bcit graduation project design summary

Graduating Project SummaryThe Creative Laboratory for Contemporary Art

Submitted to Peter LevarCreated byBryan He

BCIT ARSC 8800April 2011

2

The Creative Laboratory for Contemporary Art Graduating Project Summary

Apri l 2011Bryan He

Cover page:Ethan Breckenridge I “i love it here”

Acknowledgement:

Faculty Advisor:Peter Levar

Industry Advisor / Mentor:Barry Weih Wensley Architecture Ltd.

3

The Creative Laboratory for Contemporary ArtGraduating Project Summary

Submitted to Peter LevarARSC 8800

Table of ContentsIntroductionAbstract 6Location 8Design Parti 9

Program and SiteQuantitative Program 12Vancouver Art Scene 14Statistics 15User Group 16Existing Conditions 18Site History - Hogan’s Alley 21Accessibility - Transit 22Accessibility - Bicycle 23Pedestrian Experience 24Response to Existing Conditions 25

Precedent Study - Under SpacesCentre for Arts & Culture, Yokohama 28False Creek Energy Centre 29A8ernA 30Public Domain and the Dispersed City 31

Design ProcessDesign Process 1/3

Massing 34Light and Orientation 36Public Realm Scheme 38Courtyard Scheme 40Floor Plans 42Art Gallery 44

Design Process 2/3sSection and Elevation 46Building Organization 47Structure 48Floor Plans 49Outdoor Space 50Hogan’s Alley Memorial Park 51Street Edge 52Artist Live / Work Studios 54Materiality 56

Final DesignFloor Plans 60Sections 62Building System and Detail 67Building Organization 68Sustainability Strategy 69Perspectives 70Physical Model 85

55

Introduction

art-in-process, architecture-in-process

Bob & Roberta Smith I Factory Outlet

Introduction

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Apri l 2011Bryan He

Abstract

Introduct ion

The purpose of the Creative Laboratory for Contemporary Art is to make gallery visits exciting and inspiring experiences while making contemporary art more accessible

for all Vancouverites.

what,

7



Abstract

Introduct ion

The Creative Laboratory for Contemporary Art is a multi-faceted hub for local artists

to create and exhibit their works. Like the 798 Art District in Beijing and the Palais de

Tokyo in Paris, it is an experimental platform different from a white box contemporary

art gallery. This concept allows visitors to experience the in-situ creative process

of the artists and encourages dialogue and interaction between the creators and

visitors. The laboratory is intended to inspire and challenge traditional perceptions

of both art creation and exhibition and to become a stimulus for Vancouverites to

access contemporary art in an interactive way.

The high cost of living and the low average income for artists in Vancouver makes it

a challenge for local artists to thrive. The live-work studios in the laboratory are an

effort to help artists focus on their work during the course of their projects. The in-

residence artists also become a resource for the general public to learn more about

contemporary art.

The work portions of the studios are directly connected to the gallery spaces for site-

specific creations. The process of making art therefore becomes a form of exhibition

that allows interaction between artists, art, and visitors. The laboratory becomes an

experiment that explores what the environment gives to artists and what the viewers

give to art. Art-in-process, architecture-in-process is the overriding theme of this

facility.

The site for The Creative Laboratory for Contemporary Art is a parking lot on 800

Quebec Street under the Georgia and Dunsmuir Viaduct. It is close to the Main Street

- Science World SkyTrain Station and resides at the intersection of the Downtown,

Strathcona, and Mount Pleasant neighbourhoods. Being on a major public transit

route, the creative laboratory will bring together the surrounding artist communities,

major educational institutions and the public to make art a larger part of their daily

lives.

how,

where,

8


Apri l 2011Bryan He

The project location is at the intersection of Downtown, Strathcona, and Mount Pleasant

neighbourhoods, areas of the city that are considered active and vibrant artist communities.

The surrounding high-rise residential, multi- residential, single-family residential, commercial,

and recreational activities will provide traffic and density for the project.

The location is a reclaimed “abandoned” site and this project aims to repair the current

disconnected urban fabric through its public use. The goal is to create a cultural hot spot

that connects the historical Chinatown and the rapidly developing South-East False Creek.

The realization of an elevated urban park replacing the function of the existing viaducts in

the future will provide a bike and pedestrian friendly connection between downtown and

East Vancouver.

Location

Introduct ion Project Location

Artists Communities

Artist Communities

Mixed-useHistorical Chinatown

Single residential

High-rise residential

High-rise redisdential

RecreationalScience World

Multi-residential

RecreationalStadium

Commercial

IndustrialProposal for re-purposing the viaducts

* based on the concept of The High Line by Diller Scofidio + Renfro Nolli map: project location and context

9



The parti is the result of a site study painting. The painting shows the geometry of

the viaducts (white), and their shadow (dark grey) cast on the ground (light grey).

The change in shadow to the right represents a seven-meter grade change. To

most efficiently use the site and allow for the most light access, the majority of the

building mass is placed under the viaducts following their geometry. The north-south

connections close off the open area between the viaducts and create courtyards in

the building.

Design Parti

Introduct ion

Site extent

The SiteAcrylic painting on canvas 36x16 in

Courtyard and north-facing clearstorey windows

1111

Program and Site

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Apri l 2011Bryan He

Program and Site

Quantitative Program

PROGRAM QUANTITY SIZE m2 TOTAL m2

Public

1 lobby 1 160 1602 gallery 2 350 7003 live work studio - work 1 480 4804 bookstore 1 100 1005 cafe 1 220 2206 lounge 1 60 60

Sub Total 1,720

Private

7 live work studio - live 6 35 2108 artist common area 1 150 1509 storage 1 280 28010 office 1 60 60

Sub Total 700

Utilities

11 washroom 4 10 4012 mechanical 1 150 150

Sub Total 190

Overall 2,610

Outdoor Area

13 courtyard 1 300 30014 sculpture garden 1 360 36015 memorial park 1 1,200 1,20016 living machine 1 130 130

Overall 1,990

public

public outdoor

private

cafe

bookstore

courtyard

lobbyartist

studios(work)

artiststudios

(live)

artistcommon

space

maingallery

storage

sceondgallery

sculpturegarden

memorialpark

13



Quantitative Program

Program and Site

11.

0 750 1500 2250 2610

700480280220210160150150100606040

2. gallery3. live-work studio

7. live-work studio

5. cafe 9. storage1. lobby12. mech.

