What does it mean to work well? Is it about productivity, paycheques, or purpose? A new exhibition opening Sept. 18 at 828 East Hastings in Strathcona asks this question of exhibitors and visitors alike.

Titled Is This Working? This show focuses less on the grind and more on the gaps — the pauses, the unexpected moments and the creative ways we measure value.

This exhibition runs for a week and is the brainchild of three longtime contributors to Vancouver’s design and culture scene: Laura Melling, Renske Werner and Jody Phillips. Together they’ve assembled a multidisciplinary lineup that covers design, art, music, performance and wellness. The result is an off-site counterpoint to IDS Vancouver .

Curators with lived experience

For Phillips, who formerly ran IDS Vancouver and now works in arts and culture with the Naut’sa mawt Resources Group, this project has personal resonance.

She has certainly reached moments in her demanding career when she realized “this isn’t working.” Her energy felt depleted rather than renewed and a reset was needed.

That reset came through a shift toward community, arts and culture. She discovered real fulfilment working alongside Coast Salish communities to build an Indigenous art collection and lending program.

Bringing that spirit of collaboration into Is This Working? has been essential, says Phillips.

A warehouse becomes a playground

The show takes place in a soaring warehouse owned by Low Tide Properties in Vancouver’s Strathcona neighbourhood. Recently renovated, it now offers a blank slate with vaulted ceilings, ripe for reinvention, says Phillips.

In this space, Is This Working? introduces a series of pods and activations. Expect a central coworking installation, long-table meals, workshops and an opening night party with proceeds supporting the Eastside Neighbourhood House.

“It just felt tone-deaf not to do that,” Phillips said.

An installation of light and care

Among the standout contributions to this exhibit is Soft Threshold , a joint installation by artists Minahil Bukhari and Mustaali Raj. Together they reimagine the contemporary workspace not as a site of relentless productivity but as what they describe as “a responsive ecosystem.”

Drawing inspiration from philosopher Gernot Böhme’s writings on atmosphere, the pair use dappled light as both metaphor and material. The softened glow and transient shadows act as quiet prompts to slow down, to breathe, and to relate more attentively to the space and those within it. In their vision, light becomes an ethical encounter, transforming the workplace into a site of care rather than control.

Bukhari, a Pakistani-Canadian artist whose work grapples with displacement and loss, often through what she calls “political minimalism,” brings an emotional and textural depth.

Raj, an award-winning designer and visual artist, brings a global lens shaped by his “third culture kid” upbringing. “I am a circle, living in a square, drawing triangles,” he explains. His practice reinterprets traditional motifs in contemporary forms, always with an eye to social good and community building.

Beyond productivity

The exhibition’s title nods to Dolly Parton’s line: “Never get so busy making a living that you forget to make a life.”

That sentiment runs throughout the show, whether in architecture firms rethinking space, artists weaving personal histories into material form, or illustrators layering narratives into murals. Some works will take the prompt literally. Others will approach it obliquely, exploring themes of time, value, and care.

For Phillips, a Dutch Design Week project she saw some years ago remains a touchstone for her — a room filled with shredded paper, a clock running backwards, and a giant pencil scribbling nonsense across the floor.

“It struck a chord with me. It was anxiety-inducing, but it also made me think deeply about our obsession with productivity,” she said.

A different kind of party

Phillips admits she’s wary of the glossy, highbrow openings that design shows can sometimes default to. This one will be different, she says.

Tickets are $20, with half the proceeds going directly to the neighbourhood house next door.

“This is a community effort. Nobody’s here to make money. We’re here to reflect, to gather, to ask the question together,” says Phillips.

In a city where the cost of living often dictates the pace of life, Is This Working? offers a rare invitation to pause. Whether you arrive as a designer, an artist, or simply someone wondering about your own work-life balance, the hope is that you’ll leave not with answers, but with better questions.

Exhibition info:

Sept. 18 to 24, 2025

828 East Hastings Street, Strathcona, Vancouver, BC

The exhibition is free, and open to the public from 9 a.m. to 4 p.m., with additional events and activations throughout

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If you have ever seen an ikebana art piece, the artistry of the floral design must have amazed you. Ikebana is a Japanese art form that has evolved over centuries and embodies so many disciplines and philosophies.

Beginning in the sixth century in Japan, when flowers were first offered in Buddhist temples to honour Buddha, the monks elevated these floral gifts into a more sophisticated art form. Aristocrats of the day began to adopt this artistic form of floral design, as did the samurai and eventually the wider population.

