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Tag Archives: Village Square
Not every week of photos provides much information. The photos from this week in 1978 are one example. We can identify some of the people and places but we’re hoping you can fill us in with more details for this year!
On Thursday, February 15, the museum was thrilled to welcome John Rae, Mo Douglas and Kristen Robinson (KR) as our speakers for Behind the Games: Creating the 2010 Olympic Experience.
The three began the evening with a look at the years of planning, partnerships and collaborations that went into creating not only the Olympic Bid but also the Games themselves. Hosting the Olympics is a huge undertaking and, like anything you plan for, it seems some of the best stories are the ones that you don’t expect.
From the volunteer staying in Birken who was determined to come work the Olympics despite a recent kidney transplant to the absurdity of asking the RCMP to please pull over and ticket speeding VANOC cars who were enjoying being the only ones on the road to knocking on the doors of the National Japanese Olympic Committee to borrow mittens for a medal ceremony, the stories of the three speakers demonstrated that some things cannot be planned for.
KR was the festival director for Whistler Live. The Whistler Live team had the task of planning, creating and broadcasting programming for 8 to 15 hours every day of the Olympics in six different venues, all controlled from one studio. This included live performances, interviews, street entertainment, photography, films and, of course, the Olympic sports. According the John Rae and KR, scheduling the programming began with the sports which included trying to find a way to show all Sea to Sky athletes. Other content was slotted in around the sporting events. As competitions and other events could be postponed and rescheduled without too much notice, running Whistler Live was a delicate balancing act, one John Rae described as “a chess game that was being played every day.”
The first day of Whistler Live didn’t entirely go smoothly. First, the horses that were supposed to lead the parade of Canadian athletes into Village Square went home sick. The rest is best put in KR’s words.
We’re just trying to get this group back and we’re learning how to switch out the CTV feed and the Hairfarmers were playing, and that was great, and then all of a sudden, we’re kind of getting into our groove, and this big [notice] on the screens comes up and it’s like ‘I’m sorry, Bell Expressvu is no longer in service.’
After running to the studio, where people were running to fix the problem, KR was told by the director “I want you to run to the stage, and I want you to start talking, and I don’t want you to stop until we fix this.” Thankfully the Whistler Live team was able to return the feeds just as the Canadian team rounded the corner into Village Square. The next day it was discovered someone at Bell in Toronto had noticed Whistler Live had multiple accounts on the system and were consolidating them, taking away the feeds.
We’d like to thank everyone who came out on Thursday, especially our speakers. Keep an eye out for more untold stories of the Whistler 2010 Olympics.
Building on the post from two week’s ago which examined some of the key influences that informed landscape architect Eldon Beck’s design for Whistler Village, now we will delve deeper into some of the challenges and happy surprises that came to light during the actual construction of the village.
As Beck recalls, though he had a lot of support and leeway in crafting an initial design true to his personal vision, getting it built was a different story.
Probably the biggest [challenge] was that the various designers with their projects, the architects, were used to doing stand-alone buildings… The requirement that they subordinate their individuality to the totality of the Village was really hard for many to comprehend. We’d set it up, and that’s why we required models. We wanted to see how the models would fit together. We’d get one model, stick it by another, you’d see it didn’t match. We’d talk with them and say, “Can’t you make your roof form fit, can’t you make this happen?” We lost all of those battles.
My first reaction when they were built was to walk around I got probably 40 or 50 slides of mistakes. So I took pictures of all these things that didn’t quite fit. A couple of years later I did the same thing and said, “Well those are really pretty nice.” It was almost the mistakes of not fitting that became human. It was more real and more human because of the imperfections rather than controlled perfection. It was interesting. I had to flip my mind around and say, “Oh, that’s kind of neat.” That really looks like [several] people did it instead of being totally controlled. But that was the big one. Their understanding that they were subordinate to the Village totality was hard for most designers to comprehend.
And so in his typically philosophical manner, Beck learned that relinquishing some control could actually enhance his vision.
However, not all the unplanned changes pleased him. One notable concern he continues to raise is the impact of some of the larger buildings in the village:
I have not been consulted on any of those. I’ve been consulted on most new things in the Village, revisions within the Village… The problem with the big buildings, when they become vertical, they lose the relationship with the pedestrian level.
Independent-minded builders and excess verticality weren’t the only unforeseen challenges to attaining Beck’s vision. In late 1981, as the village was mid-construction, a massive recession brought much of the work in progress to a halt. Though the provincial government bailed out the village construction, the building environment changed substantially. As Beck recalls,
It is interesting ‘cause it was almost the opposite to the question on over-planning… The controls were eased thinking that by golly if someone can come in and build something, go right ahead. Don’t worry so much about the regulations. So as dearly as I love Al [Raine] and Nancy [Greene], I think that the roof form on their building [Nancy Greene Lodge] was absolutely wrong. And I think it was at that point the Carleton Lodge was built. And I think that violated one of the early premises that that was the town living room. In early plans it was a two-story building, low in profile, so that when you came up the street you could see the mountains. Instead it became a big old block at the end of the street. So the whole west side of Village Stroll I thought was pretty badly compromised by that period of time.
Still, Beck is very satisfied with the final outcome. We’ll conclude with some of Beck’s favourite aspects of the village, as recounted two decades after its initial construction:
Probably the thing that’s most consistent actually is the spatial framework, the pedestrian framework of the Village has really survived. It was organized around views, so as walk at the end of the place, you see a mountain. So the structure of the Village really grew out of that view. That has remained and I think that’s been the thing that’s made it really work very well.
I think Village Square is superb. The scale is right, the life is right, it really works. From there going back, Skier’s Approach to Village Commons, I think that’s probably one of the nicest sections in terms of scale… So I keep pointing back to that one section, saying that’s really what the objective was. I think Village Square is a magical place, it really works well.