The Path to Increasing Indigenous Influence and Sustainability in Recent Architecture and Beyond
Author: Mariska Hermano
Vancouver Island is known for its iconic West Coast Modernism architectural style, reflecting the “laid-back lifestyle” and connection to nature with “clean lines, open spaces, and an integration of indoor and outdoor living.” Preserved colonial era architecture is visually awestriking but indicative of the deep-rooted historical institutions which continue to underlie the physical and social institutions of island life. English, Indigenous, and Chinese heritage are imprinted on the built landscape, contributing to the unique character of Vancouver Island in the present day. Through a combination of self-identification, marketing initiatives, and public image, Vancouver Island is widely perceived as a small collective of outdoorsy middle and upper-middle-class folks, retirees, and young environmentalists which branch off of the comparatively more modern Vancouver/mainland B.C. socioeconomic and political demographics. Victoria draws in newlyweds with postcard scenery, a friendly and laid back disposition, and the best-of-both-worlds combination of modern creature comforts and island isolation. Vancouver may be the only location in Western Canada to make its way onto A-list concert tour date lists, but the densely populated and business-oriented city is not the heart of the province. I have visited the Sunshine Coast on family vacations during past summers, but only since this past September when I moved from Calgary to begin my first year in undergrad at Uvic have I had the opportunity to begin to truly spend time immersed in the island’s culture and architecture. Architecture is a major part of everyday life which drives and is driven by the rich mosaic of different groups on the island throughout time. Don Denton of Black Press Media remarks that “we see [architecture] every day, it affects us in every possible way and yet, for the most part, we are oblivious to architecture. Most of us only respond to architecture when we travel.” In my situation as an out of province student, this begs the question ; which of the quintessential aspects of Vancouver Island identity do I interact with and notice in my home-away-from home through architecture, and what is missing ?
The Southern Tip of the island where Victoria is located originated as the traditional territories of the Lekwungen peoples, including the Songhees, Esquimalt, and WSÁNEĆ. Historic Victorian era buildings, modern constructions created in line with new provincial environmental codes, and buildings with Indigenous-inspired designs are all observable in this area. Iconic historic landmarks such as the Legislature Building and Craigdarroch Castle are popular tourist attractions. English influence is much stronger in Greater Victoria than it is in Vancouver. Christopher Thomas and Kim Reinhardt investigate this evolution throughout the latter half of the 20th century, focussing on Peter Cotton’s approach to the 1960s revitalization of Bastion Square. This endeavour set a precedent for urban development in the region, juxtaposing and fusing historical elements with those of the period. Throughout a period of stagnation following World War I, Victoria had switched gears from being commercially active, to a “place of retirement and residence,” which was reinforced by the period of rapid growth following World War II while Esquimalt operated the country’s major Pacific naval port. The Victorian and Edwardian revival of the 70s-80s constructed a Greater Victoria which clashed with the modern, self-made image B.C. adopted with Vancouver as the figurehead. The optimism of postwar architecture in the West relied on the use of new materials and streamlined, standardized pieces which were easy to manufacture. West Coast Modernism emerged from the idea of pioneers “[creating] an architecture that sprang straight from the rock, rain, and Douglas fir, marked by such now-familiar features as adaptation to sloping sites, post-and-beam construction, sheltering overhangs, and window walls.” This resulted in the “othering” of Victoria, placing it in the past in contrast to the gleaming glass of an assertive and decidedly future-oriented West Coast. While Victoria embraces the mantels of “charming” and “quaint,” its alienating antiquity is at odds with the socially conscious foreground. The terra nullis rhetoric of pioneer establishment which birthed the earthy yet affluent image of sun splashed modern homes in domesticated, semi-private wilderness is colonization as described by the oppressor.
As climate change and social justice are brought to the forefront of the public consciousness, there have been more legislative actions taken to ensure that Indigenous legacies are preserved. A 2019 poll conducted by Decision Canada for Global News found that health care and climate change were the top two most important issues in determining votes. While Indigenous peoples are a minority, the tides may be turning in regards to inclusivity in public health among other areas as evidenced by recent architectural commissions. Cowichan District Hospital by ZGF and Parkin Architects, set to open in 2027, will contain dedicated rooms to offer Indigenous healing treatments. Customs and amenities were determined through conversations with the First Nation peoples of the area in order to positively address the discriminatory disparities in the Canadian healthcare system. Canadian hospitals are only required to have one room for burning, but 185 out of 204 rooms in the Cowichan District Hospital will be suitable. The layout intentionally places the security office out of sight from the entrance and signage uses the local tongue to foster a welcoming and trustworthy environment. The hospital is a promising case of attention to inclusivity in the design process of new public architecture. Parkin Architects Limited has offices across the country, with specific guiding design principles inspired by the Inuit ; “common good, respect, harmony and balance and preparing for the future.” There were only twenty registered First Nations architects in Canada as of 2022, with the first Indigenous graduate from UBC SALA being ’93 alum Alfred Waugh. Waugh, founder of the Formline Architecture firm, seeks to fulfill this demand with “culturally sensitive, innovative and sustainable projects” which “bring together Indigenous ways of knowing and Western design.” Formline designed the First Peoples House at UVic, drawing inspiration from the Coast Salish Longhouse and the local coastal Indigenous cultures. The First Peoples House was intended to serve as “a place of culture, honour, and spirit,” but traditional First Nations architecture not only informs the aesthetic choices, but practical aspects of design. “Their ability to mediate the environment, maximize sunlight, ventilation, natural resources and local materials” inspired an efficient and sustainable LEED Gold certified end product. Large windows maximize allowance of natural light. Rainwater is collected in a retention pond, showing commendable attention to detail regarding site-specific environmental considerations. The Longhouse-inspired form and traditional housepost carvings at the entrance proudly declare its Indigenous roots. The interior includes a beautiful ceremonial hall and central fire pit. Even the wall texture tells a story, with woven ornamentation paying homage to the tradition of basket weaving. Indigenous influence in architecture extends beyond institutions and landmarks. The Formline Portfolio also includes a collection of residential complexes and private homes. The Royal Architecture Institute of Canada adopted the United Nations Declaration of Rights of Indigenous People in 2021, acknowledging the importance of Indigenous viewpoints around spaces and the built environment and still making progress towards the 2015 “calls to action” by the Truth and Reconciliation Commission nearly a decade later. Waugh confidently stated in a 2022 interview that “the next 10 years we will see more [Indigenous-owned] firms for sure.”
