Professor photos on Flickr

In 1978 he won the All-Hawaii State Karate Championships in both Kumite and Kata. In the years 1975-1980 Vance comprised a Full Contact record of 29-0 with 22 by knockout. I've seen him konk guys at Bloch Arena, Conroy Bowl, Blaisdell Center, and too many school gymnasiums to count.

In 1980, we were both part of the original crew of American Hawaii Cruises new inter-island cruise ships and consequently we were sent to Maryland for a month to get our Lifeboat certification.

The next time we squared off for a little kumite, in Maryland, I landed the first strike -- a quick front leg side kick that slipped in beneath his arm. Then I landed the same kick to his mid-section again. He nodded his approval, and countered with a barrage. JV did not like to lose.

That was the first of several sparring sessions between Johnathan and myself while employed with the cruise ships. He usually got the best of it, but there were occasions when I stole the show.

One night in the Makao room, a crew recreation room toward the back of the ship, JV, Danny Keao (also with Universal Kempo), and myself were working out together. After sparring with each other for a few rounds, Johnathan declared a finish to the workout, but I asked him if we could continue a little longer.

We started sparring again and shortly thereafter, I sank a front kick deep into his stomach. Despite the solid blow, Vance pressed forward... It was more of a reaction than a thought, but I spun and caught him square in the mouth with the most devastating spinning back fist that I've ever landed. Blood splattered like a squashed tomato, yet he relentlessly pressed forward. JV then landed a beautiful three punch combo to my head -- a left hook, straight right, and a right hand uppercut that knocked me off my feet.

"Get up, you wanted to go some more, get up" Vance demanded as he kicked me in the butt on the ground. I rose and put my hands up, and that's when I saw them, the black beady eyes of a ninja warrior locked on his prey. I knew that this was the void, the unknown, the point of no return...

I turned around and put my hands down at my side in surrender. He punched me twice in the back before he too knew that it really was time to call it quits for the night.

It was kind of ironic that we were roommates at the time, both of us in need of ice packs later that night. That exchange of punches was the defining bond between us - Budo blood brothers.

my dear friend, rival, mentor, and fellow karateka...

10th Degree Professor Johnathan Leroy Vance

Born: June 17, 1958 Fukuoka, Japan

Passing: February 10, 2007 Honolulu, Hawaii

Began his martial arts training in 1965 with Pearl City Judo Club. In 1972 he began training at Godin's Kula Ona Kupale Kempo-Karate (later Universal Kempo-Karate with Prof. M. Buell).

He won numerous awards in his career including a Full-Contact record of 29-0 with 22 knockouts (1975-1980) and the Grand Champion of the 1978 All-Hawaii State Karate Championship.

He began teaching Kempo-Karate as an Assistant Instructor. He later ran two Kempo-Karate Branches before opening and founding Advanced Kempo-Karate in July 2003. He continued teaching and training while raising his family and working as a Sherriff for the State of Hawaii.

He was born in Fukuoka, Japan. He was a former Senior Chief Instructor for Professor Martin Buell, Universal Kempo and Founder of Advanced Kempo-Karate System, 10th degree Black Belt. Also, a Civil Deputy Sheriff for 25 years.

Sadly, tragedy struck Johnathan Vance in 2007. A leukemia like blood disorder suddenly came upon him. He checked into Queen's hospital but passed away two days later.

After moving to Kauai I had not seen Johnathan since 1991 and am thankful to have seen him again in 2006 at Hanapepe where he had a fighter in an MMA event held there.

At the time of his passing, he had impacted the lives of over 3000 students and their families.

Survived by wife, Jowella Vance; daughters, DeRae Riturban, Cazden and Jazdee Vance; brothers, Alec and Lee Pacheco; sister, Normandie Enderton; mother, Kumiko Vance; mother, Audrey Vance; grand-children, Mahina and Lilinoe.

www.youtube.com/watch?v=xyeqV4obn6o

Professor Fate-347 by Richard O'Neill

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2/4/23 - Professor Fate @ Sunnyside Theater, Roseburg, Oregon, USA

Professor Ogletron by Old SparrowLegs

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Professores by AEMTG

Homenagem de despedida da professora Elisa Vicente. Ano lectivo 2008/2009.

