Musqueam Engagement in Planning the Campus

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A number of lawns on campus are being reimagined as thriving ecosystems, blending biodiversity with cultural significance. What was once a traditional grass lawn now blooms as a pollinator meadow. There are currently two pollinator meadows on campus, one along Main Mall and one along University Boulevard. Aligning landscapes more closely to the local ecology is key to achieving the long-term goals envisioned for UBC’s Vancouver campus – including increased biodiversity and strengthening Musqueam presence and welcome on campus.   

The concept of planting meadows on campus was an outcome of engagement with Musqueam representatives through discussions about integrating Musqueam values and knowledge into planning and design of landscapes. The seed mixes chosen for these meadows include plants native to this area and culturally significant to Musqueam, as well as introducing plants from the Garry Oak ecosystem, native to southeastern Vancouver Island. Rising temperatures caused by climate change are narrowing the ecological differences between the two regions, making these ecosystems a fitting model for adaptation.

Deeper engagement with Musqueam and evolving knowledge of Indigenous practices and climate adaptive planting are enhancing the ecological, educational and social role landscapes play on the campus.

Learn more: 

• From Lawns to Living Ecosystems: UBC’s Campus Embraces Biodiversity, Climate Resilience, and Cultural Connection
   

Musqueam representatives helped shaped the design of the building and landscape, creating a vision for Musqueam culture and welcome at this gateway to campus. The building opened in 2026. Their involvement is reflected in building and landscape features, including:  

• A building design with warm wood finishes, exposed timber, terracotta cladding and filtered daylight in the atrium
• A prominent landscape created by shifting the building footprint north, with Indigenous plantings, many culturally significant to Musqueam. Ten plants are identified on site signage in hən̓q̓əmin̓əm̓, English, along with their botanical names
• Musqueam Welcome at the building entrance, expressed through indoor and outdoor artworks by  Musqueam artists
• Musqueam storytelling and cultural presence reflected through artworks displayed throughout the building and its entrance

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UBC's Vancouver campus sits within a larger watershed that includes Pacific Spirit Regional Park and Musqueam Reserve lands, connected by a network of streams, including Musqueam, Cutthroat, and Booming Ground creeks. These are of cultural and traditional significance to Musqueam who have been stewards of these streams for generations, working to protect and restore them.  

The Integrated Rainwater Management Plan (IRMP) is a comprehensive infrastructure plan for managing rainwater across UBC's Vancouver campus, endorsed in 2026. The IRMP incorporates outcomes from discussions with Musqueam representatives across multiple past projects, including:

• Ways to integrate Musqueam knowledge into landscape design and plantings;  
• Increase Musqueam presence on campus; and  
• Manage potential impacts associated with development and climate change.  

Musqueam representatives were engaged in the development of the IRMP, through project meetings and review of the IRMP Technical Report. This engagement was also an opportunity for Musqueam to deepen UBC’s understanding of the Musqueam Creek contamination, monitoring and restoration efforts that Musqueam is undertaking.

Learn more about the IRMP 

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The seismic upgrade and renewal of the Museum of Anthropology’s Great Hall created an opportunity to reimagine the museum’s exhibit landscape through a contemporary Indigenous lens. The 1977 design by Cornelia Oberlander, envisioned as an outdoor museum, was inspired by the landscapes and inlets of Haida Gwaii. As the museum resides on the traditional territory of the Musqueam (xʷməθkʷəy̓əm), this metaphor was considered an inaccurate representation of the cultural specificity of place.  

Musqueam worked with the museum, Hapa Collaborative, Campus and Community Planning representatives to “correct the narrative” of the landscape, from a Haida landscape to a landscape that is an represents these lands. Musqueam's vision for the museum’s exhibit landscape was to transform from its original metaphor as a saltwater inlet to a metaphor of a river estuary.  

The landscape design borrowed from the anthropological concept of “forest garden,” highlighting the shaping and cultivation of forests by humans over millennia, rather than assuming an untouched landscape. The design extends this concept into meadow and aquatic gardens, using a totally native plant palette culturally significant to Musqueam. The gardens are reframed as spaces for harvesting plants for use including for medicine and ceremonies, making space for Musqueam cultural work as well as providing opportunities for public education.

Learn more about the landscape design:

• Canadian Association of Landscape Architects spotlight on MOA
• MOA landscape drawings (pdf)

Enhancing building aesthetics through weaving patterns, 2026

Material: Printed Adhesive Vinyl
Fabricator: East Van Vinyl
Locations: Throughout the building on all floors

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Artist Statement:

This six floor installation at the MacIsaac Health Building serves as a vertical loom, incorporating traditional weaving patterns with the elemental themes of Earth and Water. These designs represent a profound history of walking in one with nature, honouring a worldview where the land and its people are inseparable.  

By showcasing our mathematical beauty and cultural depth of the Musqueam people, this work seeks to represent our community with dignity and grace. While these patterns are specific to this place, weaving itself is a universal language; nearly every culture shares a history of textile work.  

