LAW COURTS AND ROBSON SQUARE
ADDRESS: 800 Smithe St, Vancouver BCNEIGHBOURHOOD: DowntownTYPE: CommercialSIGNIFICANCE: A: Primary SignificanceThe Robson Square complex was designed by architect Arthur Erickson in 1973, and incorporates UBC’s main downtown site, the Law Courts, government offices and the Vancouver Art Gallery.Erickson conceptualized Robson Square as a skyscraper laid on its side. It was a unique and provocative idea that provided 1.3 million square feet of floor space, encompassing 3 city blocks.The full complex has many water pools with three cascading waterfalls flowing through a beautiful urban garden landscape, designed by award-winning Cornelia Oberlander.The public spaces and plaza winter ice rink have become popular community gathering places.SOURCEUniversity of British ColumbiaMORE INFORMATIONhttp://robsonsquare.ubc.ca/about/
DR. SUN YAT-SEN CLASSICAL CHINESE GARDEN
ADDRESS: 578 Carrall St, Vancouver BCNEIGHBOURHOOD: ChinatownTYPE: Parks & LandscapesGRANTS: Heritage Conservation Grant 2019 & 2021PROTECTION & RECOGNITION: M: Municipal ProtectionSIGNIFICANCE: O: OtherThis Suzhou-style scholar’s garden home built by craftsmen from China without the use of nails, screws or glue, was the first of its kind built outside China. The site of this unique Canadian museum was once occupied by a variety of uses including a sawmill, brothels, opera house, opium factory and train station. The Dr Sun Yat- Sen Chinese Classical Garden is an important bridge between cultures. In 2017 the Jade Water Pavilion was awarded a City of Vancouver Heritage Award of Recognition recognizing the careful and imperceptible seismic and structural upgrades in the restoration and conservation of the Jade Water Pavillion. As a protected landscape, the Dr. Sun Yat-Sen Classical Chinese Garden does not have an A, B, or C classification on the Vancouver Heritage Register as these categories are only used for buildings. It is, however, a significant, municipally protected site.SOURCEChinatown Map Guide (VHF), VHF's Places That Matter Plaque ProgramMORE INFORMATIONhttp://vancouverchinesegarden.com/
CHINESE BENEVOLENT ASSOCIATION
ADDRESS: 104-108 E Pender St, Vancouver BCNEIGHBOURHOOD: ChinatownTYPE: Mixed UsePROTECTION & RECOGNITION: M: Municipal ProtectionSIGNIFICANCE: A: Primary SignificanceVancouver’s Chinese Benevolent Association (CBA) was formed in 1895 and was formally recognized by the Province of BC as a non-profit organization in 1906. Despite the discriminatory climate of the early 1900s, the organization was able to acquire the land to design and subsequently build the four-storey building that stands today. Construction began in 1908 under the supervision of the CBA’s then vice-president Yip Sang, and the building was completed in 1909.The architectural style of the building is a good example of influences from southern China, with recessed balconies, ornate ironwork and decorative tile. The stone fire walls and imposing four floors topped with a pediment wall add to the prominence of the structure.The CBA was an organization created to support railway workers that evolved into a vocal representative of the Chinese community in BC. Influential leaders in the community including Chen Daozhi, Yip Sang, Huang Yushan, Lin Deshao, Liang Quirui and Li Shifan proposed the organization in 1889 and later founded it in 1895. It was one of many similar associations that represented the interests of Chinese communities in North American cities. The Vancouver CBA was active on a number of fronts. It protested against repressive legislation such as wage discrimination, advocated for the right of Chinese-Canadians to vote until the law was finally changed in 1947, and appealed discriminatory immigration policies on an ongoing basis. Within the community, it has advocated for social and physical well-being by organizing food distribution, arranging burials, sponsoring Chinese language schools, and at one time, housing a medical clinic that provided free services for those that needed them.The CBA has occupied the building continuously, but has also shared space with other organizations. For instance, the Hoysun Ningyang Benevolent Association occupied the second floor until the 1970s, and after the organization vacated it, a Chinese opera troupe subsequently rented the space.The CBA continues to be active in Chinatown as an umbrella organization as well as through the support of a seniors’ residence, fundraising campaigns, and the organization of events such as the Chinese New Year parade.SOURCECanada's Historic Places, Chinatown Map Guide (VHF), https://vancouver.ca/files/cov/historic-study-of-the-society-buildings-in-chinatown.pdfMORE INFORMATIONhttp://www.historicplaces.ca/en/rep-reg/place-lieu.aspx?id=7800
