Wei Yew & Co.

Redgees Legacy Award Honourable Mention

Independent – Alberta/NWT

Alberta Solicitor General

The Provincial Police & Peace Officer Memorial Monument, price 2006

The Concept
Those who grieve seek comfort and experience the desire to reach out to the lost loved one. The design concept builds on the metaphor of something to touch and embrace. A column poses a presence as a “pillar of strength” which is powerful as well as approachable, site even “huggable”. The memorial offers participants a strong symbolic connection with the fallen officers. The bereaved can touch and feel the bronze plaques set in warmed colour aluminium tiles, hospital and they can put their arms around the monument. They can also take impressions through rubbings of the embossed doves.

The memorial also reminds one of the candle often seen at vigils – a powerful symbol to those who grieve, and a comforting light to gather around in times of need.

Peace dove shapes are pre-indented on the surface of certain tiles to receive the bronze pieces honouring each fallen officer. A total of 150 indentations were cast, leaving 60 available (unfortunately) for future use.

The memorial sits on a 9.28m2 platform in the shape of the Alberta Rose. Words such as “To Love”, “To Remember”, “To Recognize”, “To Respect”, and “To Honour”, are etched into the surface. The podium also incorporates these words in cast brass and in permanent flower vases for the use of visitors.

At the Ceremony
The role of the memorial as a place of ceremony to commemorate the fallen is integral to its connection with the wider police community. The Alberta Rose-shaped terrace serves as focal point for the proceedings. As part of this ceremony, three replicas of each bronze dove are presented: one for the Pillar of Strength, one to the police station or jurisdiction where the fallen officer last worked and one to the family or loved ones. This will provide an emotional and physical link from the memorial to people and places all over Alberta.


Sobeys Corporate Office Edmonton, 2009

Sobeys Inc. is the second largest food retailer (over 1,500 supermarkets) in Canada. With over 45,000 sq. ft. of the Sobeys Corporate Office on the St. Albert Trail, this labyrinth of offices required way-finding signage to direct employees and visitors. The design captures the grocery-like environment by using super graphics panels and banners. The four quadrants are represented by fruits.

It was a challenging task sourcing hundreds of stock photos of grocery items. A lot of time was spent selecting the final photos with the client.


CKUA Signage & Donor Recognition, 2013

Began in 1927, CKUA is the oldest radio broadcaster in Canada. Wei Yew came up with a simple and inexpensive design approach for way-finding signage and a donor recognition wall for the newly rebuilt CKUA building, formerly Alberta Hotel. Using the shapes of variously-sized music vinyls and CD’s, Wei developed a classification linking donors to the six sizes. He also had the names of personnel and rooms printed on blank CD’s. Directional signs were printed on the 7″ (45 rpm) shapes.
Meanwhile, the interpretive display of CKUA’s history is planned.

The image on the wall of the reception area is actually a photograph (taken by Jim Dobie) of a sign on the outside wall of the former CKUA building on Jasper Avenue.

Cross Cancer Volunteer Association

Cross Cancer Institute Healing Garden, 2013

In the fall of 2012, design work began for the Healing Garden Monument to celebrate the 50th anniversary of the Cross Cancer Institute Volunteer Association’s enhancement of patient care and comfort.

The monument is made up of three curved steel panels representing the three donors. There are 50 hand images laser-cut into the panels – 50 hands for 50 years. The monument is topped with the Volunteer Association logo, which Wei designed two years earlier. This is probably the only monument that radiates positive energy. When you smile at it, you receive a smile in return. Patients and visitors of the Cross Centre Institute can find solace and comfort reflected in themselves. When dusk falls, the hands and the flame glow like a beacon of hope and strength in the healing process.

In the Healing Garden there are seven brass words inlaid on the concrete – Hope, Belief, Family, Serenity, Courage, Strength and Peace. The Garden and the monument were unveiled on September 17, 2013.

Royal Architectural Institute of Canada

Moriyama RAIC International Prize, 2014

Raymond Moriyama, FRAIC, the Royal Architectural Institute of Canada (RAIC) and the RAIC Foundation created the Moriyama RAIC International Prize to raise the international stature of the RAIC and the Canadian architectural profession, and to encourage Canadian architects to aspire to international excellence. It is hoped that the Moriyama RAIC International Prize will be regarded as one of the world’s most prestigious international prizes in architecture.

The prize of $100,000 with a sculpture is awarded to an architect, team of architects, or architect-led collaboration, based anywhere in the world, in recognition of a single work of architecture that is judged to be transformative within its societal context and expressive of the humanistic values of justice, respect, equality and inclusiveness.

The sculpture’s form derives from the two Japanese characters for Moriyama’s name, which means “forest-mountain” in Japanese. Wei was also inspired by the trees and mountains of the Canadian landscape and the shape of the letter “M” for Moriyama. After much refinement, the final piece is both architectural and sculptural, and redolent with visual metaphors. ”Its quiet elegance is indicative of the qualities of humanity and humility prized by Raymond Moriyama,” says Wei Yew. “The apexes of the four pyramids radiate energy, transforming these elements into mountains of ice, crystal or rock – a truly majestic Canadian landscape. The intersection of the four pyramids is a visual metaphor for convergence – the meeting of international talent with the spirit of working together for the greater good.”

More than four months were spent in looking for a fabricator all over North America and Europe. Finally, Wei found a fabricator in Hong Kong. Each of the four pyramids were cut from rectangular crystal acrylic and polished before assembly. It took three attempts to get it right!

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