jacques Herzog, Pierre de Meuron, Christine Binswanger, Ascan Mergenthaler, and Stefan Marbach—and based in Basel, Switzerland, the firm has been awarded The Pritzker Architecture Prize, the RIBA Royal Gold Medal, and the Praemium Imperiale.

KPMB Architects is considered one of Canada’s leading architectural studios and has led the design for major cultural public projects throughout the country, including Canada’s National Ballet School, the Gardiner Museum in Toronto, the Remai Art Gallery of Saskatchewan in Saskatoon, the TIFF Bell Lightbox in Toronto, and the Royal Conservatory TELUS Centre for Performance and Learning in Toronto, as well as the Canadian Embassy in Berlin. Its work has been honoured with twelve Governor General Medals, Canada’s highest honour for architecture, and has been recognized internationally by the American Institute of Architects, the Royal Institute of British Architects, and the Urban Land Institute.

SANAA is a Tokyo-based collaborative office, founded by Kazuyo Sejima and Ryue Nishizawa. With all projects based on careful study of the context, program, and client objectives, their works range in scale from master planning, to educational and cultural facilities, to product and furniture design. Recent and notable projects include: Louvre-Lens Museum in France; the Rolex Learning Center in Switzerland; New Museum in New York; the Glass Pavilion at the Toledo Museum of Art in Ohio; and the 21st Century Museum of Contemporary Art in Japan. SANAA has been awarded The Pritzker Architecture Prize, the Golden Lion, and the Prize of the Architectural Institute of Japan, among other awards.

Tod Williams Billie Tsien Architects is a New York-based firm providing architectural, master planning, urban design, and interior design services to municipal, institutional, and private clients in the United States and abroad, with a particular focus on buildings for museums, schools, and non-profits. Notable projects include: the Barnes Foundation in Philadelphia; the American Folk Art Museum in New York; The Phoenix Art Museum; the Asia Society in Hong Kong; and the new US Embassy Compound in Mexico City. Williams and Tsien are recipients of awards such as the 2013 AIA Architecture Firm Award, the American Academy of Arts and Letters Brunner Award, and the New York City AIA Medal of Honor, among others.

For more information about the new Vancouver Art Gallery please visit: http://vanartgallery.bc.ca/future

About the Vancouver Art Gallery
Founded in 1931, the Vancouver Art Gallery is recognized as one of Canada’s most respected and innovative visual arts institutions and is committed to strengthening links between artists, both contemporary and historic, and diverse communities throughout the city, province, and beyond. As the largest public art museum in Western Canada, the Gallery features the work of ground-breaking artists from around the world and from British Columbia’s dynamic artistic community, highlighting the growing links with art of the Asia Pacific and the work of First Nations cultures. Its growing collection represents the most comprehensive resource for visual culture in British Columbia and is the principal repository for visual art produced in the region, as well as related works by other notable Canadian and international artists. The Gallery also places an emphasis on advancing scholarship through major publications and a multitude of public programs that offer new ways to consider art for visitors from throughout the region and internationally.

The Vancouver Art Gallery is a not-for-profit organization supported by its members, individual donors, corporate funders, foundations, the City of Vancouver, the Province of British Columbia through the BC Arts Council, and the Canada Council for the Arts.

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  • Bill

    @Everyman #50

    Thank you for correcting me on that fact. However, the City has the power to block the signage through the application of the by law and I would still expect the same decision whether they are acting as Landlord or as Council.

  • rph

    So, if the City had it’s way there would never have been the Jim Pattison Pavilion at VGH? They would have refused the donation that built it, if the naming came with it?

    Maybe that is why the new Chip and Shannon Wilson School of Design is being built in Richmond and not Vancouver.

    The cov visionaries, always good for a chortle.

  • waltyss

    Regrettable as it is, the naming horse has already left the barn. It appears that rich people and companies like their names all over stuff, and not just in the private sector.
    At least in the public domain, Pattison or the Diamonds giving money in exchange for their name of the building contributes to the public weal. While we were forced to say GM Place and now Rogers Arena, that money simply went into the Aquilini’s designer jeans.
    It seems a plaque acknowledging a generous contribution has gone the way of the dodo bird. Tant pis!