THE WORLD BUILDING/SUN TOWER
ADDRESS: 128 W Pender St, Vancouver BCNEIGHBOURHOOD: DowntownTYPE: CommercialPROTECTION & RECOGNITION: M: Municipal ProtectionSIGNIFICANCE: A: Primary SignificanceThis Beaux Arts structure was designed by W.T. Whiteway and built in 1911-1912. This structure succeeded the Dominion Building as the highest in the British Empire, a distinction held only for two years.It was originally the home of the Vancouver World Newspaper, and known as The World Building. Its publisher, Louis D Taylor, was a prominent figure who was elected as mayor eight times. The Vancouver World promoted the war effort during the First World War, while also directly participating in fundraising efforts. In 1915 Taylor lost control of the newspaper and the building due to the recession. In 1924 the tower was sold to Bekins, a Seattle moving company.In 1937, the Vancouver Sun newspaper moved into the building after its offices across Pender were destroyed by fire. Its been known as the Sun Tower ever since, even after the Sun moved out of the tower in 1965.In 2011 the Tower was sold to current owners Allied Properties REIT.SOURCECanada's Historic Places, The History of Metropolitan Vancouver website, Sun Tower Building website, Courtney Stickland "The forgotten front": a walking tour of Vancouver during the First World War (2013)
Woodwards
ADDRESS: 111 W Hastings St, Vancouver BCNEIGHBOURHOOD: DowntownTYPE: Mixed UsePROTECTION & RECOGNITION: M: Municipal ProtectionSIGNIFICANCE: C: Contextual or CharacterCharles Woodward opened his store at Main and E. Georgia in 1892. Seeing potential on Hastings Street, he moved there in 1902-1903, and by 1908 enlarged the W.T. Whiteway and George Wenyon designed building from four to six floors. A full range of goods – including a pharmacy and its famous food floor – proved highly successful. By 1946 it expanded eight times, four in the 1920s alone.Charles’ sons William and Percival led the growth into B.C. and Alberta: the first mall store was at Park Royal, West Vancouver, in 1950. Sales declined in the early 1980s, and in 1993 the flagship store on Hastings closed.This devastated what was at one time the city’s retail hub.In 2009 a revitalized Woodward’s complex opened with social and market housing, new shops and a campus of Simon Fraser University. The red “W”, a landmark since 1929, was set on the 1908 building.SOURCE: City of Vancouver Heritage Plaque Program
Dominion Building
ADDRESS: 207 W Hastings ST, Vancouver BCNEIGHBOURHOOD: DowntownTYPE: Commercial PROTECTION & RECOGNITION: M: Municipal ProtectionSIGNIFICANCE: A: Primary SignificanceThis 13-storey Dominion Building was once the highest building in the British empire. It had a height of 147 feet, 6 inches.It was designed in 1908-1910 by J.S. Helyer. This steel-framed Chicago-style high rise has beaux arts details, such as classical columns and a second empire curved mansard roof. The interior design had the unusual feature of a central core with ten-storey spiral staircase.The Dominion Building had funding difficulties. The estimated cost of building was $600,000. The original owner, the imperial trust company, could only raise half the cost, and floated an issue of bonds to raise the rest. When this approach was less than satisfactory, the firm arranged a merger with the Dominion Trust Company. Once completed in 1910, the building failed to get tenants – the central core layout proved inefficient in terms of office space.Both the Imperial Trust Company and the Dominion Trust company collapsed with the end of the real estate boom in 1913. The building was sold to the Dominion Bank. In 1943, it was sold to S.J. Cohen, President of army and navy department stores, who intended to covert it into a multi-storey department store – those plans were never carried out.SourceCanada's historic places, City of Vancouver conservation planMore informationHttps://changingvancouver.wordpress.com/tag/dominion-building/
