On the plane, I try to figure out how many times I've been to Vancouver: 5, 6 times? The journey and the city are familiar to me. I am going there to deliver my second assignment in public space. Actually, I had resigned myself to the fact that it probably wouldn't happen again, until I got an email two months ago: for info that they were in the process of bringing my lighting design into construction. I was totally surprised! This was immediately followed by anxiety. I hadn't heard from my client in a year.
The beginning
It all started 4 years ago. I was approached by a young real estate entrepreneur Tobi Reyes. He was working on a dream project: a new construction residence built from the ground up as his own first. He lives diagonally across from the building where I made my first public space commission in Vancouver on West Pender Street: a light sculpture for two towers, the tallest of which reaches 120 feet into the sky. My work gave him the idea that his building deserved attention not only by day but also by night. He was traveling in Europe with his fiancee and wanted to meet me in Amsterdam. A few days later we met in De Balie. He showed me his plans in a nutshell. An unusual building located in front of Cambie Bridge, one of the main access routes to Down Town. With only four floors, not a high-rise but striking in its design: it consists of curves and wing-like layers entirely in white. The architecture in Vancouver is quite uniform and not very daring. This, on the other hand, was totally different and refreshing. I was immediately excited.
We made the agreement on the spot that I would provide a sketch design. I went to work and capitalized on the fact of movement and the layering of construction. The dynamism was not only present in the architect's design but reflected itself in the constant movement of traffic going up and down the bridge. This is an uninterrupted flow. The structure itself is completely unobstructed and you can see it from afar as you drive across Cambie Bridge from Down Town. There are many interesting sight lines and angles. My first hunch was to do something with the afterimage of moving headlights. If you take a night photo of moving cars with a slow shutter speed, it creates streaks of light in the photo. A frozen movement. I imagined these to run along with the curves of the balcony facades in red and white (headlights/taillights). Occasionally, I also wanted to have real movement running through it. I worked this out in an animation. When my first design was finished we quickly planned a visit on location in June 2012.
The first visit
My arrival coincided with the start of construction so it was very hectic. For example, my presentation went somewhere in between at the architect's office and the feedback was not uniform. However, a follow-up meeting with Tobi revealed that there were problems. Movement and/or dynamics were not wanted. The municipality objected.
This problem of applying movement is directly related to the other work of mine on West Pender Street. In these two towers, I had drawn a silhouette of the mountains on one side in light, over which a color palette inspired by the seasons runs very slowly. Sometimes the image fades and gives way to a movement of water running down the towers like a waterfall. The neighbors across the street started complaining. There were widespread negative reports in all the media and the threat of a lawsuit. It has been a long and painful process to find a middle ground where no destructive concessions had to be made. Fortunately, things have calmed down now, but the municipality absolutely did not want to take any risks.
So back in the Netherlands I started sketching again to finally come up with a static version of my original idea. I had presented my final design via Skype in February 2013 and it was very well received. After that I heard nothing more until two months ago. Delighted as I was I immediately sent back an email; polite but firm that I would not act until a contract was in place. A Skype call soon followed and my questions were answered. A conflict had arisen with the architect which put everything on hold. Eventually Tobi had to break with him to get out of this impasse. With this clarification and a signed contract, I was now on my way.
The second visit
I arrive in Vancouver and smoothly walk through customs (never say you are coming for work, I had already made that mistake once). Someone from the new architectural firm is waiting for me. When we drive into Down Town I see the building for the first time, which is now completely finished: it shines pristine white in the sun. I am staying in a studio owned by the photographer Holly Armishaw whom I have met. A small simple apartment near my already existing work on West Pender. This part of town is very familiar to me. Still a little shaken up from the trip and the 9 hour time difference I walk with Holly to one of the beaches where we have something to eat and drink. The weather is beautiful and for a moment it feels like vacation when I walk with my bare feet through the surf of the ocean. The mountains draw in the background, it's breathtaking. Before I switch to my weekly schedule, I want to see if my existing work is still intact. As I walk down towards Coal Harbor, I see the light towers appear and my anxiety gives way to relief: they look just like how I had last left them. I can't help it, a sense of pride overwhelms me, this is surely the biggest job I've done so far. Despite all the perils, it still works.
A full week's work
The week fills up quickly. Day 1 is a site visit with the architects from Azurean Architecture who took over the construction. This is followed by an interview for the Vancouver Sun. Day 2 starts with an early breakfast at 7:00 am with Tobi and his partner, then I go straight to the lighting company responsible for the installation and delivery of the LED lines. I have thought in advance that I still want to put in motion that can be activated on special days (Canada Day, Christmas, New Year, etc.) I discuss these ideas with the people who are going to help me implement this. On day 3 I have an on-site meeting with the architect Bill Jackson, Darren Luce from the lighting company, and the site manager to make a plan for adjusting the spots. The LED lines are already in place. We have to wait until dark: not until 10:00 p.m., so Darren takes me to the harbor to get something to eat. With the evening light shining on the mountains, I find myself back on a movie set for a moment. This scene ends as soon as the sun has set and we get back to work. I stand outside with Darren using a walkie-talkie while the spotlights are adjusted floor by floor. Three hours later, the job is done and we begin our first test run. It works, but we are far from finished. On day 4, I finally slept in, the jetlag seems to have disappeared. We start back on location around 9:30 pm, Tobi and Bill are waiting for me with bottles of champagne and glasses, the mood is very upbeat. I appreciate their enthusiasm but tell them I won't drink the champagne until my work is done as I have a long night ahead of me - I knew it would be nighttime vomiting; I was in bed around 3:00 in the morning. On Day 5, I'm back on location at 9:30 p.m. for the final test run-through. I have my camera with me, as I also need to take pictures for my archives. While I am busy, I see two people cross the dangerous road where the traffic is constantly speeding and walk straight towards me. I have to blink for a moment but suddenly recognize the original architects, Arno Matis and his wife, in their figures. They seem pleased with the result and immediately I am invited for lunch the next day. It all comes as a bit of a surprise to me but I let it pass and quickly get on with the job. That night it is finally finished.
The next day I have lunch with Arno. I feel a little uncomfortable knowing that there has been a tension since Tobi broke up with him. It all goes painlessly. The last day I can spend freely. I stroll along the Seawalk, read a bit, listen to music as I look at the mountains and watch the seaplanes coming towards me. I conclude my visit on the last day with a drink at Tobi's invitation. His dream project has become reality but, as far as he is concerned, this is only the beginning. He already has piles of ideas that he wants to involve me in. It will probably not be my last visit to Vancouver, who knows what will follow.
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