Traditional ikebana schools developed precise styles and strict rules, as well as a narrow philosophy. The practice of ikebana is rooted in discipline, harmony and respect for nature. Today, there are many ikebana schools in Japan — many with their own unique philosophy and design styles.

In 1927, the Sogetsu School of Ikebana was founded by Sofu Teshigahara, a visionary who wanted to free ikebana from its rigid traditions. Unlike most schools that followed a strict classical ideology, Teshigahara thought ikebana should be a more creative art form. He also thought that it could be practised “any time, anywhere, by anyone, with any material.”

He believed that individuality and self-expression should be at the heart of this ancient practice. He encouraged the use of unconventional materials, like glass, metal and wood. Even large sculptures were in the realm of Sogetsu style ikebanas. Because of his approach, Sogetsu is considered a more modern form of ikebana and is now recognized as one of three major ikebana schools in Japan.

Kiyoko Boycott founded the Vancouver branch of Sogetsu, and today, at the age of 95, she is still a director and active ikebana instructor. Thanks to her passion for ikebana and her dedication, the local ikebana school now enjoys a membership of nearly 100 enthusiasts.

Boycott has an interesting history. Born in northern Japan in 1930, she began studying ikebana when she was 11 years old. In 1950, she studied under Kosaka Hakuu. With her husband, Norman, and her children, she moved to Canada in 1959 and four years later started teaching ikebana to more than 70 students at the Buddhist Temple in Richmond. In 1964, she started the first Sogetsu study group and co-founded the Vancouver Ikebana Association a year later. In 1985, the Sogetsu Vancouver Branch was officially recognized by Sogetsu Japan. Boycott was the branch director.

Boycott holds the highest teaching degree in Sogetsu and has received many significant awards in both Canada and Japan, such as the Mohan-Sho Certificate of Exemplary Achievements in 1974; the Sofu-Sho Special Prize in 1978; a certificate of merit from Prime Minister Brian Mulroney in 1988; the Eiyo-Sho Certificate of Meritorious Achievements in 1997 and 2007; the Sogetus Overseas Grand Prize in 2017, and the Sogetsu Sunlight Award in 2021.

I recently spoke with Tazuko Tsai, deputy director of the Sogetsu Vancouver Branch, who sent me some excellent background information about ikebana. As with all arts and cultural groups, it is important to always be growing to maintain relevance in Canadian society. Tsai assured me that the interest in ikebana is growing not only in B.C. but across Canada. This growth is particularly strong among the diverse groups of new Canadians. There are five schools in the Vancouver area, and their new members represent a younger demographic with most being in their 20s and 30s.

With most art disciplines, judging events are often held and various awards presented. Tsai explained that this was not the case with Sogetsu ikebana. She said this is a very personal art practice that she finds quite spiritual. It’s about the individual’s understanding and respect for the harmony of nature.

The Vancouver branch is very active in the arts and culture community. They participate in the Powell Street Festival, the Steveston Salmon Festival and the Sakura Days Japan Fair. They also take part in the Federation of Artists Bloom event, an annual spring exhibition on Granville Island.

This year marks the 40th anniversary of Vancouver’s Sogetsu School of Ikebana, and in celebration there will be displays of stunning ikebana arrangements and demonstrations at VanDusen Botanical Garden’s Floral Hall on Sept. 20 from 10 a.m. to 3 p.m. Demonstrations are scheduled for 11 a.m., noon and 1 p.m. This is a chance to enjoy a unique art form and some incredible ikebana beauty.

For more information, visit: sogetsuvancouver.com .

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Design rules when it comes to making new condo developments comfortable and livable — and one of the main components is creating outdoor spaces that are attractive, functional and sustainable.

Landscape architects approach design much like any other design professional, says Mark van der Zalm, principal architect with Van Der Zalm + Associates (VDZ+A).

“Landscape architecture is a profession that blends artfulness with science and seeks to provide places of enjoyment that are resilient and functional as well as beautiful,” says Van der Zalm.

Assessing the physical aspects of the site such as soil, shade and soundscape, with the cultural aspect — sense of place, local vernacular and architectural style — reflects how landscape architects balance overlapping influences, says Alyssa Semczyszyn, principal at Prospect & Refuge Landscape Architects (PRLA).