8. artist common area

4. bookstore

10.6.11.

66%34%

PublicPrivate

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Apri l 2011Bryan He

Vancouver Art Scene

Program and Site

Just like the architecture scene in Vancouver, the art scene in Vancouver is innovative

in a way that it is not answering to the trends in Paris, London, or New York. The few

dozen small galleries in Vancouver reflect the modest and unassuming nature of our

local art scene. Yet world class artists like Jeff Wall, Rodney Graham, and Marianne

Nicolson thrive on the international stage and prove Vancouver is capable.

The Guggenheim Bilbao seems too bold, the Royal Ontario Museum seems too

American, too rich, and yet too conservative and too predictable for little Vancouver.

The local art scene is diverse and unique, and new museums and galleries should

embrace that.

NUMBER OF COMMUNITIES BENEFITING FROM BC ARTS COUNCIL ACTIVITY

MEASURE TEN

GOAL THREE | Community Engagement

Opportunities to participate in arts and cultural activities are available throughout the province

Data Source: GTMS database and Population Estimates by BC STATS, Service BC, and the Ministry of Labour and Citizens’ Services

45

Source: Map from British Columbia Arts Council Annual Report 2009-2010

Number of communities benefiting from B.C Arts Council activity

Vancouver arts venue locations

Jeff Ladouceur I Floater

DowntownArt Beatus Vancouver

Art Works GalleryBill Reid Gallery

BlanketBuschlen Mowatt Gallery

CineworksCoastal Peoples Gallery Yaletown

Contemporary Art GalleryHarrison Gallery

Jennifer Kostuik GalleryNumen Gallery

Or GalleryPendulum Gallery

Pera GalleryRaw Canvas

Republic GallerySatallite Gallery

Teck GalleryVancouver Art Gallery

GastownAccess Gallery

AIBC GalleryArtspeak

Audain GalleryAyden GalleryBaron Gallery

Basic Inquiry Studio and GalleryBlim Gallery

Catalog GalleryCentre A

Coastal Peoples Gallery GastownGallery Gachet

Hunter Bisset GalleryInuit Gallery

Jeffrey Boone GalleryMarion Scott Gallery

Rennie Collection - VancouverShudder Gallery

Spirit Wrestler GalleryW2 Perel Gallery

Main Street221A Artist Run CentreCatriona Jefferies GalleryCSA SpaceElliott Louis GalleryGrace GalleryGrunt GalleryHelen Pitt GalleryLittle Mountain StudiosLucky’s GalleryPhotoHaus GalleryVivo Media Arts CentreWestern Front Society

South GranvilleBau-Xi Gallery VancouverChali-Rosso GalleryDiane Farris GalleryDouglas Reynolds GalleryElissa Cristall GalleryEquinox GalleryGallery JonesHeffel GalleryIan Tan GalleryJacana Art GalleryKurbatoff GalleryLa Galerie du CentreLattimer GalleryMonte Clark GalleryPetley Jones GalleryUno Langmann GalleryWinsor Gallery

Vancouver EastBritannia Art GalleryGallery AtsuiLES GalleryThe Stag

Vancouver West1612 GalleryCharles H. Scott GalleryCircle Craft Shop & GalleryCrafthouse GalleryDundarave Print Workshop GalleryEmily Carr UniversityGallery of BC CeramicsLawrence EngMalaspina Printmakers GalleryMorris and Helen Belkin Art GalleryMuseum of AnthropologyMuseum of Vancouver

15



Statistics

Program and Site

The demographic data shows that Vancouver is the cultural hub for BC. The city

has a well developed public art program and a strong increase in culture industries

employment. Vancouverites were reported to be more active in going to concerts,

museums, galleries and the theatre than citizens in Toronto and Montreal (Hill

Strategies and Statistics Canada).

However, the cost of housing in Vancouver makes it a challenge for artists to continue

their passion when they already earn less compared to the general labour force.

There is a need to provide affordable housing for artists to continue to make art.

