Provincial Essays  


Book Design, Exhibition
Provincial Essays :
Bombast Furniture 1990-2019
2019
Marked by an engagement with the modernist legacy, the Bombast product line is perhaps best understood as the material trace of what is in many ways a very personal learning curve. When we began in this business, we were too young and too inexperienced to know that our dream — participation in a global design culture — was “impossible” from the relative isolation that is our Vancouver home. That we are still at it remains a function of our unwillingness to accept the obvious. 

Russell Baker





Goodweather is pleased to be working with Russell Baker, founder and principle designer of Bombast Furniture, on a monograph cataloging nearly 30 years of work as a furniture designer and manufacturer in Vancouver. 

Shigeru Ban: Paper Log House




Installation
Offsite : Vancouver Art Gallery
2018
In 1995 a 6.9 magnitude earthquake struck the coast of Japan with its epicentre at the major port city of Kobe. More than 6,000 people were killed and 200,000 made homeless. A young Tokyo-based architect—Shigeru Ban—known for his innovative work utilizing paper and cardboard tubing as a building material, was invited to respond to the urgent need for temporary relief shelter. His interest in paper, with its low cost, easy accessibility and simple application, provided him with readymade materials to design and build a sturdy, economical and ecologically sustainable home for thousands who were displaced in the disaster. This simple building has become the prototype for similar disaster relief structures built around the world for the past twenty years.

Goodweather was commissioned to coordinate the fabrication and installation of an instance of this iconic building at the Vancouver Art Gallery Offsite location.

e-flux journal article here

Guidelines: Carmen Papalia and Heather Kai Smith 



Exhibition
Banff Centre for the Arts & Creativity
2019
Since 2015, Vancouver-based artist Carmen Papalia's practice has been grounded in the conceptual framework he terms Open Access. Through a set of five tenets Papalia draws on his experience as a non-visual learner, a term he chooses to identify with over the medicalizing terminology of “blind” or “visually impaired”.

Emphasizing what he understands as an institution's social accessibility, the framework of Open Access advocates for an understanding of "accessibility as social practice" – a temporary experience that requires a relational approach to mutual care.

For this exhibition, Papalia is collaborating with Heather Kai Smith on an animation and series of works on paper which visually interpret the concept. Primarily working in drawing, Smith's work often engages ideas of mutual support through careful renderings of archival protest documentation. Materially emphasizing the labour, as well as ephemeral nature, inherent in a relational approach to accessibility, the commissioned works will mark the Vancouver-based artists' first collaboration. The exhibition design for Guidelines is by Goodweather Studio.

Text courtesy Walter Phillips Gallery

Chinatown(s)




Exhibition Design, Book Design, Photography
Museum of Vancouver / UBC
2019
Goodweather is honoured to be working with the Museum of Vancouver (MOV) and  UBC Asian Canadian and Asian Migration Studies on research and visioning leading up to a series of exhibitions and urban activations focusing on a re-thinking of the idea of Chinatown(s) as unique diasporic urban phenomena.

Roundabout  Vancouver




Collaboration
Vancouver Art Gallery
2011
What would a metropolis in the Pacific Northwest look like if urban planners at the turn of the 20th century recognized and exploited the spatial potential of existing old growth trees rather than their perceived resource potential?

Employing techniques of photomontage and urban mapping, we take an anachronistic detour that decouples empirical fact from historical memory. While in the present city of Vancouver, the centre space of roundabouts is given over to various sanctioned treatments—community gardens, a monumental rock, and so on—in this “retroprojective” proposal an alternative vision of the not-so-distant past is offered, one wherein forward-thinking city planners leave an old growth tree at the centre of each future roundabout.
   
With this simple gesture we can envisage an entirely different city, one in which the massive trees are no longer a rarity but instead fundamentally define and shape our movement through the urban fabric of Vancouver. While the singular presence of each tree is in itself remarkable, their collective existence is a legacy comparable in size and density to that of Stanley Park, Vancouver’s beloved urban green-space. With this action on the civic imagination the city becomes a forest, and the forest a city.

In collaboration with Daniel Irvine and Chad Manley