SINCLAIR CENTRE - FORMER POST OFFICE
ADDRESS: 757 W Hastings St, Vancouver BCNEIGHBOURHOOD: DowntownTYPE: CommercialPROTECTION& RECOGNITION: M: Municipal ProtectionN: National ProtectionSIGNIFICANCE: A: Primary SignificanceThis building is the oldest of the four and is described as having an Edwardian Baroque style, combining English and French architectural influences. Construction began in 1905 and it was completed by 1910. Located at the corner of Granville and Hastings Streets, this building was designed by Public Works’ Chief Architect David Ewart. In 1958 it became Postal Station ‘A’ due to the construction of the main Post Office at 349 West Georgia. Postal Station ‘A’ moved back in the Spring of 1986.The building is easily identifiable by the 43m (141 ft) clock tower. The historic atrium clock was built in 1909 by John Smith & Sons and is the largest clock movement in Western Canada. The four, 12-foot diameter clocks were restored in 1986.Diverse events have happened here from a month-long “sit down” strike by unemployed workers who demanded Federal relief in 1938 to a Royal Visit the following year.It was restored by Public Works Canada with consulting architects by Russell Buckwell & Partners and Henriquez & Partners in 1982-86 as part of Sinclair Centre. Sinclair Centre is an upscale shopping mall located in Downtown Vancouver between Granville and Howe.The centre is comprised of four buildings that were restored by Henriquez Partners Architects and joined together by a glass atrium roof in 1986, at a cost of $38 million. The complex is named after former Vancouver MP James Sinclair. The Vancouver Post Office, the Winch Building and the Customs Building, together form a historic block which has been restored as the Sinclair Centre.SOURCEVancouver Heritage Inventory Summary Report 1986 Phase II, Sinclair Centre websiteMORE INFORMATIONhttps://www.heritagesitefinder.ca/wp-content/uploads/2013/01/MGWestHastingsmap.pdf
Marine Building
ADDRESS: 355-385 Burrard St, Vancouver BCNEIGHBOURHOOD: DowntownTYPE: Mixed UsePROTECTION & RECOGNITION: M: Municipal ProtectionSIGNIFICANCE: A: Primary SignificanceThe Marine Building was built from 1929-1930. It was designed by the prominent firm McCarter and Nairne and intended to be the tallest and finest office building in the city.The Marine Building is an excellent example of the Art Deco style. The design is notable for its outstanding massing, heavily ornamented brick curtain walls, Art Deco reliefs, and the extensive use of terra cotta trim.The building was a product of the prosperous twenties. The building was closely associated with the growth of shipping and port activity in Vancouver and was a major influence on the westward shift of the financial centre.SOURCEVancouver Heritage Inventory Summary Report Phase II 1986
TOTEM POLES AND VISITOR CENTRE AT BROCKTON POINT
ADDRESS: Stanley Park, Brockton PointNEIGHBOURHOOD: Stanley ParkBC’s most visited tourist attraction, Brockton Point is home to nine totem poles, carved by a variety of Indigenous artists. Despite not being a part of traditional Coast Salish culture, totem poles have been brought to Stanley Park by settlers since the early 20th century.During the 1920s, a “totem pole preservation movement” by settlers worked to protect the poles from being taken by or sold to Americans. Totem poles were viewed as signature symbols of Canadian identity, and settlers sought to protect them from theft and wear. Interestingly, this was during the same period that the Potlatch Ban (1885-1951) banned the potlatch ceremony (during which totem poles were raised), and the government was seizing indigenous cultural items (including totem poles).The Stanley Park collection of totem poles began at Lumberman’s arch in the 1920s.In June 1924, the park board purchased four totem poles from Alert Bay. They arrived in Stanley Park and were erected near Lumberman’s Arch. More poles from Haida Gwaii and River’s Inlet soon joined the collection to celebrate the City’s 1936 Golden Jubilee. Ironically, this indigenous art was brought to and displayed at the site of what was once the impressive Coast Salish village site of X̱wáýx̱way. X̱wáýx̱way was inhabited for more than 3000 years, until the majority of the villagers were killed by smallpox, and the remainder