0

100

200

300

400

SurreyNorth Van

RichmondVancouver

50,000

60,000

70,000

80,000

19992001 2003

20052007

2009

$0

$10,000

$20,000

$30,000

$40,000

15-24 years25-34 years

35-44 years45+

Artist Earning General Labour Force Earning

$0

$150,000

$300,000

$450,000

$600,000

2000 2002 2004 2006 2008 2009

$295,978 $301,473

$373,877

$509,876

$593,767 $592,441

$243,249$275,887

$315,266$352,388

$379,943 $396,154

$121,544$153,198

$206,704$233,629

$258,041 $271,727

Metro Montreal Metro Toronto Metro Vancouver

$300

$600

$900

$1,200

2000 2005 2010

$864.00

$1,004.00

$1,150.00$979.00

$1,052.00

$1,134.00

$509.00

$616.00

$680.00


0

5

10

15

20

25

30

Library

Gallery

Museum/Archives

Arts / Culture Centre /

Theatre

0

100

200

300

400

SurreyNorth Van

RichmondVancouver

50,000

60,000

70,000

80,000

19992001 2003

20052007

2009

$0

$10,000

$20,000

$30,000

$40,000


35-44 years45+


$0

$150,000

$300,000

$450,000

$600,000

2000 2002 2004 2006 2008 2009

$295,978 $301,473

$373,877

$509,876

$593,767 $592,441

$243,249$275,887

$315,266$352,388

$379,943 $396,154

$121,544$153,198

$206,704$233,629

$258,041 $271,727


$300

$600

$900

$1,200

2000 2005 2010

$864.00

$1,004.00

$1,150.00$979.00

$1,052.00

$1,134.00

$509.00

$616.00

$680.00


0

5

10

15

20

25

30

Library

Gallery

Museum/Archives


Theatre

0

100

200

300

400

SurreyNorth Van

RichmondVancouver

50,000

60,000

70,000

80,000

19992001 2003

20052007

2009

$0

$10,000

$20,000

$30,000

$40,000


35-44 years45+


$0

$150,000

$300,000

$450,000

$600,000

2000 2002 2004 2006 2008 2009

$295,978 $301,473

$373,877

$509,876

$593,767 $592,441

$243,249$275,887

$315,266$352,388

$379,943 $396,154

$121,544$153,198

$206,704$233,629

$258,041 $271,727


$300

$600

$900

$1,200

2000 2005 2010

$864.00

$1,004.00

$1,150.00$979.00

$1,052.00

$1,134.00

$509.00

$616.00

$680.00


0

5

10

15

20

25

30

Library

Gallery

Museum/Archives


Theatre

0

100

200

300

400

SurreyNorth Van

RichmondVancouver

50,000

60,000

70,000

80,000

19992001 2003

20052007

2009

$0

$10,000

$20,000

$30,000

$40,000


35-44 years45+


$0

$150,000

$300,000

$450,000

$600,000

2000 2002 2004 2006 2008 2009

$295,978 $301,473

$373,877

$509,876

$593,767 $592,441

$243,249$275,887

$315,266$352,388

$379,943 $396,154

$121,544$153,198

$206,704$233,629

$258,041 $271,727


$300

$600

$900

$1,200

2000 2005 2010

$864.00

$1,004.00

$1,150.00$979.00

$1,052.00

$1,134.00

$509.00

$616.00

$680.00


0

5

10

15

20

25

30

Library

Gallery

Museum/Archives


Theatre

0

100

200

300

400

SurreyNorth Van

RichmondVancouver

50,000

60,000

70,000

80,000

19992001 2003

20052007

2009

$0

$10,000

$20,000

$30,000

$40,000


35-44 years45+


$0

$150,000

$300,000

$450,000

$600,000

2000 2002 2004 2006 2008 2009

$295,978 $301,473

$373,877

$509,876

$593,767 $592,441

$243,249$275,887

$315,266$352,388

$379,943 $396,154

$121,544$153,198

$206,704$233,629

$258,041 $271,727


$300

$600

$900

$1,200

2000 2005 2010

$864.00

$1,004.00

$1,150.00$979.00

$1,052.00

$1,134.00

$509.00

$616.00

$680.00


0

5

10

15

20

25

30

Library

Gallery

Museum/Archives


Theatre

0

100

200

300

400

SurreyNorth Van

RichmondVancouver

50,000

60,000

70,000

80,000

19992001 2003

20052007

2009

$0

$10,000

$20,000

$30,000

$40,000


35-44 years45+


$0

$150,000

$300,000

$450,000

$600,000

2000 2002 2004 2006 2008 2009

$295,978 $301,473

$373,877

$509,876

$593,767 $592,441

$243,249$275,887

$315,266$352,388

$379,943 $396,154

$121,544$153,198

$206,704$233,629

$258,041 $271,727


$300

$600

$900

$1,200

2000 2005 2010

$864.00

$1,004.00

$1,150.00$979.00

$1,052.00

$1,134.00

$509.00

$616.00

$680.00


0

5

10

15

20

25

30

Library

Gallery

Museum/Archives


Theatre

Number of public art pieces Information, Culture, and Recreation industries employment number in Metro Vancouver, 99-09

Public culture facilities in City of Vancouver

Artists earnings by ageArtists vs. General labour force, 2001

Vancouver has the most public art in the region

Artists earn 31% less than general labour force

$74,700 is the average qualifying in-come to buy a standard condo in Van.

$1,150 is the average rent for a two-

bedroom apartment, up 15% from ‘05

Vancouver has only 4 public galleries 28% increase in culture industries employment in the past 10 years

Changes in Average Residential Resale Prices Average Rent Two-Bedroom Unit

Source: Vancouver Foundation’s Vital Signs for Metro Vancouver

16


Apri l 2011Bryan He

User Group

Program and Site

Student SkaterChildMotherTeenMayorActorArtistBiker

17



User Group

Program and Site

RockerGrandpaProfessor

DadDog

MusicianOriental

EuropeanNerd

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Apri l 2011Bryan He

The unique location of the site being under four bridge decks is inspiring for

architectural possibilities and it will also be inspiring to curators and artists. Walking

from Science World to Chinatown on Quebec Street, the part of the journey passing

through the underside of the viaducts is usually unpleasant. It is empty, smelly from

the homeless, wet, and cold. The recently developed Vancouver Skate Plaza just

across from the site successfully improves this walking experience. Having an arts

centre in this location would help to bridge the gap between Chinatown and Science

World. It also has an opportunity to engage users of the bridge to experience the

building and the arts.

Existing Conditions

Program and Site

Vancouver Skate Plaza Quebec Street Projet Site

Power Generators

Andy Livingstone Park

High-rise Residential

19



Existing Conditions

Program and Site

The site is currently a fenced off parking lot owned by the City of Vancouver used

to temporarily store impounded vehicles. The east of the site, on the foot of the

hill, is occupied by a few homeless people. This particular area has high crime rate

due to its low visibility. The design response has to recognize the high security

demand and provide “eyes on the street” from every possible angle to reinforce

Crime Prevention Through Environmental Design (CPTED) strategies. The enclosed

courtyard typology helps to control the traffic flowing in and out the public spaces

through various control points (the lobby and the cafe).

Quebec Street

The Site

Prior Street

Viaduct Walkway

Unofficial Sidewalk Union Street

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Apri l 2011Bryan He

The viaduct overpass is the third dimension of the site. Through the viaduct

construction drawings from the City of Vancouver, exact clearance dimensions were

calculated. Ranging from 2.5 metres to 6.96 metres, the undersides of the viaduct

can accommodate up to two storeys. The Dunsmuir Viaduct on-ramp and the

Georgia Viaduct off-ramp clearance is about 2.5 metres. Placement of a mechanical

room in this area might be suitable. It is also critical to take into account a 600 mm

clearance for construction of the roof and the maintenance of the bridge.

Existing Conditions

Program and Site

Underside of Georgia Viaduct Site West-East Sections

Construction Drawing From the City of Vancouver

21



Site History - Hogan’s Alley

Program and Site

Hogan’s Alley is a forgotten black community that was destroyed by the construction

of Georgia Viaduct circa 1970. Along with Hogan’s Alley, much of Chinatown and

Gastown were doomed to be covered by the first inner-urban freeway system

designed by Wilbur Smith and Associates of San Francisco. Strong resistance from

the Strathcona community activists and Chinatown business people blocked the

freeway, while Hogan’s Alley had already been obliterated. (Wikipedia)

Currently, only a few houses on Prior Street east of Gore Avenue are remaining. The

red Jimi Hendrix Shrine that we see today is the former Vie’s Chicken and Steak

house, a famous restaurant owned by one of the key members of Vancouver’s black

community. Jimi Hendrix spent his childhood in Hogan’s Alley.

“The Negro population, while numerically small, is probably a large proportion of the total Negro population in Vancouver. Their choice of this area (Strathcona) is partly its proximity to the railroads where many of them are employed, partly its cheapness and partly the fact that it is traditionally the home of many non-white groups."