  • Bill

    @waltyss

    The wealthy already pay the lion share of income taxes so it would be understandable if they took the position they have contributed enough to social services. It must be particularly galling, then, when a generous gift for a community service is met with comments from people like you who whinge whether the gift should be recognized by naming a building, a plaque, or a really big Thank You card signed by all the staff.

    You can’t help but compare the generosity of those you named with Justin Trudeau who not only didn’t contribute to the charity or even offer up his time but actually charged an appearance fee. Now, personally, I believe that is up to the charity and Mr. Trudeau but I would be interested in your take, waltyss. Was Mr. Trudeau crass or just a poor working stiff trying to make ends meet?

  • Bill McCreery

    Roger, 10, makes an important point. The idea of a ‘cultural precinct’ like a stand alone gallery of ‘fine’ art is not valid in this day or for the future. Just focusing on the ‘gallery’ is a mistake. Any gallery, if in this general area, needs to find it’s fit. I doubt very much that starcitects from the moon will be interested in achieving that as others have noted.

    The scope of this exercise needs to be expanded. The first order of business is to do an urban design plan for this area to, among other things, bring it together. The CBC addition and condo tower have helped, but the area has much more potential for a rich mix of uses. Focusing on a stand alone gallery building is simply more of the same.

    Everyman’s #19 suggestion of the Post Office has considerable merit. It could also house the VSO’s concert hall, street level shops and condos on the upper floor and roof. The Feds also would find it psychologically easier to kick in the property at $0 or a reduced price than to add to the national debt with a $xxx,000,000 gift. Unfortunately I seem to recall recently seeing that it has been sold.

    The offensive idea of not allowing locals to compete further confirms the no longer valid idea of ‘preciousness’ in the art world. We have some of the best architects in the world right here. Why can’t they be in the running?

  • waltyss

    Bill # 54. I was brought up to believe that in acts of generosity, the giving is its own reward. That does not appear to be the case for the uber wealthy who need the additional ego massage of having their name on the thing. I am not whinging or opposing it; I just think that it’s rather sad and speaks to the utter commercialization of everything. Something which you no doubt consider to be a good thing.

  • Bill

    @waltyss #56

    But you seem to be prepared to give Trudeau a pass. Ideology or are you just envious of those who have worked harder than you and accomplished more.

  • waltyss

    Bill @ 57. I thinkk this thread was about architects for the proposed new art gallery and naming. You want desperately to change the topic to discussing federal politicians or at least one who, not surprisingly given your far right views, sticks in your craw. Well, if you want to do that, start your own thread. You can call it: Why I love Rob Anders.

  • gman

    Its to bad nobody chose to read the interview at the link I gave at #18 where you will see the arrogance and how self involved these so called starchitects are.They could care less about what the great unwashed think or can afford as long as they can create under their name some monstrosity that puts another feather in their cap.Talk about stroking you’re own ego.And I’m talking about architects and politicians alike.
    n Advance’

    SPIEGEL: Do you have a solution that would enable architects, citizens and politicians to find their way out of this mess?

    Gerkan: Developing and expressing solutions is one thing. Putting them into practice in a political landscape that’s tied to a four-year cycle is another. Politicians depend on making a name for themselves with major projects during their terms in office.

    Ingenhoven: The solution is to plan more intensively in advance.

    Gerkan: That sounds like a panacea, but it isn’t one. The pure truth doesn’t get you far in this business. The opera house in Sydney would never have been approved if they had known how much it would cost from the start. It only works with fake documents.

    SPIEGEL: With a lie at the very beginning?

    I found the attitudes very disturbing in this interview…….but hey…. I’m not all progressive and all so I guess I just don’t get it??

  • Bill

    @waltyss

    I see you have adopted the Chris Keam invocation of “let’s get back on topic” when you find you have backed yourself into a corner and can’t get out.