DSC_8293 by Sweet Briar College

professor by Judy van der Velden

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2/30 28-03-2010

Professor Paul by Olesia Ovsiannikova

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Professor Snape head rerooted on the Gametoys body

Professor Osama Mohammed by Florida International University

Professor Osama Mohammed at The Smart Grid Testbed

by Ben Guzman

Wien, 1. Bezirk, Museum für Angewandte Kunst, (Musée d'art appliqué, Museo de arte aplicado, Museo di arte applicata, Museum of applied art) - Stubenring/Weißkirchnerstraße by alfred lex

The history of the Austrian Museum of Applied Arts/Contemporary Art

1863 / After many years of efforts by Rudolf Eitelberger decides Emperor Franz Joseph I on 7 March on the initiative of his uncle Archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London), the establishment of the "k. k. Austrian Museum for Art and Industry" and apponted Rudolf von Eitelberger, the first professor of art history at the University of Vienna, to director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.

1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the kk polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.

1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k. k.) Austrian Museum for Art and Industry .

1866 / Due to the lack of space in the ballroom setting up of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park on the still being under development Rind Road.

1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger Straße 11-13/Schwarzspanierstrasse 17, Vienna 9.

1868 / With the construction of the building at Stubenring is started as soon as it is approved by Emperor Franz Joseph I. the second draft of Heinrich Ferstel.

1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building on the ring. Objects from now on could be placed permanently and arranged according to main materials. / / The Arts School moves into the house on Stubenring. / / Opening of Austrian art and crafts exhibition.

1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum of funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.

1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Applied Arts, adjoining the museum, Stubenring 3 , also designed by Heinrich von Ferstel, is opened.

1878 / participation of the Museum of Art and Industry and the School of Art at the Paris World Exhibition.

1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the arts and crafts school join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and crafts since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.

1885 / After the death of Rudolf von Eitelberger is Jacob von Falke, his longtime deputy, appointed manager. Falke plans all collection areas als well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.

1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high baroque in the history of art and in applied arts in particular.

1895 / end of the Directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.

1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism .

1897 / end of the Directorate of Bruno Bucher. Arthur von Scala, Director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and school of applied arts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagated the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.

1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, Archduke Rainer puts down his function as protector. / / New statutes are written.

1898-1921 / The Museum magazine art and crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.

1900 / The administration of Museum and Arts and Crafts School is disconnected.

1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the " k. k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.

1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .

1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.

1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum receives thereby rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.

1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and crafts.

1914 / Exhibition of works by the Austrian art industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum of arts and crafts in the fifty years of its existence.

1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide .

1920 / As part of the reform of museums of the First Republic, the collection areas are delineated. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.

1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as Josef Hoffmann.

1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.

1925 / After the end of the Directorate of Eduard Leisching Hermann Trenkwald is appointed director.

1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.

1927 / August Schestag succeeds Hermann Trenkwald as director .

1930 / The Werkbund (artists' organization) Exhibition Vienna, A first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.

1931 / August Schestag finishes his Directorate .

1932 / Richard Ernst is the new director .

1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over craft inventories of the collection Albert Figdor and the Kunsthistorisches Museum.

1937 / The Collection of the Museum of Art and Industry is re-established by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.

1938 / After the "Anschluss" of Austria by Nazi Germany, the museum was renamed "National Museum of Decorative Arts in Vienna".

1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Applied Arts in Vienna" is also enlarged in this way.

1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.

1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.

1947 / The "State Museum of Applied Arts in Vienna" is renamed "Austrian Museum of Applied Arts".

1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.

1949 / The Museum is reopened after repair of the war damages.

1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).

1951 / Ignaz Schlosser is appointed manager.

1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.

1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.

1955-1985 / The Museum publishes the periodical ancient and modern art .

1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.

1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.

1958 / End of the Directorate Ignaz Schlosser

1959 / Viktor Griesmaier is appointed as the new director.

1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.

1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.

1964 / The exhibition Vienna 1900 presents Crafts of Art Nouveau for the first time after the Second World War. / / It is started with the systematic processing of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary grantes the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.

1965 / The Geymüllerschlössel is as a branch of the Museum angegliedert (annexed). Gleichzeitig (at the same time) with the building came the important collection of Franz Sobek - old Viennese clocks, emerged between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.

1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are merged.

1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues to today of Austria's most important design project in the 20th Century.

1968 / On Viktor Griesmaier follows Wilhelm Mrazek as director.

1969 / The exhibition Sitting 69 shows on the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.

1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.

1979 / Gerhart Egger is appointed director .

1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the art space in Vienna during the interwar period.

1981 / Herbert Fux follows Gerhart Egger as Director.