- A 1957 study by the City of Vancouver Planning Department

Hogan’s Alley Memorial Project

Hogan’s Alley circa 1918. View from Prior Street. Archive: CVA 99-5186 Jimi Hendrix Contest Jimi Hendrix’s Shrine

22


Apri l 2011Bryan He

The location of the site benefits from many daytime and nighttime bus routes. The

Pacific Central Station and the Main Street-Science World SkyTrain Station makes

the Main Street and Terminal Avenue intersection a busy transportation hub. The

privately owned AquaBus Ferry brings people across False Creek from Vanier Park,

Granville Island, Yaletown, and False Creek South, and from the Plaza of Nations to

Science World. There is also a proposed street car that will pass by Quebec Street

coming from Industrial Avenue leading to Stanley Park in Downtown.

Accessibility - Transit

Program and Site

Site

3. 8

. 19.

22.

N8.

N19

22. 19. N19

22

C21.

C23

50

C21.C23. 50

C21

C23

C23

C21

22

Stadium-ChinatownSkytrain Station

Main St. - Science WorldSkytrain Station

Aquabus

AquabusCity Centre / Granville Island

Vancouver EastBurnabyNew WestminsterSurrey

Toronto, OntarioEugene, Oregon

City Centre

City Centre

Paci�c CentralStation

Greyhound Canada

Futu

re D

ownt

own

Stre

etca

r

Central Valley Greenway

Major bike route

Secondary bike route

23



Accessibility - Bicycle

Program and Site

Stadium-ChinatownSkytrain Station

Main St. - Science WorldSkytrain Station

Site


Major bike route

Secondary bike route


Union St. and Dunsmuir Viaduct Bike Lane

Vancouver is a progressive city for creating bike paths to reduce the dependance

on automobiles. There are many major bike routes and recreational bike paths

surrounding the site. The latest bike route has been added on the Dunsmuir Viaduct

connecting Vancouver East to Downtown and leading all the way to the West End.

Creating a bike friendly facility is an important task of the project in order to support

the sustainable agenda of the City’s carbon neutral long term plan.

24


Apri l 2011Bryan He

A variety of activities has already occupied the under space of the viaducts. Walking

to the site from Stadium SkyTrain Station, there are sports spectators socializing

outside the stadium in the redeveloped plaza; walking along, there is a moment of

relief as you see the bright spotlights and the busy soccer field in Andy Livingstone

Park; to the other side of the park, there is a very active skate park - the Vancouver

Skate Plaza designed by landscape architect van der Zalm + associates inc. A

couple of large strips of dry skate park sheltered by the viaducts are in use during

mild weather. Across the skate park is the project site.

Pedestrian Experience

Program and Site

Stadium Skytrain Station Start

Arrive

25



Response to Site Conditions

Program and Site

Quebec Street is defined to be the main street edge of the project. The design of the

Quebec Street facade and its sidewalk improvement will take an urban approach. It

will extend the characteristics of the existing residential street edge from the south

of the site with front doors to the artists’ live/work studios directly accessible from

the street.

Union Street and Prior Street are connected by Main Street to the site. Major

improvement on Union Street is required in order to define the edge of the project,

sidewalk, and bike lane. Adjacent to the sidewalk on Prior Street will be a multipurpose

hard-scape area that connects the landscaped area of the project (Hogan’s Alley

Memorial Park) to the high-rise residential buildings to the south. The multipurpose

hard-scape area will include the functions for a living machine, loading, emergency

vehicle access, bike storage, and public use.

The existing lighting pylon on the site will be transformed into a piece of highly visible

public art.

Exiting lighting pylon visible from Any Livingstone Park that marks the site location

Site analysis

2727

“Sunshine is delicious, rain is refreshing, wind braces us up, snow is exhilarating; there is really no such thing as bad weather, only different kinds of good weather.”

- John Ruskin

Markings I Hargreaves Associates and Julian Lang

Precedent Study- Under Spaces

28


Apri l 2011Bryan He


The renovation under the tracks of the Keihin Express Railway created two modest

artist studios with different qualities. The studios are set out to attract local residents,

artists, and new visitors in order to change the red-light district atmosphere of the

neighborhood. The roof form of the Kogane studio and the glass clad Hinode studio

are designed to bring light into the formerly dark and rather uninviting space.

In sunny days, the veranda space in the back of Kogane Studio creates a delightful

indoor alley drawing people from the studios out to a common social space. The

sloped roof is carefully designed to receive maximum sunlight and natural ventilation.

Hinode StudioFacade of Hinode Studio

Hinode Studio

Kogane Studio view from river The veranda space of Kogane StudioKogane Studio

Centre for Arts & Culture under the Keihin Express Railway Tracks

ArchitectHinode Studio Kogane Studio

LocationYokohama, Japan

FunctionArtist Studio, Retail

29




The False Creek Energy Centre is a local example of a building built under a bridge

infrastructure. It functions as an energy heating plant that extracts heat from sewage

pipes and supplies heat to the new Southeast False Creek Community. The finger-

like chimney stacks create a strong visual presence from the Cambie Street Bridge

viewpoint. In a collaborative effort with Pechet and Robb Art and Architecture Ltd.

the stacks LED light fixture is activated by the operation of the facility - blue when

it’s cool, red when it’s hot.

BOILER ROOM

LOADING BAY ELECTRICAL ROOM

ELECTRICAL PLENUM

PUMP AREA

OFFICE/INTERPRETATION

AIR INTAKE SHAFT

MECHANICAL ROOM

WET WELL CATWALK

SCREENING ROOM INCOMING CHAMBER

WET WELL

West facade Finger-like chimney stacksFinger-like chimney stacks

East facade

False Creek Energy Centre

ArchitectWalter Francl Architecture Inc

LocationVancouver, Canada

FunctionHeating Plant

30


Apri l 2011Bryan He

Below a highway overpass that has split a neighbourhood in the Dutch city of

Zaanstadt for decades, you can now find a supermarket, soccer fields, a skate park,

a fishmonger and a florist, a basketball court and a car park. There is even a marina.