“For example, if we have a site that is in the trees and quite shady, and it is a West Coast Modern style building, we will focus on enhancing that foresty feeling with mass plantings of ferns and Indigenous understory trees like Vine Maples. If a site is in Ladner and has a full sun rooftop, we would focus more on beachy grasses that enhance the idea of a seaside town, and a less formal planting plan that more relaxed and laid back,” she says.

Van der Zalm agrees and says there are also important considerations for tactile surfaces, textures, and accessibility requirements.

“Where possible, we look to provide universal accessibility so that people of all ages and abilities can use the same spaces unhindered by obstacles, grade changes, or surfaces that are more difficult to negotiate for physically and visually impaired residents or guests,” he adds.

For the planted spaces, the goal is to bring seasonal interest throughout the year, whilst achieving a strong and dependable baseline for evergreen structural planting.

“We look to support pollinators through careful consideration of bloom times. This is a win for birds, insects and people,” says Van der Zalm.

Recalling work on two recent Northstar Developments’ condo projects in Port Coquitlam — Livy and Porthaven — where the public interface at street level is intended to be vibrant, welcoming, and flexible, VDZ+A designed the spaces to support a variety of events or purposes.

“In the case of Livy [102 condos], we have a very open and inviting commercial base with lots of room for pedestrians, shoppers and residents to mingle in and around the building. Consideration for planter locations and alignment is key to ensure that pedestrians can move through these spaces without obstruction,” he says.

Pointing to Porthaven, a six-storey mixed-use development (108 residential units plus ground floor commercial units), Van der Zalm says the landscape design was inspired by the project’s civic context with the municipal buildings, red brick architecture, mature trees and Leigh Square.

All these external factors influenced design decisions for orientation of patios, separation of public and private spaces, views, materials and planting, he says.

At Porthaven, there is also space — or interface — between the building and its surroundings with an elevated patio that overlooks the recently revitalized Leigh Square. But Porthaven residents can enjoy a more quiet or intimate space on the private rooftop garden, says Van der Zalm.

This area is accessible to residents and their guests and offers social spaces and raised planters for residents to grow vegetables, or herbs to complement their summer cooking and to enjoy the act of gardening and growing.

Budget, of course, is always a consideration and when the development is complete, strata councils take over responsibility for the amenities and their costs, including features like gardens and outdoor spaces.

“Future maintenance costs and requirements are definitely a huge influence,” says Semczyszyn. “We are often balancing the upfront cost of a material versus its long-term cost for maintenance. For example, a wood fence is very cost-effective to install, but will require regular painting and/ or staining, or it will weather, and may give 15 to 20 years. A metal fence is more expensive up front but will last for 50-plus years and not need very much in the way of maintenance at all.”

Semczyszyn says she prefers using cost-effective and durable materials as the basic background materials and then save money for accents that are either highly usable or are going to provide a great return on investment.

An example of this strategy is the greenhouse PRLA specified for Bridge & Elliott, Headwater’s 131-home community under construction in Delta’s Ladner Village.

“It’s not a standard amenity item, but when you have people downsizing into smaller spaces, having a shared greenhouse is an amazing way to connect with neighbours who also like gardening, and to get your tomatoes started earlier (and save your windowsill from leaks),” says Semczyszyn.

She also highlights the importance of human connection.

“We have had so many reports of a loneliness epidemic in cities, and amenity spaces, if designed right, provide so many opportunities for the kind of spontaneous and repeated connections with the same people that have been shown to build friendships and relationships,” she says.

Semczyszyn likes to reference the design guidelines produced by Happy Cities in Vancouver who have done evidence-based research on what physical infrastructure helps make connections. She also enjoys the work of Project for Public Spaces, a U.S.-based non-profit that also looks at making successful spaces.

“The trick is a variety of attractants and a variety of spaces, to bring people together for shared activities, whether it’s visiting while their kids or grandkids are playing, gardening, cooking food, or enjoying a shaded area on a hot day,” she says, adding condo rooftop amenity spaces are ideal for creating this kind of opportunity.

She notes rooftop spaces are a great example of collaboration between design professionals.

“There is an incredible amount of co-ordination between consultants and the science of the materials to get a successful roof amenity,” she says. “If I am showing a planting bed, we need to talk to the structural engineer about soil weight, and the mechanical engineer about drainage and the envelope engineer about building up our soil over the waterproof membrane. It’s such a team effort, and the absolute ideal is to create something that feels like it was meant to be.”

Reflecting on his favourite features in landscape design Van der Zalm likes the interrelationship of water and artwork and in past projects the firm has enjoyed the interaction between moving water and careful placement of artwork.