were eventually made to leave by settlers,In 1963, the poles were moved to Brockton Point. The poles there today are replicas and replacements of the original totems, which were sent to various museums for preservation or (in the case of the original Skedans Mortuary pole) returned to their places of origin.Three beautifully carved, red cedar portals welcome visitors to the Brockton Point Visitor Centre (built in 2001) and to the traditional lands of the Coast Salish people. Their form represents the traditional slant roof style of Coast Salish architecture. The gateways show the history and thriving modern culture of Coast Salish people. Constructed over three years and installed in 2008, the gateways were created by Coast Salish artist Susan Point, in collaboration with Coast Salish Arts; Vancouver Storyscapes; The Musqueam, Squamish, and Tsleil-Waututh First Nations; and the Vancouver Park Board.The totem poles at Brockton Point do not represent traditional, Coast Salish Culture (totem poles were not traditionally carved by Coast Salish peoples), but the current poles at Brockton Point have been carved by artists from various nations, including Squamish, Kwakwaka’wakw, Haida, Nisga’a, and Nuu-chah-nulth carvers. An additional pole, the ‘Children of the World’ totem pole is located in the Plaza at Stanley Park Junction. It was carved by Sto:lo carver Francis Horne in 1991.Please see the ‘Gallery’ tab on this page for photographs and descriptions of each pole.The poles are listed on the Vancouver Heritage Register as ‘Totems, Petroglyphs, Canoes (Yakdzi Myth, Wakias, Nhe-is-bik)’.SOURCEVancouver Park Board website; stanleyparkvan.com; Renisa Mawani 2003: "Imperial Legacies (Post)Colonial Identities: Law, Space and the Making of Stanley Park, 1859-2001"; Renisa Mawani 2004: "From Colonialism to Multiculturalism? Totem Poles, Tourism and National Identity in Vancouver's Stanley Park";MORE INFORMATIONhttp://vancouver.ca/parks-recreation-culture/totems-and-first-nations-art.aspx ; https://indigenousfoundations.arts.ubc.ca/totem_poles/ ; https://www.sfu.ca/brc/art_architecture/totem_poles.html
SYLVIA HOTEL
ADDRESS: 1154 Gilford St, Vancouver BCNEIGHBOURHOOD: West EndTYPE: CommercialPROTECTION & RECOGNITION: M: Municipal ProtectionSIGNIFICANCE: A: Primary SignificanceThe Sylvia was designed as an apartment building by Mr. W.P. White, a Seattle architect. It was built in 1912 by Booker, Campbell and Whipple Construction Company for Mr. Goldstein, and named after Mr. Goldstein’s daughter, Sylvia. In 1932, the Dine in the Sky Restaurant opened at the Sylvia, and it hosted many of Vancouver’s elites prior to 1962. During the Depression the Sylvia Court Apartments fell on hard times, and in 1936 the building was converted into an apartment hotel. With the advent of World War II, many of the suites were converted to rooms, in order to provide accommodation for the merchant-marine crews. After the war the number of permanent residents in the hotel gradually decreased, until by the sixties the Sylvia had become a completely transient full-service hotel.In 1954 it opened the first cocktail bar in Vancouver, called the Tilting Room. Until 1958 the Sylvia Hotel was the tallest building in the West End. Designated a heritage building in 1975, the Sylvia Hotel is registered in the ‘A’ category on the Vancouver Heritage Register.A well-known landmark, its brick and terra-cotta extension is softened by the Virginia creeper that now completely covers the Gilford Street side of the hotel.The Sylvia Hotel was a stop on Vancouver Heritage Foundation’s 2018 West End Heritage Tour.SOURCESylvia Hotel website, VHF West End Heritage Tour Information, VHF FilesMORE INFORMATIONhttps://www.sylviahotel.com/history/
BURRARD STREET BRIDGE