Developed in part through an open and interactive public design process overseen

by NL Architects, A8ernA “provides a quick solution to re-establishing the connection

between the two parts of the divided township whilst also regenerating a space that

had become dead, literally and symbolically in the shadow of the flyover.” (Pruned)


A8ernA

ArchitectNL Architects

LocationZaanstadt, the Netherlands

FunctionPublic, Commercial Exploded Axonometry that Explains the Program The Covered Square to the Supermarket

The Marina The Flower Shop

31



Public Domain and the Dispersed City is Hans Hermann’s thesis project at Clemson

University. (Published in 306090 07: Landscape within Architecture 2004)

Sited at the intersection of Interstate 85 and Interstate 285, also known as the

topologically knotty Moreland Interchange, in Atlanta, Georgia, this project aimed “to

provide new forms of access to the space of the interchange through the introduction

and incorporation of an urban park. As a device, the park is designed to bring focus

and articulation to the roadway’s existing status as a public monument.” (Pruned)


Public Domain and the Dispersed City

ArchitectHans Herrmann

LocationAtlanta, USA

FunctionThesis Project

3333

Design Process

34


Apri l 2011Bryan He

Design Process 1/3

Massing

Program sparsely occupying the underside of all viaducts. Program densely occupying the underside of two viaducts. Program comfortably occupying the underside of three viaducts, leaving the north viaduct unoccupied.

Conclusion:

The required program area (2000 - 2500 m2) is not large enough to occupy the underside of all viaducts. The seg-mented unoccupied spaces are difficult to organize and inte-grate with the building.

Conclusion:

The typology of a open plaza in front of a solid building is not suitable for the nature of this site (e.g. Pompidou Centre). The building will be difficult to design within such a confined space, and the plaza is not open enough for it to be suc-cessful.

Conclusion:

The ratio of program area to site coverage is desirable. The problem of a open space on the north side is that it will not get too much solar access.

35



Design Process 1/3

Massing

Program comfortably occupying the underside of three viaducts, leaving the south viaduct unoccupied.

Organic approach of blending building and landscape, mak-ing a permeable site and circulation.

Programmatic approach of creating building and courtyard, making an inward focused building.

Conclusion:

The ratio of program area to site coverage and the south fac-ing open space is desirable. The massing addresses Union street to the north, and Quebec Street to the west, while the south facing open space connects the high-rise residential buildings to the south.

This massing strategy is carried through during the design process.

Conclusion:

A permeable site and circulation reinforces the public func-tion of the project. This strategy is further developed.

Conclusion:

An inward focused building addresses the high security de-mand of the site. This strategy is further developed.

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Apri l 2011Bryan He

The shadow analysis from SketchUp shows that the site has adequate solar access

from April to September and poor solar access from October to March. The Quebec

Street edge (west) of the site has adequate solar access year-round. The ideal

massing orientation for the gallery and the artist work studio is west-east so it can

take advantage of the consistent north light. On the other hand, the ideal massing

orientation for the cafe, artist live studios, and the open spaces is also west-east

but open to the south to receive direct sunlight. With the main edge of the project

being Quebec Street with its north-south orientation this presents some challenges.

Therefore, the ideal location for light for some programs will be sacrificed for the

more important planning strategy in order to activate the project edge along Quebec

Street.

Light and Orientation

Design Process 1/3

July 21st 7 a.m July 21st 12 p.m December 21st 12 p.m

The SiteAcrylic painting on canvas 36x16 in

37



North - south orientation for artist studios is ideal for consistent north light in the

work studios and direct sunlight in the live studios. However, the artist studios are

the life of the project. By placing them along Quebec Street, the activities in the

artist studios can activate and animate the main edge of the project, at the same

time providing “eyes of the street“ which reinforces Crime Prevention Through

Environmental Design (CPTED) strategies. The change in orientation means that solar

control should be provided on the west facade, and other ways of light penetration

should be carefully designed for the work studios.

Design Process 1/3

Light and Orientation

Artist studios with north - south orientation

Artist studios with east - west orientation Vertical solar shading device

Duplex sharing a thick wall with utilities

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Apri l 2011Bryan He

The public realm scheme creates a permeable site plan throughout the project. The

aim is to create a free flowing circulation which supports the public function of the

project. A tall portion is created at the east end of the site housing vertical gallery

spaces inside and a multimedia projection screen on its facade. In front of it is a

multilevel plaza that connects Union Street and Quebec Street with a cafe anchoring

the corner. The artists studio and the main gallery can be placed ideally on the east -

west orientation. A gated private courtyard for the artists is created between Georgia

and Dunsmuir Viaduct. To the south of the site is Hogan’s Alley Memorial Park.

Public Realm Scheme

Design Process 1/3

Union Street

Prior Street

Quebec Street

Union Street

Que

bec

Str

eet

Prior Street

Union Street

Que

bec

Str

eet

Prior Street

Uni

on S

treet

Prior Street

Ground Floor Diagram Second Floor Diagram

39



Conclusion:

The main problem with this scheme is that it does not adequately take into account

the high security demands of the site and its surrounding neighbourhood. A way of

controlling the flow through the building while keeping it public and permeable is

desirable. The typology of a multilevel plaza on this site is troublesome due to the

headroom clearance restrictions of the viaducts. This scheme could be successful

on a large open site, however, on this confined urban site, occupying the edges of

the surrounding streets is critical for the success of this project.

Public Realm Scheme

Design Process 1/3

Union Street

Que

bec

Str

eet

Prior Street

Union Street

Que

bec

Str

eet

Prior Street

Ground Floor Second Floor

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Apri l 2011Bryan He

The courtyard scheme efficiently utilizes the underside of the viaducts while leaving

the in between spaces that have the most solar access open. The result is an inward-

focused building which the program function can spread out to its adjacent courtyard.

This scheme addresses the edges of Union Street and Quebec Street and conforms

to urban design strategy in activating the streets, and Crime Prevention Through

Environmental Design (CPTED) strategy in recognising the high security demand of

the site. Circulation through the program can be one directional or multidirectional.

Courtyard Scheme

Design Process 1/3

41



The building sections above present the different possibilities of creating a variety

of spaces underneath and in between the viaducts. This exercise informed and

influenced the subsequent design process. The volume of the main gallery, lobby,

cafe, bookstore, and mechanical room is kept. The building massing in plan is similar

to the one in the final design. However, building organization, massing in section and

elevation, and circulation are further developed.