As you move through these levels, may the rhythmic patterns offer a sense of grounding and connection and a visual reminder of our shared resilience and our enduring bond with the natural world. 

Artist Biography:

Aleen Sparrow hails from the Musqueam Indian band, deeply rooted in her ancestral homeland. She is the daughter of the esteemed weaver, Debra Sparrow, who played a pivotal role in the revival of Salish weaving within the Musqueam community. For the past four years, Aleen has dedicated herself to the art of weaving, honing her skills and exploring the rich traditions of Salish design. Her journey has taken her from the loom to the realm of visual art, where she is now bringing her creative talents to life through mesmerizing murals and artwork adorning buildings. Born and raised in the heart of Musqueam, Aleen is steeped in her heritage and deeply connected to her people’s cultural traditions.  

Beyond her creative pursuits, she wears many hats; from modeling with the Supernatural Modeling Agency, the first indigenous-owned and operated modeling agency in North America, to paddling with her local canoe club. However, perhaps her most cherished role is that of a mother. As she continues her artistic journey, Aleen is dedicated to a future where her work serves as a tribute to her people and her ancestors. With each creation, she endeavors to honor them in a good way.

Spinning Through Time, 2026

Materials: Reclaimed red cedar, anodized aluminum
Fabricator: Area 58 Innovation
Locations:

• The People of the River Grass: UBC Health, 4th Floor
• Creators Hands: Faculty of Arts, Arts Research Commons, 2nd Floor
• The Runner: School of Kinesiology, 2nd Floor
• Matriarch: Student Health and Wellbeing, 3rd Floor
• Seventh Generation: School of Nursing, 5th Floor

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Artist Statement

Taking into consideration the placement of these five pieces throughout the facility, each artwork directly reflects the school in whose room they are situated. With a contemporary metal and wood interpretation of the Salish spindle whorl, the design of each piece embodies the traditional elements used to tell stories in Coast Salish artwork, and reflects the values each school shares with these elements. The spindle whorls feature visual representations of traditional language, health, communal care and love in this place of study.  

The spindle whorl has such a high cultural importance in creating the threads that are woven into our blankets and other garments, and these artworks show the modern threads of education that keep our communities and culture alive today.

Artist Biography

Being raised by strong, resilient, and proud people in the Musqueam village has shaped all aspects of my life as an Indigenous artist.  

The knowledge passed down from generations before me, along with my experience and insight gained in my various studies have given me a unique perspective that has informed my work in the arts, business, and decolonial practice.  

My motivation in a professional capacity and beyond is to create space for Indigenous people, culture, politics, and knowledge, while always contributing to my community. 

Cultural Strands, 2026

Material: Aluminum, paint
Fabricator: Area 58 Innovation
Location: Main Floor Atrium

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Artist Statement:

Cultural Strands by Grace Ulu is a work rooted in the interweaving of two Indigenous heritages — xʷməθkʷəyəm (Musqueam) and Fijian — reflecting the artist’s dual lineage and the living stories passed down through her family. The work draws on traditional Coast Salish art elements, honouring the memory of her late grandmother Arlene Point, while weaving together identity, land, and ancestry into a unified visual language. Cultural Strands speaks to the continuity of culture across generations, and the ongoing act of learning, remembering, and belonging.

Artist Biography:

Gracielene (Grace) Ulu is an Indigenous artist of Musqueam and Fijian descent, whose practice is rooted in family history, cultural storytelling, and the traditional art forms of her ancestors. Drawing from her mother’s xʷməθkʷəyəm (Musqueam) heritage and her father’s Fijian roots, Grace weaves these dual lineages into work that honors the memory of her late grandmother, Arlene Point, and the generations of knowledge they carry.  

Eye of the Fraser, 2026

Materials: Red cedar, aluminum, paint, printed adhesive vinyl
Fabricator: Area 58 Innovation
Location: Main entrance

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Artist Statement

For countless millennia, the Musqueam people have thrived upon the land where the Fraser River water gracefully navigates the flats and rush towards the sea. Amid the shores of the Fraser River and the Salish Sea, Musqueam people, “People of the River Grass,” have forged a deep connection with their revered homeland. It is within this captivating setting that a remarkable tale unfolds—a tale encompassing the diverse array of creatures that find solace in the flowing currents of the Fraser River. These creatures hold immense importance, symbolizing the profound role they play within the rich tapestry of Musqueam Coast Salish culture. Glistening below the water’s surface, creatures emerge from the depths of the river. These are the eyes of the Fraser River.

Artist Biography

Kelly Cannell, a distinguished Coast Salish artist from the Musqueam Nation in Vancouver, B.C., is celebrated for her vibrant works that honour her cultural heritage and the natural world. Known for her intricate designs and bold use of colour, she seamlessly blends traditional Coast Salish art with contemporary techniques, creating pieces that bridge the past and present.  