“I really enjoy seeing large crowds gather at the cenotaph on Commercial Drive at Grandview Park, or the thousands that attend Fusion Festival in Surrey at Holland Park (A VDZ+A project from 2003),” he says. “I also cherish the marine theming and design of Rocky Point Park in Port Moody — a project that VDZ+A worked on to enhance the park with a new waterpark, celebration amphitheatre and significant addition of public art and lighting.”

Semczyszyn says her favourite features tend to be the selection of plants.

“I absolutely love a simple planting palette that focuses on Indigenous plants, but that looks like it was meant to be,” she says. “My absolute favourite is the combination of red flowering currant, which is Indigenous and attracts hummingbirds and can be clipped into a charming deciduous hedge if someone wants to go that route, with holly-leaved Oregon-grape, which [has] yellow flowers and is glossy and evergreen. I’m also a huge fan of swordfern in the mix for year-round seasonal interest and that feeling of connection to our local environment.”

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The Interior Design Show (IDS) Vancouver returns Sept. 25 to 28 with a packed program that is both ambitious and approachable. From bold installations to a focus on hotel design, the show promises to be a celebration of creativity and community on the West Coast.

A huge amount of effort has gone into making this a great event for the design industry, says IDS national director Will Sorrell.

“If it’s an amazing show for the design industry, then it’s going to be a good show for anyone to attend,” he says.

An installation built to last

The central bar installation at this year’s IDS Vancouver is called In/Tension, and was designed by dHKarchitects and built by AD Projects. The bar is a 40-by-50-foot structure of raw lumber held together with ratchet straps — no screws required. The concept, simple, says Sorrell, no screws, no waste. When the show ends, the entire structure can be dismantled and reused.

In/Tension is where IDS’s Opening Night Party will happen, and then offers a calming hub for visitors who want to take a break between exhibits. A salvaged tree sculpture by Vancouver’s Brent Comber will feature as an artistic focal point.

Lighting that needs to be seen

If you’ve ever shopped for lighting online and felt disappointed when the fixture arrived, you’ll appreciate Illuminate, a brand-new section at IDS Vancouver. Curated by Vancouver lighting designer Sebastien Panouille, Illuminate brings together brands such as Tom Dixon, Bover, A-N-D and Modular in a dramatic scaffold installation.

The number one thing everyone always asks to see more of is lighting, says Sorrell.

“Lighting is one of those things you need to see in person. You can’t tell the quality unless you feel the weight and see the kind of light it casts,” he says.

The raw, industrial framework at the show creates the perfect backdrop for pendants, sconces and statement pieces, making Illuminate one of the most talked-about additions this year.

Hotels reimagined

One of the show highlights this year is Night & Day, which explores the future of hotel design. Vancouver’s Twobytwo Architect Studio has rethought the arrival experience with a nature-inspired lobby designed to soothe weary travellers. Capella Interior Design is presenting a bedroom suite that is both stylish and fully accessible — something most hotels have yet to master.

“So instead of the accessible room in the hotel being the spare ground floor room when they have a bit of space left over on the floor plan, it’s intentionally setting up a perfect room that can actually be enjoyed by any guest,” says Sorrell.

This hospitality theme carries onto the keynote stage, where Toronto designer Paolo Ferrari will share insights on luxury travel, including his dramatic Desert Rock Resort project in Saudi Arabia.

A show with national ambition

Sorrell, who moved from London to Victoria just before the pandemic, has worked to bring IDS Vancouver and IDS Toronto closer together.

“I’d like to think we’re able to bring design from Toronto to Vancouver and Vancouver to Toronto. That’s really important — healthy competition and new ideas,” he says.

For visitors, this means a richer mix of voices, products and perspectives. It also underscores a bigger goal: giving Canadian design a stronger identity on the world stage.

Art, shopping and inspiration

Beyond the major features, IDS offers plenty to explore. Studio North showcases custom furniture, textiles and ceramics, while Prototype unveils fresh ideas not yet in production. The District marketplace lets visitors shop directly from makers, and Collect, a curated fine art section, connects guests with 10 contemporary artists whose works bridge the worlds of interiors and visual art.

Among the artists showing this year is Rebecca Santry, a BC-based painter whose moody, atmospheric works are inspired by the West Coast landscape.

As Sorrell puts it, “When a design community is successful, not only do the architects and graphic designers all know each other, but you’re reaching out into visual arts, fashion and the wider creative sector as well.”

Visit IDS Vancouver for show and ticket information.

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