Courtyard Scheme

Design Process 1/3

SCHEME - COURTYARD

SECTION A - ARTIST STUDIOS, GALLERY

SECTION B - TREE COURTYARD, GALLERY

SECTION C - GALLERY

SECTION D - LOBBY, SCULPTURE COURTYARD

SECTION E - RESTAURANT, BOOK STORE, OFFICE, MECHANICAL ROOM

artist studio - work

artist studio - live

studio lobby gallery

gallery

screen

art club zone

courtyard

screen

gallery

lobby courtyard gallery

mechanicalofficebook storerestaurant

Quebec St.

Quebec St.

Quebec St.

Quebec St.

Quebec St.

AA

B

C

DE

E

D

C

B

Union St.

Que

bec

St.

SCHEME - COURTYARD

SECTION A - ARTIST STUDIOS, GALLERY

SECTION B - TREE COURTYARD, GALLERY

SECTION C - GALLERY

SECTION D - LOBBY, SCULPTURE COURTYARD

SECTION E - RESTAURANT, BOOK STORE, OFFICE, MECHANICAL ROOM

artist studio - work

artist studio - live

studio lobby gallery

gallery

screen

art club zone

courtyard

screen

gallery

lobby courtyard gallery

mechanicalofficebook storerestaurant

Quebec St.

Quebec St.

Quebec St.

Quebec St.

Quebec St.

AA

B

C

DE

E

D

C

B

Union St.

Que

bec

St.

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Apri l 2011Bryan He

While the building in relationship to the site is satisfactory, the internal organization

of the building that is presented in the 1/3 review is complex. A visitor has to go up to

the mezzanine level from the lobby in order to access the gallery: first is the “informal

exhibit space on the second floor; then the visitor would go down a set of stairs to

the artist work studio and the main gallery on the ground floor; at the end, the visitor

would walk through the lounge to the walk-through storage and back to the lobby.

The artists can access their residential units from the staircase to the south of the

building and there is also a set of stairs for them to access the courtyard.

Ground Floor Plan

Design Process 1/3

Ground Floor Plan

43



Conclusion:

The building organization reinforces the theme of “art-in-process”, which directs

the visitors to experience from the process of art making, to the display, and then

its storage. The resultant circulation is too complex and single directional for a

building of this size. It is difficult to justify the frequent level changes required for

the visitors to experience the building. The function of the walk-through storage is

also questionable. However, the building massing and orientation set the workable

direction for the subsequent design process.

Second Floor Plan

Design Process 1/3

Second Floor Plan Massing study model

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Apri l 2011Bryan He

Art Gallery

Design Process 1/3

This project is inspired by my visit to Palais de Tokyo in Paris. It is a refreshing

experience after visiting the more prestigious galleries such as the Pompidou Centre

and Musee D’Orsay. The casualness of the art display in Palais de Tokyo makes art

viewing intimate as opposed to overwhelming or even intimidating.

The main gallery in this project can accommodate traditionally curated solo or

theme exhibitions. With minimum partitions, it is also an experimental space for

performative art where the artists can engage the visitors. Temporary partitions can

be organized through a metal tracking system on the ceiling to create dark rooms

where films and other projected media art can be shown. The room height of this

gallery is seven meters with north-facing clearstorey windows.

Inspiration: Palais de Tokyo by Lacaton and Vassal Model Study: Main Gallery with north light

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Design Process 1/3

Art Gallery

The second gallery invites artists to use the space as a short-term storage facility

and exhibition space for artworks that were being stored in their studios out of the

public eye. This exhibition space aims to be a heterogeneous display of artworks

that have an intended random association to each other and require the viewer to

create a narrative or framework outside of the traditional method of viewing art.

The arrangement of the display will change frequently to encourage frequent revisits

to the gallery. It can potentially become an artist’s open house where they have a

chance to expose their work and engage in dialogue with visitors. The ceiling height

of this gallery is three to 3.5 meters with north-facing clearstorey windows and slots

of south-facing windows looking out into Hogan’s Alley Memorial Park.

Model Study: Main Gallery with north light Model Study: Second Gallery with north light and lower ceiling

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Apri l 2011Bryan He

The massing and opening of the western portion of the building is designed to

maximize light and solar access. On the ground floor, the facade is very transparent

so the activities inside the building can animate the street and attract the attention of

the passer-by. On the second floor, the broken down massing of the residence and

the staircase on Quebec Street is an effort to bring back the residential typology of

single-family residences that once existed in Hogan’s Alley. The unusual form of the

lobby is a result of creating a visible piece from the viaducts yet allowing north light

to penetrate through the second floor of the residential units.

Section and Elevation

Design Process 2/3s

North - south section

North - south elevation

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Carried on from the 1/3 review, the building organization is simplified with keeping

all the public programs (lobby, cafe, bookstore, galleries, artist work studio, lounge)

on the ground floor and private programs (artist residential studios, artist common

area, storage) on the second floor. The resultant floor plan eliminates the need for

excessive vertical circulation and leaving only one private circulation to the south that

also functions as an emergency egress. The simplified ground floor plan provides a

multidirectional circulation. A dedicated loading bay and parking stalls are provided

at this stage, which will be replaced by a multipurpose hard scape area later in the

design.

Building Organization

Design Process 2/3s

Re-organizing the plan

Gallery circulation options

Massing study model

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Apri l 2011Bryan He

The main objectives of the structure include the language of permanence and the

ease of construction. The use of board form concrete in the galleries and lobby has

a raw aesthetic yet providing a durable and well insulated structure. The artist studio

along Quebec Street is a hybrid of stick-frame and post and beam construction,

which is a reference to the destroyed houses once sited on Hogan’s Alley. The warm

touch of wood is also suitable for living. The roof of the building is to be prefabricated

in sections in order to simplify the construction process. The concrete portion has

hollow core concrete panels and the wooden portion has solid staggered lumber

panels. The nature of a solid prefabricated panel system and the lack of rain / snow

load helps to achieve maximum headroom in the building.

Structure

Design Process 2/3s

Structural idea and plans

49



Conclusion:

The building organization and the circulation is satisfactory where public and private

functions are clearly defined and separated. Public functions on the ground floor and

private functions on the second floor. The locations of the cafe and the bookstore

are switched in order to connect the courtyard with Union Street through the cafe.

The loading bay and the parking area are replaced by a multipurpose hard scape

area under the Georgia Viaduct off-ramp. One residential unit is cantilevered to

provide “eyes on the street” for the park. The plans are carried forward for further

development in the final design.

Floor Plans

Design Process 2/3s

Prior Street

Union Street

Que

bec

Pacific Blvd.