1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: Designer. First exhibition of the Italian designer in Austria

1986 / Peter NOEVER is appointed as Director and started building up the collection of contemporary art.

1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.

1989-1993 / General renovation of thee old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for collection and additional exhibit spaces arise.

1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.

1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.

1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.

1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).

1993 / The permanent collection is re-established, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchnerstraße is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.

1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on the MAK terrace plateau).

1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa : Krimania.

1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.

1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive Personale of the work of the designer of Wiener Werkstätte after the Second World War.

1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned .

2000 / Outsourcing the federal museums, transforming the museum into a "scientific institution under public law". / / The exhibition of art and industry. The beginnings of the Austrian Museum of Applied Arts in Vienna are dealing with the founding history of the house and the collection.

2001 / As part of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work the "Four lemurs heads " are placed at the Stubenbrücke located next to the MAK. / / Dennis Hopper: A System of Moments.

2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin in Vienna is presented.

2002 / Exhibition Nodes. symmetrical-asymmetrical. The historic Oriental Carpets of the MAK presents the extensive rug collection.

2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, the exhibition The Price of Beauty. 100 years Wiener Werkstätte takes place. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.

2004 / James Turrell MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.

2005 / Atelier Van Lieshout: The Disziplinatornbsp / / The exhibition Ukiyo-e Reloaded for the first time presents the collection of Japanese woodblock prints of the MAK in large scale.

2006 / Since the beginning of the year the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents special exhibitions annually. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.

2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects .

2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes using a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, the center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property of museums in Vienna.

2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.

2011 / After Peter Noevers resignation Martina Kandeler-Fritsch takes over temporarily the management. / / Since 1 September Christoph Thun-Hohenstein is director of the MAK.

www.mak.at/das_mak/geschichte

Angelo Bernardo Mingarelli by Taymaz Valley

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Professor

professor fox on the step by Mimi Kirchner

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#50

professor snape by Mrs Lim

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Professors greeting President Urho Kekkonen in 1966 by Aalto University Commons

Professorit tervehtivät presidentti Urho Kekkosta ja kutsuvat hänet kunniatohtoriksi vuonna 1966. Kuvassa vasemmalta professori Jaakko Honko, professori Pekka Heinänen ja professori Kaarlo Telaranta. Professoreilla on yllään miesten päiväjuhlapuku saketti.

Aalto-yliopiston arkisto / Aalto University Archives

Image nr: HKK_05_004

Tiedätkö lisää tästä kuvasta? Jätä kommentti tai ota yhteyttä sähköpostitse: arkisto@aalto.fi

Lisätietoja kuvakokoelmista / more information: libguides.aalto.fi/c.php?g=578570&p=4667669

Professor Binns by legoskf

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Hogwarts' Magic History ghost teacher. background is from the video game Lego Harry Potter years 1-4, look is based from the video game too

harrypotter.wikia.com/wiki/Cuthbert_Binns

Sorry for the huge delay, picture take hours (literally like 5-6) to upload and I hope this si considered and let me enter the contest sorry. made for Burakki's Brick Lego Minifigure Desgn contests. THIS PICTURE WASN´T ACCEPTED IN THE CONTEST

Credit if use.

Yes, professor by Kevin Kemmerer

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I enjoy every comment, fav, and invite.

Only polite & tasteful comments please!

Professors Rain Crayfish by Ryan Francis

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Ombrastacoides professorum. Darwin, Tasmania.

Professor David Bolt by LiverpoolHopeUniversity

Inaugural Lecture

Vancouver Chinatown Happy and Sad by PhotoJunkie88

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Before March 2 2015, please come here to nominate the entire Chinatown as the historic site to be preserved, don't expect City of Vancouver to save Chinatown when the Council approved more condo to be built in Chinatown at rapid rate to destroy the Chinatown.

www.heritagebc.ca/blog?articleid=162

Chinese Historic Places Recognition Project

THE HERITAGE BATTLE FOR CHINATOWN

Historic Vancouver neighbourhood is being redeveloped, raising fears it will lose its character.

By JOHN MACKIE, VANCOUVER SUN November 15, 2014

The marketing line for the Keefer Block condo development in Chinatown is “Heritage Meets Modern.”

But just how much heritage will be left after a wave of modern developments washes over the historic district is a matter of debate.

A new proposal for the 700-block of Main Street would demolish the last three buildings from Hogan’s Alley, a once-notorious back lane that was the longtime home of Vancouver’s black community.