  • waltyss

    Bill@60. I fail to see what corner I painted myself into when I say I won’t rise to your bait because it is off topic.
    And gman @69, you don’t have to go very far to find building costs outrunning original estimates. Just look at our own new convention centre which came in about twice the original estimate under the tutelage of that darling of the right, Gordon Campbell. No startitechs or progressives in sight.
    Personally I would like to see more buildings by startitects and more public art (á la Chicago) in Vancouver’s architectural wasteland.
    While Bill McCreery believes that we have some of the best architects in the world here in Vancouver, the evidence of that is not found in our building landscape. Maybe as someone has noted, they are designing buildings elsewhere. The problem may not be architects but owners who simply want more glass curtain wall and will not pay for public art.
    In any event, as I have said elsewhere, I do not think the new art gallery will be built because we do not have the necessary depth of private donors who will contribute. Well, they might if we agree to call it the Pattison-Diamond-Audain-Rennie-Wilson-Lee-West Coast ReductionArt Gallery.
    I would also love it if someone investigated the claim that local architects were told not to apply on their own and if so, what the reasons were. It’s been put forward as a fact and as we all know, all too often on this blog what is put forward as fact, isn’t.

  • Bill McCreery

    I think I was agreeing with you gman (“I doubt very much that starcitects from the moon will be interested in achieving that as others have noted.”). If the City and the Gallery continue with this self centred attitude, the result is inevitable.

    We have a local recent example: the entirely unnecessary replacement of the entry pavilion at Van Dusen. I’m told that this project was driven by two very large egos. They managed to double the cost from $500 / sf to $1,000. Consequently they built a 10,000 sf building instead of the originally programmed 20,000. They sold this on the basis that the building was green. A $1,000 / sf building, when the same green can be done at half the cost, is not green when about 1/3 of construction costs are energy.

    In addition, the place is dreary and cold as opposed to the warm, woodsy feel of then original entry. The original location logically brought the visitor into the gardens at a high point in the site with a vista over the gardens. This one makes you walk an unnecessary distance, when you arrive into a facility that is mostly circulation space, painted white walls and concrete. Then you’re let out to the gardens at a lower elevation.

    The kind of contextual design processes we have worked out over the past 40 years in Vancouver are the antithesis of what starchitecture is all about. And, it’s not what has earned Vancouver degrees of respect internationally.

  • rph

    Bill – good commentary on the Van Dusen entry renovation.

    I am not convinced that renovations were not required, but there is something a bit underwhelming once you enter the new pavilion.

    The walk from the parking lot to the entryway is also uninspiring, all you want to do is hurry through it. They missed the opportunity to build desire and anticipation. Or – the botanical wonder and pleasure awaits only those who have paid the admission.

  • A Dave

    @ gman 59

    I AGREE 100%. EVERYONE SHOULD READ THE SPIEGEL INTERVIEW POSTED AT #18

    I read the link a week ago and was so blown away that I didn’t know what to say, other than to post the usual vitriol against our public officials for the many similar public boondoggles with massive cost over-runs that we’ve been forced to endure: Convention Centre, BC Place Roof, Port Mann Bridge, South Fraser Perimeter Road, Olympic Village, Abbey Hospital, Canada Line, all in the 100s of millions over budget, some more than 100% above the original budget.

    In the past 5 years, our little city on the coast has thrown away more money on public projects than the EU’s most powerful country.

    And while Germans riot and waste no time tossing the politicians responsible out, our press never holds any of the principles to account (all we get is puffball interviews and regurgitated press releases), and so the clueless voters vote the same shysters back in time and time again. It’s so bloody pathetic…

    But what’s really startling about this interview is, as gman notes, the very frank admission by the architects that the whole bid and budget process for public projects is a complete and utter sham.

    Here are 3 parts of the interview, which, when pieced together, show a familiar pattern that we’ve all seen play out time and time again here in Lotusland.