Dunsmuir Viaduct

Greogia Viaduct

UP 20 R

UP 20 R

UP 20 R

UP 20 R

lobby

cafe / restaurantbookstore

artist studios

gallery

gallery

lounge

office

sculpture garden

courtyard

open to above

DN 20 R

DN 20 R

DN 20 RDN 20 R

Ground Floor Plan Second Floor Plan

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Apri l 2011Bryan He

Outdoor Space

Design Process 2/3s

There are three outdoor spaces formed in between the bridge decks with good

solar access: the courtyard, the sculpture garden, and the Hogan’s Alley Memorial

Park. Each of these outdoor spaces will provide a different quality of experience

that compliments the whole experience of the exhibit. The more lively semi-public

outdoor space is accessible from the cafe, bookstore, and the lobby; the quieter

semi-private sculpture garden is accessible from the galleries and artist studios;

the public park, Hogan’s Alley Memorial Park (24-hour accessible) will occupy the

unused portion of the site. The outdoor spaces provide sunny and shaded areas,

with public furniture designed to human scale.

Inspiration: Pompidu Centre by Richard Rogers and Renzo Piano

Concept sketch of courtyard Concept sketch of courtyard and sculpture garden that is incorporated in the final design

51



Most of the single-family residences were bulldozed due to the construction of the

Georgia / Dunsmuir viaducts circa 1970. In commemorating the lost and forgotten

black community of Vancouver’s past, interactive steel sculptures that represent the

abstraction of the form of a group of small buildings are incorporated on the site.

These sculptures have multiple storeys and visitors can climb up to the up, higher

than the viaducts to have an unobstructed view of the city once again. On the south

facade of the gallery is a large concrete wall that can be used for large scale murals

- in this case a mural series of important black figures in Vancouver: Joe Fortes and

Jimmi Hendrix.

Design Process 2/3s

Hogan’s AlleyMemorial Park

Inspiration: 2008 Venice Biennale - Japan Pavilion by Junya.Ishigami + Associates

Hogan’s Alley was bulldozed in building the viaducts (1969)

Hogan’s Alley (circa 1968)

Concept sketch of Hogan’s Alley Memorial Park Concept rendering of Hogan’s Alley Memorial Park

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Apri l 2011Bryan He

There is a sense of rhythm along Quebec Street marked by a line of yellow light posts

and the alteration of bay windows, living walls, and wooden doors. Through the bay

windows, heavy timber posts are exposed to highlight its wooden construction. The

underside of the balconies and the frame of the doors are painted in different colours

according to the personality of the artists. The building exterior is made spontaneous

through the changing colour with the changing short term in-residence artists. The

operable solar control devices on the upper floor further animate and activate the

facade along the street. The paved entrance plaza leads the visitors into the lobby.

Its heavy concrete unique form contrasts with the lighter quality of the rest of the

building along Quebec Street. The recessed clearstorey window above the entry way

makes the heavy mass above appear to be floating, which reinforces the whimsical

aspect of an artists centre.

Quebec Street Edge

Design Process 2/3s

Inspiration: Arcades colonnade in Bologna, Italy Rhythm along Quebec Street created by the light posts and canopies

Rhythm along Quebec Street created by the solids and voids in the facade

53



The strategy of Union Street redevelopment is to clearly define the building edge,

sidewalk, bike lane, and parking. The existing muddy path that mixes the sidewalk

and bike lane should be re-paved with a mixture of hard and soft pavement. The

line of yellow light posts will be carried through Union Street. A canopy is attached

to the side of the building and leads the pedestrians to the entrance of the cafe on

Union Street and the lobby and bookstore on Quebec Street. One idea was to create

a staircase to bring pedestrians and cyclists on the viaduct down to the site. This

idea has been postponed to the time when the viaducts are going to be redeveloped

as an elevated urban park. For now, a non-functional futuristic sculptural staircase

will take its place, which symbolises the possibility of a real connection in the future.

Design Process 2/3s

Union Street Edge

Canopy height design

Futuristic staircase sculptural piece Charcoal sketch of Union Street Charcoal sketch of a staircase connecting the viaduct and Union Street

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Apri l 2011Bryan He

Artist Studio - Live

Design Process 2/3s

The residential component of the studio can accommodate up to two people per

studio. The floor plan has minimal partitions to maximize usable space in a small

studio. These residences have western sunlight access (with solar shading devices)

and have a view onto the public street to minimize the opportunity for crimes, and

at the same time activate the street like the once active area of Hogan’s Alley did.

The front doors facing Quebec Street and the colour coded balconies give the artists

their own identities.

Artist residence inspiration

View to Hogan’s Alley Memorial Park from the cantilevered unit

BedUp retractable bedding system: transformation from a living room to a bedroom

Artist residence floor plan option 1

Artist residence floor plan option 2 (chosen)

Sketches of individual front door and stair case connecting the residences with Quebec Street

55



The “work” component of the studio provides in-residence artists with a naturally lit

and well-ventilated work space. The open plan studio can accommodate different

art forms such as painting, pottery, sculpture, and installation. This may involve a

variety of media such as large format canvas, paint, wood, glass, metal, clay, plastic,

etc. Various working surfaces and machines can be accommodated in the studios.

The studio space is also an exhibition in itself where artists can engage the public in

the process of art-making. As a result, the studios should be visible from the street

to signify the purpose of the building.

Artist Studio - Work

Design Process 2/3s

Inspiration: Robert Carnonell’s Studio

Tools from a concrete work shop SketchUp rendering of the artist work studio’s spacial and light qualities

Interior stairs leading to the residences

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Apri l 2011Bryan He

Board-formed concrete leaves behind the imagery of the wood used during the

construction of the building. The use of concrete is to signify the permanence and

durability of a building that will last a long time. Transparency to the cafe, bookstore,

and the public courtyard is important for the success of those functions. The entrance

to the cafe is accessible from Union Street. The glass jewel box shines through at

night which is welcoming for passers-by. From the inside, it provides “eyes on the

street”. The use of wood, white cementitious cladding, and living wall on the west

facade is to soften the street edge and emphasize the residential quality.