Another condo development at 231 Pender would replace a funky, Chinese-themed garage that is listed on Canada’s Register of Historic Places. Angelo Tosi’s family has owned their building at 624 Main since 1930. It may date back to 1895, and looks it — the fixtures and shelving are as old as the hills.

But Tosi is 82, and will probably sell when the price is right. He doesn’t expect his store to survive.

“It’ll be gobbled up by the monstrous buildings,” said Tosi. “And then they’ll take it all, and it’s finished. They won’t keep the heritage on the bottom, they’ll put down whatever they want.”

His fatalistic attitude reflects the changes in Chinatown, which is undergoing a development boom after zoning changes by the City of Vancouver.

The protected “historic” area of Chinatown is now Pender Street, while much of Main, Georgia and Keefer can now be redeveloped, with heights of up to 90 feet (nine storeys). A few sites can go even higher.

Two towers are going up at Keefer and Main — the nine-storey, 81-unit Keefer Block, and the 17-storey, 156-unit 188 Keefer. Up the street at 137 Keefer, a development permit application has just gone in for a new nine-storey “multi-family building.”

None of them has stirred up much controversy. But a recent public meeting about a 12-storey, 137-unit condo to be built on an empty lot at Keefer and Columbia got people riled up.

“There was a lot of angry people that night,” said Henry Yu, a UBC history professor who feels a “vision plan” the Chinatown community worked on with the city for several years is being ignored.

“The vision plan gets passed, (but it has) no teeth,” said Yu. “Actually (there is) no policy, it’s a wish list of ‘Oh, we’d like seniors housing, we’d like to do this, we’d like to do that.’

“Almost immediately, the two (highrise) buildings in the 600-, 700-block Main go up, and they’re just basically Yaletown condos. Not even Yaletown — Yaletown has more character.

“These are straight out of the glass tower (model), no (historic) character, obliterating everything in terms of tying it to the kind of streetscape of Chinatown. You’re going to split the historic two or three blocks of Chinatown with a Main Street corridor of these glass towers.”

Yu says Chinatown has historically been small buildings on 25-foot lots, which makes for a jumble of small stores that gives it a unique look and character. But the new developments are much wider, and just don’t look like Chinatown.

“The two 600-, 700-block buildings have a rain shield that’s an awning, a glass awning that runs the whole block,” said Yu. “That’s the design guideline for the city as a whole, but it was nothing to do with Chinatown, (which is) narrow frontages, changing awnings.

“We said that (to the city planners), we raised it and raised it, but the planners just shoved it down our throat.”

Kevin McNaney is Vancouver’s assistant director of planning. He said the city changed the zoning in parts of Chinatown to help revitalize the neighbourhood, which has been struggling.

“We have been taking a look across Chinatown,” said McNaney. “What we’re finding is that rents are dropping, and vacancies are rising. And that’s a big part of the strategy of adding more people to revitalize Chinatown.

“There are only 900 people currently living in Chinatown, many of them seniors. It’s just not the population base needed to support businesses, so a lot of the businesses are going under. Along Pender Street you see a lot of vacancies right now.

“So at the heart of this plan is to bring more people to revitalize Chinatown, and also use that development to support heritage projects, affordable housing projects and cultural projects.”

Henry Yu disagrees. “The idea that you need density in Chinatown itself, that you need your own captive customer base, is moronic,” he said.

“Where else in the city would you make that argument, that nobody can walk more than two blocks, that no one is going to come in here from somewhere else?

“They will. People go to the International Summer Market in Richmond in an empty gravel field. Ten thousand people at night come from everywhere in the Lower Mainland, because there’s something worth going to.

“The problem isn’t that you need a captive audience that has no other choice but to shop in Chinatown — that’s just stupid, there’s plenty of people in Strathcona. The problem is, is there something worth coming to (in Chinatown)? And that has to do with the character, what the mix is, what kind of commercial.”

Ironically, all the new construction comes just as Chinatown seems to be undergoing a bit of a renaissance. Several new businesses have popped up in old buildings, attracted by the area’s character and cheap rents.

The très-hip El Kartel fashion boutique recently moved into a 6,000 sq. ft space at 104 East Pender that used to house Cathay Importers. It’s on the main floor of the four-storey Chinese Benevolent Association Building, which was built in 1909.

Across the street at 147 East Pender is Livestock, a runner and apparel store that is so cool it doesn’t even have a sign. “We were in Gastown at the corner of Cordova and Abbott, (and) just felt a change was needed,” said store manager Chadley Abalos.

