Shaw Tower . 2011
Building upon the urban design principles laid out in the central waterfront framework, the Shaw tower derives its form in conjunction to the Vancouver Convention Centre. The result is a striking composition from all angles, a fitting piece for one of Vancouver’s most iconic sites. The building is a 50/50 split between residential and commercial spaces, and by pioneering the live-work model, the re-zoning of commercial land into residential spaces became more palatable to the city.
#architecture#urbandesign#vancouver#waterfront#realestate
Ferrari Dealership Vancouver | 2006
The building is a simple glass box that serves its most basic function as a shelter - only that this one houses cars. The clean lines allow the building to disappear, while complementing and illuminating the beautiful vehicles it was designed to house.
#architecture#ferrari#maserati
Shangri-La Vancouver | 2009
A strategic partnership between Shangri-la @shangrila_van , Westbank @westbankcorp , and Peterson Investments, the Shangri-la Vancouver is the Asian hotelier tycoon’s first foray into the North American market. This 646’ hybrid hotel-condo tower takes advantage of transfer development rights to become the tallest building in British Columbia. The triangular form produces both structural efficiency as well as dodging Vancouver’s view cones. The podium reflects the towers form to create dynamic visual interest at the pedestrian level and introduces a new approach to the otherwise banal podium architecture.
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#architecture#urbandesign#realestate#tallbuildings#vancouver#hotel
Shutters | 2008
Situated in the Songhees peninsula in Victoria, the gentle curved plan of Shutters allows the building to maximize its views to the harbour and Olympic Mountains, while creating a dynamic addition to the city’s Inner Harbour skyline. This project is the first partnership between us and @westbankcorp outside of Vancouver. The design pays homage to the COPAN residential tower by Oscar Niemeyer. The bold modernism in its form and detailing is a welcomed change to the city’s longstanding Edwardian architectural language.
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#architecure#realestate#design#photography
Shum Residence | 1993
The house deals with a juxtaposition of playful facades facing the private gardens and courtyard, with blank stucco walls facing the street. The creates a dichotomy of solids versus voids. The many carefully place apertures allows for light to purposely penetrate the large residence, creating a serene yet monumental interior.
Palisades | 1996
Taking lessons from Frank Lloyd Wright’s Guggenheim Museum in New York, the two oval massing of Palisades allows for view maximization and bulk reduction. While a carefully curated series of colonnades and landscapes create a peaceful promenade at the ground level while accommodating the residential and hospitality traffic needs.
UBC House | 2003
A heavy concrete house in a rainy climate is warmed by a strategic composition of masses, lighting, and a carefully curated landscape. The architectural language is reminiscent of a Cubist painting taking on North American suburbia.
888 Beach Ave. 1993
One of the earliest examples of Vancouverism, 888 Beach Ave. is the product of meticulous architectural and urban design facilitated by a critical public-private partnership. The extra density was achieved through a partial funding of a public park which enhanced the urban realm and exemplifies what Vancouver living is about. The architectural language also pays tribute to the “New York Whites”, bringing the mature design theories of The East Coast to the alluring landscapes of the Pacific Northwest.
Willow Court. 1982
The early 1980s were a period when Post Modernism in architectural design was passing from a solely academic pre-occupation in British And East Coast American architecture schools to become a media phenomenon that came to shape the built environment globally.
Kwong Residence. 1974
Nestled in the forested hillside of North Vancouver, this private residence utilizes locally materials to both reflect and dwell within the landscape.