    1) Bid Stage:

    “Gerkan: … The pure truth doesn’t get you far in this business. The opera house in Sydney would never have been approved if they had known how much it would cost from the start. It only works with fake documents.

    SPIEGEL: With a lie at the very beginning?

    Gerkan: Yes. Only with a lie.”

    *
    2). After the contract is awarded

    “Ingenhoven: Many in the industry are prepared to force their way into projects at prices they know are unrealistic.

    Gerkan: But these construction companies have complete confidence in their departments that handle negotiations on additional features, that is, the ones that aggressively make subsequent demands. In the end, these companies get their money.

    Ingenhoven: I would call it the “Department for the Invention of Additional Features.”

    Gerkan: “Invention of Additional Features”? That’s good.

    Ingenhoven: As soon as a contract is signed, the most intelligent and experienced people at the construction companies fight to squeeze much more money from the project than was initially intended.”

    *

    3) After Construction has Started:

    SPIEGEL: Mr. de Meuron, together with investors, presented the Elbphilharmonie project to the public in 2003. At the time, it was said that the city merely had to provide the land, and that it would have no other costs. The building itself was supposed to cost €40 million, which the investors would raise by other means. The figure of only €40 million was mentioned — and you were there, Mr. de Meuron.

    De Meuron: We never mentioned such figures.

    Gerkan: Mr. de Meuron, your original investor, who was later awarded a medal, did indeed create the impression that the whole thing wasn’t going to cost the city anything. After that, only the best would do. Then-Mayor Ole von Beust, for example, asked for the world’s top experts on acoustics.

    SPIEGEL: Soon they were saying that the whole thing would cost €187 million, and that the city was responsible for €77 million of the total. After that, new figures were constantly being quoted. Herzog & de Meuron were no longer the figureheads, but rather the bogeymen.

    *

    So the pattern is simple:

    1. They don’t just low-ball bids, they fake documents and outright lie to win these massive public contracts.

    2. As soon as the ink is dry on a contract, they immediately start renegotiating to raise the costs on everything they can think of.

    3. Once construction has started and it’s too late/expensive to stop it, a gun is put to the politicians’ heads, and a whole new round of over-runs and negotiations take place.

    *

    It will be tough enough for Bartlets to raise the initial target funds for the Art Gallery, but if she does, what will happen when tens of millions more are needed to cover the over-runs that will inevitably occur?

    Who do you think will be on the hook?

  • jenables

    Gman and a Dave, in total agreement. I read the link and was totally shocked by the admission that they couldn’t possibly predict what a project would cost, even within reason. I thought they were supposed to be experts, and when questioned they completely played the fool. Disgusting.

  • rph

    @gman #59. Thank you for taking the time to post the link.

    I do want to add it is not just the contractors and architects that are in on the game. Politicians and city staff are also very adept at hiding costs on big projects.

    The biggest example of course was the Olympics where staffing costs and additional expenditures were absorbed into various government departments and never publicly tallied.

    As A Dave mentions above, every single project goes way over budget. No one is ever held accountable. Heck, no one who even could be accountable even seems embarrassed or apologetic.

    I wish the ms media would just call them on it and quit allowing the low ball budget figures to go unchallenged. Every single quote should be publically tagged with a +50% for cost over-runs.

  • brilliant

    @Bill McCreery 62-I’m sure somebody sold the placement of the new pavilion away from the parking lot as “green”. Anything that inconveniences car owners, no matter how petty, gets brownie points with this administration.

  • brilliant

    @Waltsyss 61- that’s “starchitecht”.

  • Alan Layton

    I’ve always been opposed to this move since the current location is the most desirable in the entire city. It’s a pity that they can’t expand in to other portions of Robson Square instead.

    If they do manage to get the money for the building, I hope that they include a great deal of space for stores and restaurants because I doubt whether the gallery alone is going to be able to attract people to what is basically a barren plot with almost no retail surrounding it.

    As for not having local architects, I think that one benefit might be that a non-local will not have been kowtowed by the usual whiners who hate anything that might compete with the ‘natural beauty’….as if a building is going to compete with a mountain in the first place. Then at least we might get a building that will stands out from all of the scared, timid architecture that we’ve been saddled with for so many decades.