Materiality

Design Process 2/3s

board-formed concrete

wood

timber frame curtain wall

living wall

cementitious board

• Exterior / Interior of lobby

• Exterior / Interior of galleries

• Studio structural frame

• Studio flooring and ceiling

• Residence flooring and ceiling

• Cafe, bookstore, and residence

interior finishing

• Cafe

• Bookstore

• Exterior cladding for artists

studio and residences

• Exterior cladding for mechanical

room and artist studio

• Interior feature wall in lobby

Watercolour showing the use of colour under the viaducts

Hand sketch of materiality on west facade

57



The quality of a modernist white building under the viaduct from a SketchUp rendering

inspired the subsequent design of building materiality. The goal for preceding is to

combine the more complicated material palate in the hand sketch with the lack of

material palate in the computer render. The watercolour painting that was done early

on in the process (shown on the left) inspired the use of colour on the facade to

animate the street. As a result, yellow light posts, red columns and painted soffits

are used in the final design.

A bug screen is required for the interface of the building and the underside of the

viaducts. Various options were explored. At the end, a bug screen with embedded

PV cells achieves dual functionality and yet is aesthetically interesting.

Materiality

Design Process 2/3s

SketchUp rendering of the west facade Yellow light post, red columns and coloured soffits

Bug screen options Bug screen with embedded PV cells

5959

Final Design

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Apri l 2011Bryan He

Ground Floor Plan

Final Design

Prior St.

Union St.

Que

bec

St.

Pacific Blvd.

Dunsmuir Viaduct

Greogia Viaduct

living machine

multipurpose hardscape

sculpture garden

courtyard

holgan's alleymemorial park

bike rack

Vancouver Skate Plaza

1 4 6 10

UP 20 R

UP 19 R

UP 19 R

UP 19 R

lobby

cafe bookstore

artist studios

gallery

gallery

lounge

office

mech.

61



Second Floor Plan

Final Design

Prior St.

Union St.

Que

bec

St.

Pacific Blvd.

Dunsmuir Viaduct

Greogia Viaduct

living machine

multipurpose hardscape

sculpture garden

courtyard

holgan's alleymemorial park

bike rack

Vancouver Skate Plaza

1 4 6 10

DN 19 R

DN 19 R

DN 19 R

DN 20 R

stroage

artistcommonarea

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Apri l 2011Bryan He

North - South Section

Final Design

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Apri l 2011Bryan He

North - South Section

Final Design

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Apri l 2011Bryan He

West - East Section

Final Design

Section A

Section B Section E

Section C Section F

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Building System and Detail

Final Design

winter sun

summer sun

minimal temperature fluctuation maintained by concrete mass

south facingbug screen w/ PV cells

bug screen w/ PV cells staggered lumber ceiling

thermal massivecolumn

radiant heating

slope

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Apri l 2011Bryan He

Building Organization

Final Design The main objective of building organization is to define what goes on

along the main edge of the project - Quebec Street. The transparent

timber framed curtain wall structure for commercial use (bookstore)

anchors the corner of Quebec Street and Union Street. Further south

is a recessed plaza leading to the heavy concrete, sculpturally and

whimsically shaped lobby that contrasts the glass. Along the rest of

Quebec is a wood frame portion clad with white cementitious panel

that has lively studios on the ground that visually connects to the

street and artists’ residences above to further activate the street while

providing “eyes on the street”. The larger spaces such as the cafe, the

galleries, and the storage follow the west-east orientation along the

viaducts. This strategy provides north facing clearstorey skylights for

the gallery and storage spaces, and a south facing glazed facade for

the cafe. To the east of the site, the administration office and visitor’s

lounge connect the rest of the building. East facing window walls

in those portions are to provide “eyes on the street”. Hogan’s Alley

Memorial Park being on the south side gets the most solar access.

It provides the direct link to the existing high-rise residential to the

south. To reinforce the CPTED strategies, one of the residential unit is

cantilevered out to have a view onto the park.

69



Sustainability Strategy

Final DesignSocial sustainability is the focus of this project by increasing public

involvement in local art culture and by providing a unique platform to

allow interaction between the artist, the art, and the visitor. The centre

will also provide artists with an affordable and vibrant environment to

advance their career while challenging them to make art that educates

the public about art-in-process.

Building on a perceivably undesirable site under the viaducts and

incorporating the viaducts as part of the project creates a sustainable

solution that restores the segmented urban fabric. Coexisting with the

viaducts during its remaining lifetime is a more sustainable alternative

than demolishing the viaducts today for commercial redevelopment.

At the end of the viaduct’s lifetime, the sections above the project can

be kept to create an elevated urban park.

The project encourages the use of public transit and bicycle. No on

site parking is provided in recognising the existing large parkade in

Chinatown just north of the site and the ease of street parking. Bicycle

racks are provided on Quebec street beside the living machine.

On top of social sustainability, the technical sustainable aspects of the

project are:

• West-east orientation of the building to maximise solar access

• Narrow floor plate to maximise daylight penetration and natural

ventilation

• The covered roofs (by the bridge decks) minimise storm water run-

off. Where there is storm water, it will be captured to be reuse.

• A living machine will be incorporated in the landscape of the public

park to treat black / grey water on-site for reuse.

• Less material required to build the covered roof because the

structural load is reduced.

• The concrete mass of galleries is a good insulator for minimal

interior temperature fluctuation.

• The existing concrete column are utilized for its thermal mass

properties with orientation to the west.

• Natural ventilation in all programs except in the galleries and

storage.

• The galleries and storage is served by displaced ventilation system

and the studio has mechanical ventilation as back up ventilation.

• All programs are heated by radiant heat floor.

• Solar gain from west facade is limited by the viaduct overpass and

dedicated manually operable solar shading devices on the second

floor.

• PV cells are integrated to the bug screens attached to the sides of

the viaduct facing south to generate some electricity.

• Oversized mechanical room (floor area) to accommodate future

mechanical systems for solar farm and water management systems

on the elevated urban park.

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Apri l 2011Bryan He

West Facade Perspective

Final Design

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North-West Corner Perspective

Final Design

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Apri l 2011Bryan He

Hogan’s Alley Memorial Park

Final Design

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Entrance

Final Design

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Main Gallery

Final Design

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Courtyard

Final Design

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Artist Work Studio

Final Design

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Artist Live Studio

Final Design

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Physical Model

Final Design

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Physical Model

Final Design

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Apri l 2011Bryan He

Physical Model

Final Design

89



Physical Model

Final Design

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Apri l 2011Bryan He

Physical Model

Final Design

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Physical Model

Final Design

Graduating Project SummaryThe Creative Laboratory for Contemporary Art

Submitted to Peter LevarCreated byBryan He

BCIT ARSC 8800April 2011

bcit graduation project design summary

Documents