Looking towards the future is a common theme in architecture, as buildings are created to last and spaces are constructed to serve functions of society as it changes. Climate change as a civilian and voter concern is echoed in CleanBC provincial plans. By 2030, all new buildings will be zero-carbon ; new heating and water equipment must operate at minimum 100% efficiency. Clean energy is an extensively regulated and incentivized endeavour undertaken by the Government of B.C., and the 2030 timeline aligns with Waugh’s prediction on the growth of First Nations industry involvement. Architects behind the Cowichan District Hospital aspired to create “Canada’s first zero-carbon hospital, and British Columbia’s first all-electric hospital.” Indigenous-inspired architecture and sustainable design are decidedly and powerfully intertwined. In contrast, the International movement of Modernist architecture used standardized new materials such as reinforced concrete, steel, and glass rather than local ones. Wanda Dalla Costa writes that the ideals of “progress” which informed the 1920s movement “disregarded regional or cultural variations” leading to a collective disillusionment with the resulting homogeneity architects then sought out ways to replace. In contrast, she describes the Teepee as “ephemeral, harmonius with natural and meaningful in its layout, [reflecting] the belief system and way of life as a group. These markers (or non-markers) in the landscape become a narrative, or a ‘living’ story, of the people.” The heritage buildings on Vancouver Island and across Canada as a whole portray monumental declarations of European colonial history, causing the continued erosion and extinction of Indigenous culture and identity as more time passes and memories fade. In this chapter of her book Canadian Architecture, Dalla Costa uses particular buildings as case studies to examine the question of what Canadian identity truly is, how it may develop and self-identify throughout the 21st century, and how Aboriginal contributions fit into it. She asserts that “one of the most powerful statements that Aboriginal architects can make today is not about form and representation ; rather it is about promoting an ecologically based value system.” The stories we tell and the parts of our identity we choose to highlight and embrace in creating the built environment on a national and regional level speak to the past, present, and future. We do not have to wonder what there is to be learned ‘if walls could talk,’ because architecture already provides a “visual narrative or living history” of any given place. As the conversations and planning processes of urban development on the island become more inclusive and Indigenous voices are afforded the space to contribute, Vancouver Island’s voice will proudly declare its identity.
British Columbia is known to value sustainability and environmentalism, which is increasingly being reflected in legislative and creative approaches to architecture and art. Continuing to embrace Indigenous value systems and fostering a collective but not homogenous island identity which considers local topography and sustainability in island architecture will set a precedent going forward for the rest of the province and Canada as a whole. I am passionate about this topic as it is relevant to my personal interests and ambitions, while also involving real-world issues and art and technology worth celebrating. I plan to pursue a career in urban architecture with an emphasis on sustainability. As a result, I am highly attuned to the built environment and am drawn to certain types of spaces. When I chose to apply to the University of Victoria, I was excited about the idea of a mid-sized university campus where I could be a part of a larger community than that which I experienced in high school, while still being able to build close relationships and connections. I toured the campus in both the summers before and after twelfth grade. I was slightly unsure whether or not I would pursue studies in the areas which I intended when I applied, but I was easily able to visualize myself as a member of the student body regardless of the direction I would end up taking here academically speaking. Campus architecture played a significant role in conveying the attitudes and principles of the academic and social aspects of the school. The juxtaposition of older, more classically scholarly buildings with West Coast Modernist and sustainability-oriented elements indicated a well-established but progressive and dynamic character. Large windows, common spaces and greenery, outdoor seating, pathways, and the central Quad along with the proud signage for the new Cheko’nien and Sngequ constructions offered optimistic promises of possibilities. Incorporating Indigenous motifs and design techniques into the buildings we use every day reminds us of the history of the land and the natural world. While I have not lived on Vancouver Island for long enough to watch the evolution of the urban landscape, it is exciting to exist within the dynamic and developing convergence of cultures, history, the natural environment, and emerging technologies.