NEIGHBOURHOOD: Kitsilano to DowntownPROTECTION & RECOGNITION: M: Municipal ProtectionThe Burrard Bridge is more than a span between two points of land, it is a “symbol of Vancouver’s progress and a mark of faith in the city’s future”. These words printed in the Vancouver Sun upon the bridge’s opening in 1932, heralded the “symphony of steel and concrete” which was the fourth bridge to cross False Creek. The oldest surviving of Vancouver’s bridges, it was constructed to provide a connection to the growing suburbs of Point Grey and South Vancouver. The design includes distinctive piers and galleries to mask the rigid centre steel construction. Portraits of Captain George Vancouver and Sir Harry Burrard flank the piers, along with the City crest. Braziers at either end honour those who served in World War I. In 2016-17 the bridge was restored including the re-creation of the Art Deco lamp standards.Burrard Bridge Braziers:The re-lighting of the Burrard Bridge Braziers was a joint effort between the City of Vancouver, Veterans Affairs Canada, Royal United Services Institute Vancouver and Vancouver Heritage Foundation. Originally installed in 1932 as a memorial to those who served in WWI, the braziers were designed by bridge engineer Major J.R. Grant and architect G.L.T. Sharp, both veterans. The braziers remind of those used for warmth by soldiers during the First World War. In 2017 the lighting inside the braziers was restored using LED technology and a re-lighting ceremony was held on January 23rd 2018. A bronze plaque that recognizes the service of all Canadians in wars and peacekeeping missions was also installed.Plaque Text:Installed in 1932, the lighted braziers at the top of the four towers on this bridge memorialize British Columbians who served in the First World War. The braziers have been restored and symbolize the service by all Canadians in subsequent wars and peacekeeping missions.SOURCEVancouver history website, City of Vancouver 2018 relighting, VHFMORE INFORMATIONhttp://www.vancouverhistory.ca/archives_burrard.htm
NYE’S GAS STATION
ADDRESS: 450 W 2nd Ave, Vancouver, BCNEIGHBOURHOOD: Mount PleasantTYPE: CommercialPROTECTION & RECOGNITION: M: Municipal ProtectionSIGNIFICANCE: B: SignificantThis building was originally the Nye’s service station built in 1923. It commemorates the early industrial history of the area. The distinctive porte cochere (originally a gasoline service station) marks the apex of the triangular site, funtions as a gateway to the industrial area immediately to the east, and provides a distinctive neighbourhood landmark.450 West 2nd Avenue is listed on the Vancouver Heritage Register in the B-category.The building is now occupied by Kearney Funeral Services, which has been family owned and operated since Thomas Kearney opened his doors in 1908.SOURCECity of Vancouver, Vancouver City CouncilMORE INFORMATIONhttps://changingvancouver.wordpress.com/tag/nyes-service-station/
VANCOUVER SALT CO. BUILDING
ADDRESS: 85 W 1st Ave, Vancouver, BCNEIGHBOURHOOD: Mount PleasantTYPE: CommercialSIGNIFICANCE: B: SignificantThe Domtar Salt Building was constructed in 1931. The original structure was built on 155 piles, on what was then the waterfront. The wooden piles can be viewed from the basement.The building acted as a processing plant for unrefined salt that had been shipped from floodplains near San Francisco. In Vancouver, the salt was refined by washing, drying, grinding and sifting.The building is an important reminder that salt was a vital resource to preserve food in the era before mass refrigeration — The salt from this building was sold to fisheries and fish packers as a preservative.The salt trade slowed by the 1970s. In the late 1980s, the warehouse was converted into storage space for paper recycling by Belkin Paper Stock Ltd.The building then stood empty for a number of years before it was refurbished prior to the 2010 Olympics as the centrepiece of the Olympic Village redevelopment. The building is now home to the CRAFT Beer Market.SOURCECity of Vancouver Heritage recordsMORE INFORMATIONhttp://www.heritagebc.ca/2010-heritage-bc-awards/salt-building
HOUSS | COULTER HOUSE
ADDRESS: 63 W. 6th AvenueNEIGHBOURHOOD: Mount PleasantTYPE: IndustrialSIGNIFICANCE: B: SignificantHOUSS is a distinct building in vibrant Mount Pleasant, providing a mix of strata office, light industrial, and restaurant space. Contemporary, minimalist architectural style provides an ideal surrounding backdrop for The Coulter House, an iconic Vancouver heritage home, which is incorporated as a focal point for the project. Featuring spacious decks on multiple levels, the project provides spaces and specifications that truly meet the needs of active and growing community businesses.HOUSS is now home to a distinct collection of local businesses including medical offices, professional services, tech firms and Mount Pleasant Vintage & Provisions.