    But, as others have said, I doubt whether this will be built at all considering the economy isn’t nearly as good as we were lead to believe. Tax-generated revenue will be hard to come by for quite some time.

  • Jeff Leigh

    Well, if no one else is going to say it….

    @brilliant 68 – that’s “starchitect”

  • gman

    If I may suggest rather than handing over public contracts to self aggrandizing international starchitects who have the hubris to openly admit they in collusion with politicians put out completely fraudulent numbers in order to get the ball rolling,what is better known as getting your foot in the door,we have other options.The first is to wake the f.,.k up to the real world and the second is anytime a public building is proposed it first goes,at no cost,too our Universities and Collages as a competition and the public votes for the fully pre-funded winner.
    Creativity has nothing to do with a tweed jacket,ascot and color rimmed glasses.I would rather have our own creative youth benefit from these projects than posers and politicians.

  • jolson

    I can imagine an art wall running diagonally across the site. On the south side of the wall; open space for the armory and a pedestrian short cut between the Library and Stadium Station. Outdoor sculpture lives in this zone. On the north side of the wall; the VAG galleries. Along Cambie; a thin band of artist studios with work for sale. (Keep the street trees on this edge) Along Dunsmuir; the glass wall gallery. At 123 Georgia is the apex of the building and a covered plaza for the main entrance. Retain current bus routing on Cambie with a stop at the VAG. Use street closures to extend plaza space to the QE for public events. At 101 Georgia build a signature tower to help pay for the project. This tower should extend high into the sky so that it can be seen from across the City as marking where the works of the Vancouver Art Gallery can be viewed by the public. I imagine that this is one way in which a new gallery could be realized.

  • MB

    With the exception of Roger and Bill M., it’s easy to see no one above has any project management or construction experience. There are a lot of armchair architects here who have never set foot in a design office.

    It can be a very tough gig. Every project ever has cost concerns. Prices of materials and labour can change by the month within a three-year design and construction schedule. A private developer or public agency’s priorites can change. The client representative can change, and along with it a personal management philosophy (fair negotiator vs micro manager vs slasher). Separate architects can be used for the conceptualization / design development and construction drawings, and therein a project’s overall continuity, design intent and drawing / specification quality can be shot to hell.

    I was invloved in a $50 million project where an architect recommended keeping high energy conservation standards and had charts proving a very dramatic savings in energy costs over the 40-year life of the building. The client’s project manager decised to call for cuts to the contruction costs by diminishing the passive conservation elements to make his office look good.

    You get what you pay for. And in the case of VAG, the public sector will be paying for heating and cooling the interior spaces for decades beyond the initial construction. Slightly higher capital costs for solariums and geoexchange heating & cooling, can indeed save very significant amounts in the ongoing operating costs over the long term. Just ask the Engineering Dept why they are slowly changing streetlights over to LEDs at a higher capital cost.

    Any of these factors (and much more) can result in a wholesale redesign, and renegotiating one’s fee after the last set was eaten by firm staff grinding away on now-superseded drawings with expensive computer hardware and the latest program upgrades can be as onerous as writing a proposal in an overly competitive market. And most professionals spend a helluva lot of time writing proposals, of which maybe one in 8 are awarded to their firm. It’s become an industry whereas it used to be a profession.

    A “starchitect” (now there’s an overused non-word for you) can let the managing partner worry about such daily headaches, but this is the bread and butter that keeps the firm going. The threat of bancruptcy or underpaid staff walking out will bring most egos down to earth.

    The very best firms, including the ego(s) — and let’s admit that talent often comes with an ego attached — at the top, have very good management practices. The best architects lead firms with superb internal management and can and should meet all the client’s program requirements, bring the project in early and below budget and still win awards, which are a measuring tool of progress.