“We found the opportunity in Chinatown, so we decided to move here. We feel it’s one of the new spots that are booming. You see a lot of new businesses — restaurants, clothing stores, furniture. We see the potential in it growing.”

Russell Baker owns Bombast, a chic furniture store at 27 East Pender. But he is not new to the neighbourhood — Bombast has been there for 10 years.

“I think (Chinatown is) one of the most interesting parts of the city,” he said.

“It’s still got some variety, some texture, architecturally, socially, economically. A lot of what’s happened to the downtown peninsula (in recent years) constitutes erasure. This is one of the places that still sort of feels like … it feels more urban than some parts of downtown. I would say downtown is a vertical suburb.

“If you like cities, Chinatown feels like one. That’s why we’re here.”

Baker said he expected Chinatown to happen a lot sooner than it did. Retailers that do well there still tend to be destinations, rather than stores that rely on heavy street traffic. “The buzz is that Chinatown is happening, but it’s really strategic, what’s happening,” he said. “Fortune Sound Club, that’s a niche market that’s destination. That’s the kind of thing that works down here. We’re destination, Bao Bei (restaurant) is destination.”

The new businesses make for an interesting mix with the old ones. The 200 block East Georgia Street is hopping with hipster bars (the Pacific Hotel, Mamie Taylor’s) and art galleries (Access Gallery, 221A, Centre A). But it also retains classic Chinatown shops like the Fresh Egg Mart and Hang Loong Herbal Products.

The question is whether the small businesses will be displaced as the area gentrifies. Real estate values have soared — Soltera paid $6.5 million for the northwest corner of Keefer and Main in 2011, Beedie Holdings paid $16.2 million for two parcels of land at Columbia and Keefer in 2013.

That seems like a lot for a site that’s two blocks from the troubled Downtown Eastside, but Houtan Rafii of the Beedie Group said that’s what land costs in Vancouver.

“It is a significant, substantial amount of money, but compared to most every area in Vancouver, it’s not dissimilar, whether you’re in Gastown, downtown, Concord-Pacific, even on the boundaries of Strathcona or on Hastings close to Clark or Commercial,” said Rafii. “It’s not an obscene amount of money, it’s market.”

Rafii said the Beedie Group met with local groups for a year about its development, and was surprised at the reaction it got at the public meeting, which was held because Beedie is looking to rezone the site to add an additional three storeys.

Yu doesn’t have a problem with the Beedie proposal per se, but feels it’s on a key site in Chinatown, and should be developed accordingly.

“It’s not the building’s fault,” said Yu.

“People are going ‘What’s wrong with this glass tower, it’s working everywhere else, and Chinese people love buying this stuff if it’s UBC.’

“That’s not the point. There’s plenty of room around the city to build glass towers (that are) 40 storeys, 50 storeys, whatever. Why do they need to be in this spot?

“This one is right in the heart (of Chinatown). Across the street is the Sun Yat-sen (garden), the Chinese Cultural Centre. On the same street is the (Chinese workers) monument. Next door is the back alley of Pender.”

Yu said a recent study found there will be a need for 3,300 income-assisted senior housing beds in the Lower Mainland over the next 15 years. He said the Columbia and Keefer site would be perfect for a seniors project.

“There’s a particular kind of resonance to the idea this is a traditional place where a lot of Chinese seniors can retire to,” he said.

“There is a five-year waiting list for the Simon K.Y. Lee Success long-term care home, so there’s huge demand, huge need, this is a place where they want to go. (Building a seniors home) would actually would help revitalize (Chinatown), because seniors bring sons, daughters, grandsons and granddaughters into a community.

“That’s the Chinatown vision plan, that’s what’s in there, that’s what those discussions were about. And yet what we’ve got is 137 luxury condo units for hip youngsters. That’s the Beedie proposal, and that’s what the last two towers (on Main) were. It’s not just insulting, it’s the thwarting of the very promise (of the vision plan).”

Wu would like to see a moratorium on new developments in Chinatown “until design guidelines are actually built to create a zone that respects the (area’s special) character.”

Retired city planner Nathan Edelson agrees. Which is significant, because he worked on the Chinatown vision plan for over a decade.

“My suggestion is that there should be a moratorium on the rezonings, for sure, until they can get an assessment of what the current new development is,” said Edelson. “To what degree are they contributing to, or harming Chinatown, the historic character of Chinatown? And it’s not an obvious answer.”

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