Museum of Anthropology at UBC
This building held MOA before its current building; it is currently the Irving K. Barber Learning Centre at UBC’s Vancouver campus. MOA’s operations officially began in 1947, when Audrey Hawthorn was appointed the museum’s first curator. But the first objects came to UBC in the 1920s from the personal collection of Frank Barnett, who collected objects from his travels throughout the Pacific Islands. The original collection was housed in the basement of the main library up until the construction of the new building in the 1970s. Hawthorn’s museum philosophy was based on education and research, and she envisioned the museum as first and foremost a teaching institution.MOA is situated on the traditional, ancestral, and unceded territory of the Musqueam First Nation. Unceded means this land was never surrendered, relinquished, or handed over in any way. Specially commissioned artworks by Musqueam artists Susan Point and Joe Becker greet visitors to the Museum when they arrive onsite. Inside, the first items that visitors see in the galleries include a spectacular blanket that MOA commissioned in 1997 from Musqueam artists Debra and Robyn Sparrow, located at the top of the Ramp. Every large public event at the museum is opened with a welcome from a Musqueam Elder or representative, and all school visits begin with an acknowledgement of Musqueam territory.The Great Hall houses large poles, house posts, and carved figures. Fifteen-metre high glass walls allow visitors to view the site’s beautiful grounds, and the concrete aggregate and grey carpet blend into the pebble and shell beach outside, making the space flowing visually from inside to outdoors. The Great Hall was built specifically to fit the large carvings in the museum’s collections so they can be viewed as if outside, and it also provides space for large gatherings to take place.The Raven and the First Men, carved by renowned Haida artist Bill Reid, is perhaps the most iconic work of art at MOA, illustrating a Haida creation story. Architect Arthur Erickson designed the space especially for the sculpture to be installed. The Raven and the First Men was placed on one of the three circular WWII concrete gun emplacements incorporated into MOA’s building, allowing viewers to see the work from multiple angles. The bright skylight installed above the sculpture and surrounding sand brought by children from Rose Spit, Haida Gwaii breathes new life and meaning into the older architectural features of the emplacement.The remainder of this presentation will focus on MOA’s architects and their inspiration for the building’s design.Arthur Erickson was the world-renowned architect who designed MOA’s current award-winning building. He was a strong advocate for cultural awareness, which was frequently apparent in his architectural designs. His work often reflected an intricate use of space and light, as evident in his design of MOA’s Great Hall and gallery spaces.Erickson is quoted as saying “When you design a museum, the important thing is to ask questions about the real nature of the institution… how can it make a valid contribution to our lives.” What did Erickson mean by this statement? How does the architecture of a museum impact the visitor’s experience? Erickson worked closely with landscape architect Cornelia Oberlander to create an intentional relationship between the interior and exterior of the building. Oberlander believes that architecture must respect and enhance the existing landscape. Plants and grasses surrounding the museum were selectively chosen by Oberlander to represent plant life Indigenous to the Northwest Coast. She is quoted as saying “We must learn to live more modestly and must not lose sight of our innate need to be surrounded by… the glory of our natural world.”What do the plants surrounding MOA communicate about the museum? How does the built structure of your school or home relate to the natural landscape around it? Does it harmonize with the landscape, or contrast?Arthur Erickson drew inspiration from multiple sources to communicate a social, cultural and spiritual significance within MOA’s spaces. What similarities can you find between images of MOA in the top row, and the other structures in the bottom row?What might Erickson have been trying to communicate through his design?Erickson’s designs were in part inspired by elements of Northwest Coast First Nations architecture that has existed for thousands of years. Traditional longhouses of the region are characterised by large open spaces and the post and beam forms reflected in the exterior of the Great Hall, pictured here. Whereas cedar is the primary construction material of Northwest Coast First Nations architecture, MOA’s building includes similar forms in concrete.Erickson often spoke of his respect for world cultures, specifically in reference to the Indigenous cultures of the Pacific Northwest. Though perhaps not as strong as this connection, some of MOA’s forms may also be reflective of Classical Greek architectural styles. He was quoted as having marvelled at the way larger-than-life Greek statues had powerful gazes, and the strong presence of the large Northwest Coast carvings in the Great Hall may be a reflection of the role of statues in Greek architecture. Typical features of Classical Greek architecture include the use of symmetry, columns, and limestone as a building material.There may also be reflections of traditional Japanese architecture in MOA’s design, characterized by simple, clean forms. Religious beliefs or cultural faiths can also be functions of architecture. For instance, the Japanese Shinto shrine is often marked by the presence of a torii, representing gateways or entrances to the shrine where a kami (or god) is worshipped. The front of MOA is similar in shape to a Japanese torii, as is the main entrance to the museum. Did Erickson envision entering MOA to be akin to entering a special or sacred place? We don’t actually know if Erickson was influenced by Japanese architectural styles in these particular locations at the museum, but we can visually compare their structures.