    There are several cost control mechanisms that can be used, which include multiple layers of estimating based on the most recent unit and labour prices prior to tendering, but that is no guarantee. If the bids still come in high, then the tender can be cancelled. When this happens it isn’t necessarily the fault of the architect, especially if s/he practiced due diligence on cost control. A redesign and retender are in order. Likewise, if one or two bids are abnormally low, that can be as much of a red flag as bids that are too high. Many contractors make their fortune in change orders, that is, changes to the design after the tender is awarded. No contractor will ever credit you a dollar for a dollar in these cases, and their CO markup ratios are higher than retail over wholesale in department stores.

    The critics always focus on an easy target for every little thing: the architect. Very little attention is given to the client’s and contractor’s role in a project. A client can impose many requirements or change their minds late in the process without realizing that every hour working on the drawings is billed. A contractor who purposely underbids to be awarded the project by powerful beancounters who do not understand project management, then dings you with cost overruns, will likely be paid handsomely while the architect gets the blame.

    Then there is the unexpected. The world’s largest granite boulder field below the surface, Border Services holding up vital components in customs for weeks, political interference, etc, can unduly affect a project.

    Let’s not blame all architects for the failures of urban projects. I personally hope for the best for VAG because it will be around for a long, long time.

  • waltyss

    MB@72. Thanks for the insight. I suspected as much but you set it out clearly.

  • A Dave

    With all due respects, MB, I think most people recognize that there is risk involved in developing ANY product in any industry, so please don’t pretend this is some mystical concept only architects can grasp. In my industry, there is always an “over-runs not to exceed 10%” clause included in production contracts. Unless the project scope significantly changes, there is a high likelihood you’d be turfed for exceeding that 10% maximum, or at least get penalized heavily and start losing money on the project.

    In contrast, every single one of the Liberal’s boondoggles listed was at least 35% over budget, with some coming in at a whopping 100+% over. And while PPP’s were sold to us as virtually risk-free by a government that claims to run the province like a business, in fact ALL the risk was placed on the taxpayer, with apparently no indemnification or penalty in place to protect against over-runs (let alone the outright lies and fake documents the architects in the Spiegel interview admit to). What businessman would be so reckless? Pretty simple: one whose own money wasn’t at stake.

    Either the firms involved in these projects are staffed by complete morons, or they are staffed by people who know exactly how to play the “let’s get rich off the public purse” game (nudge-nudge, wink-wink). The Spiegel interview makes it crystal clear which is the case.

    We are talking over 7 billion dollars just in over-runs in the past 5 years across these BC Liberal projects. I could understand one or two of the projects encountering issues like you described, but when it happens with virtually every single project, and the costs balloon so outrageously, its pretty hard to not to believe that something else is going on. In Germany, such obvious larceny of public funds caused riots, election defeats, tarnished reputations, unrelenting negative press, and a parliamentary inquiry. What happened here? None of the above.

    The only related inquiry that has happened here was associated with the Leaky Condo fiasco, which wiped out thousands of Vancouverites’ life savings and caused years of legal battles, long drawn out reconstructions, and heavy stress on people’s lives. Just once, I’d like to hear a simple apology from an architect or builder for this mess, rather than another litany of excuses and blame shifting like the one you have graced us with.

  • MB

    A Dave, as I previously reiterated, I would chalk up the BC Liberal cost overruns to political interference, too much ideology, and affording their corporate donors P3 contracts at much higher interest rates than if the public sector did the purchasing.

    Their supporters to this day ignore the Liberal billions and focus on the NDP millions lost by building the Glen Clark Navy, another project mismanaged at the top. It is noteworthy that Glen Clark is now on the board of Canfor as well as the Pattison Group.

    My point is that a good architecture firm or group of consultants can design outstanding projects and manage them well and win awards. And not get corrupted. But there are always the intangibles.

    The Der Speigle article deos not paint all architects with the same brush. The piece was used by a few above to typically hammer their favourite political targets.

    The leaky condo issue remains a heartbreaker. But now I see very large soffits, venting at every level in stucco walls, better seals and rain flanges around windows, better warrantees …. i.e. a significant market and legal response. Many, many architects were sued. It was a punishing lesson all around, but none more than the residents who bought in the 80s and 90s.

    As I said, architecture (and other professions) needs to claim back professionalism from industrialism.

  • gman

    MB you are so full of bullshit,you revert to the typical Alinsky tactic of playing the man not the ball then you go on a long winded rant of bullshit excuses.The problem that you have is that we are talking about taxpayer funded projects not private and if you’re anything like you boast to be then you’re simply a liar.You know damn well what this is about but you want to muddy the waters with your BS and make assumptions about others knowledge of this industry,well you’re dead wrong in you’re assumptions,Ive spent my whole life cleaning up after assholes like you.I find it laughable how you and your ilk are so full of yourselves when all you do is draw such simple things like buildings,try building a refinery or chemical plant or pulp mill.If I gave my granddaughter a box of crayons she could do the same thing as these lying clowns produce.I know very well how this game is played and what you have written makes me sick because you know perfectly well what its about..Thanks MB for showing everyone what kind of person you really are.

  • jolson

    Anyway……..
    There is an urban design issue at the Larwill Park site not only because of the context but also because of the current proposed land division; south rectangle for the VAG / north rectangle for towers. This seems an arbitrary division without much opportunity. Urban design should inform the pattern of development for the block, and this suggests a diagonal division of the block. The first line of any design has consequences for every other line, including the bottom line. see 71 above

  • waltyss

    gman, crawl back under your rock. You soil this site with your filth every time you post.

  • Bill McCreery

    Agreed jolson, there is an urban design issue here. The simplistic notion of slicing the site in two cannot realize the potential of this pivotal location, especially if the CBD is going to expand east with the removal of the viaducts (if?). It appears this key City owned property is just another spot rezoned real estate play.

    As I’ve said in previous discussions on this topic, there are better locations for a new or expanded gallery.

    If the City were to first conduct a multi-faceted public discussion to define what Vancouver citizens want their gallery to be, wouldn’t we be in a better position to say where it should be, what it should be and how much we should spend?

    Don’t we own all or part of the collection? To wit:

    “Also included in these statements are certain assets owned by the City that are managed by the following organizations:
    Vancouver Art Gallery Society” – City’s 2012 Financial Report.

    This input could then be combined with the Gallery Society’s. Who knows, there may be concurrence. Perhaps such a discussion would also inform the Gallery Board and they may see new opportunities.

    Then meaningful urban design and planning could be done for this and/or other locations. Part of this process should include various cost benefit scenarios. Who knows what might come from that?

    This is a wonderful opportunity to do something really creative with not just our Gallery, but for the downtown and the City. And, if it’s done right, the money will be there.

  • Norman

    I don’t hear any discussion at all among the people I know about the art gallery, and none about the “need” for a new building. I think the people in charge have to do a lot more to engage the community before they’ll get the massive amount of money they want. I remember the promises made when they wanted to take over the old courthouse. We don’t seem to be noticed on the world stage. The major exhibitions don’t come here, and we don’t seem to do much with what we have. Anytime I go to a large U.S. city I see a much more active civic arts scene. Here, it all seems to take place outside of the VAG. Maybe the time for a large public gallery in Vancouver has come and gone.

  • MB

    @ Bill McCreery 79

    Then meaningful urban design and planning could be done for this and/or other locations. Part of this process should include various cost benefit scenarios. Who knows what might come from that?

    This is a wonderful opportunity to do something really creative with not just our Gallery, but for the downtown and the City. And, if it’s done right, the money will be there.

    That comment reminds me of the Bartholemew (sp?) Plan. One urban design proposal was to build a city hall complex on the slope between Burrard and Thurlow up to around Davie with buildings and gardens terracing down to False Creek where the Aquatic Centre is now. The urban design was quite detailed with a clear architectural design intent and beautiful site plan that would have tied into teh design precedence of the Burrard Bridge.

    But the city’s been piecemealed since then. City hall got moved to 12th & Cambie as a stand alone building (although it’s a handsome Art Deco edifice), followed up by 60s Modernism wings.

    With Larwill, I completely agree that there is no urban design vision for what is now merely labelled “Cultural Precinct.” It again has been piecemealed.

    Urban design, in my opinion, needs to start with the big, then whittle down the focus to individual buildings and sites after determining the overall precinct vision and concept and unifying elements.

    And never under any circumstances should the street be ignored. Streets are not just conduits for traffic; they are where we all make contact with every building and the meaningful activity that occurs inside. Streets should be like collective living rooms, not garage floors.

    If you are elected this year, Bill, I certainly hope you can foster action on issues like this, and build concensus in council, even with individuals from other parties.

    Cheers

  • jolson

    Bill @79
    The ball is in play, and that makes the Larwill Park site the potential home of a new VAG. The subdivision of the block is the framework of the urban design that will follow. This subdivision should be made on the basis of a masterplan for the entire block. A diagonal division will work well for the gallery with a tower on the corner of Beatty and Georgia.
    This tower can go as high as is required by the project pro-forma. The design challenge requires establishing cultural relevancy for this institution suggesting that a bold move with-in the local context is required. This is how nowhere becomes somewhere. Artists need this project more than anyone else and if it can be realized in this way then we should be finding ways to make that happen and not making arguments about why it can’t happen.

  • MB

    gman 76

    It’s unfortunate that you are not capable of holding a civil conversation for very long.

    It’s even more unfortunate that anger, pettiness, name-calling, profanity and overbearing sarcasm pepper this blog with little restraint. It detracts from honest, neutral discussions and critiques about ideas. Some of us stay away for months at a time now when the Angry Men are out of control.

  • gman

    MB 83
    Its unfortunate that you are unable to address the subject for very long.
    Its unfortunate that you try and mislead with long winded posts that have nothing to do with the evidence that comes directly from the mouths of these self promoting starchitects.
    Its unfortunate that you use your title ( if you are an architect ) for a political purpose.
    Its unfortunate that you would defend the admissions that were made by your peers that effect taxpayers around the globe.
    Its unfortunate that you chose the side of the scam artists rather than your fellow citizens.
    Its unfortunate that you cant have an honest conversation if the facts disagree with the party line.
    PS: I await your long list of privately funded buildings that have gone over budget by 1…2….or 300%..If that was true we would all be living in tents.
    PS#2: Don’t lose faith in your cause as long as you have Witless on your side,way to go.
    PS#3: I fully expect you to hold you’re buddy Witless to the same standards you want to hold me too.After all he is the one who a long time ago took the fun out of these discussions.
    PS#4: I make no apology’s for my response as I am the one who speaks honestly.

  • MB

    gman

    Please pardon in advance this long winded post.

    I don’t hold you to any standards at all. You are very capable of creating your own.

    PS: Your assumptions about me and I suspect many others in this forum are brimming with non sequiturs.

  • waltyss

    Post #76 reminded me that Ms. Bula has on at least one occasion previously threatened to ban gman from this site.
    Now, Ms. Bula. as do many of us, recognizes that we have an obligation to accommodate those suffering from a mental disability to the point of undue hardship. My only question to Ms. Bula is: “in the case of gman, haven’t we reached that point?”

  • Andrew Browne

    I remain unconvinced that the Cambie site is appropriate for the art gallery. I remain of the belief that it’s best use, in general, is as an open park plaza on its south-facing half, and as a development site on its north-facing half.

    The prominence and meaning of the current VAG site is priceless and cannot be recreated. I accept that the VAG has insufficient space, but I don’t accept that there is no possible way for them to expand on that site. Many European museums have whole gallery wings that feature what were formerly exterior walls, now inside. There is absolutely no reason the wretched north plaza can’t become an art gallery expansion, complete with reconstruction of the underground vaults. Or, for that matter, the employ of an OCAD-styled stilted intervention of some sort.

    If there were even a slight willingness to make the site work, one could find plenty of creative solutions to the space problem.