Her passion for glass art has led her to study at esteemed institutions such as the Pilchuck Glass School in Stanwood, Washington, and the Glass Furnace in Istanbul, Turkey. In 2019, she received a contemporary art scholarship that enabled her to collaborate with Venetian master glassblowers in Murano, Italy. She has further enriched her artistic practice through studies in silk-screen printing and acrylic painting at Emily Carr University of Art + Design.  

Kelly’s work, admired for its powerful storytelling and innovative style, has earned her widespread recognition, including the 2024 Polygon BC Achievement Award in First Nations Art. Her public art installations can be found throughout Greater Vancouver and beyond, ranging from large-scale sculptures and integrated architectural pieces to intricate glass and metal works in community spaces, transit hubs, and educational institutions. Each installation serves as a visual narrative, deeply rooted in Coast Salish identity and responsive to the environment and community in which it resides. 

New Horizons

Material: Acrylic, aluminum, paint
Fabricator: Area 58 Innovation
Location: Main Floor Shared Commons

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Artist Statement

This original artwork is a creation of the unique legacy left to me by my ancestors. Although based on traditional motifs and elements of Salish Peoples, this contemporary artwork represents everyone who comes to the MacIsaac Health Building. This exciting artwork reminds us all of our thriving modern Coast Salish, Musqueam Culture, which connects to all cultural backgrounds of the people who now share and love this land. The richly painted and multi- layered acrylic is creating visual depth, reflection, shadows, and colour so this does not look like a flat surface, but rather a multi-level elaborate sculpture. The design incorporates perspective to create even further depth.

Artist Biography

Dr. Susan Point, O.C., RCA is a descendant of the Musqueam. Susan’s distinct style has inspired a crusade in Coast Salish art. She draws creativity from her ancestors’ stories and forged the use of non-traditional materials and techniques, therefore inspiring generations of artists. Susan is proud to be an Officer of the Order of Canada and has been presented with the Queen Elizabeth II Diamond Jubilee Medal for her continual contributions to Canada. In 2020, Susan was conferred Chevalier in the Ordre des Arts et des Lettres (Knight of Arts and Literature)—Order of France, French Ministry of Cultural Affairs.  

Honouring Ancestors

Material: Corten steel, anodized aluminum, led lighting
Fabricator: Area 58 Innovation
Location: Outside Main Entrance

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Artist Statement

My artwork, Honouring Ancestors, is a story of the ancient trees that were once here. This artwork is a metaphor of time and attitudes towards ancient cedars. 

My artworks are based on a visual language that is inspired by hundreds of generations of ancestors that once inhabited the whole area of the lower mainland. I often walk through Pacific Spirit Park imagining the way the trees stood 200 years ago. A thriving forest of old growth trees; because of the low elevation and coastal location, this forest was one of the most productive in the world, first ecologically, and then economically.  

Long-lived species such as Douglas Fir, Spruce and Western Red Cedar grew to gigantic size in this environment; it was a new European rapacious appetite that began clearing this old forest. Where previously these trees were only lightly burned and hand cut by my ancestors, newcomers brought horse logging, then industrial scale clear cutting to this forest. Where once we would see the careful and thoughtful interventions of my ancestors, now not even the stumps of the giants are visible - they have all been removed. However, proof that they existed is still found in off-the-path gorges and Maple Grove Park.  

I want this artwork to highlight the history of the area as a gathering place and transportation route as well as a place with beautiful old-growth forests; a Musqueam sacred place.

Artist Biography

The work of Coast Salish carver and designer Thomas Cannell reflects his respect and love for his Salish roots and the natural evolution of his people. Thomas works and lives on the Musqueam Reserve and has studied under and been mentored by his mother, Susan Point. He currently works on large-scale public art works in many different mediums with Susan and on his own. Thomas’ public art pieces are shown in Richmond, Vancouver, Burnaby and New Westminster. 

ʔəm̓i ce:p kʷətxʷiləm

hiləkʷstalə ct tə mək̓ʷələp k̓ʷəθ ʔi həm̓i ʔə tə n̓a University of British Columbia, Vancouver Campus. ƛ̓a tə n̓a campus ʔam̓ət ʔi ʔə tə n̓a šxʷməθkʷəy̓əmaʔɬ təməxʷ, tə šxʷʔam̓əts tə shən̓q̓əmin̓əm̓qən.

Welcome

We greet all of you who have come here to the University of British Columbia, Vancouver Campus. This campus is located within the traditional, ancestral and unceded lands of the hən̓q̓əmin̓əm̓-speaking Musqueam people.

I was born in 1970 and am a member of the Musqueam First Nation. I trained as a welder, but apprenticed and carved alongside my mother, master carver Susan A. Point, and master carver, John Livingston. My mother instilled an awareness and knowledge of my Central Coast Salish Musqueam culture in me. This alone created an inspiration and learning experience she and I share.

This inspiration resulted in our collaborations on several major public art pieces, including pieces for the Seattle Art Museum, City of Vancouver, City of Richmond, Seattle Children’s Hospital, Stanley Park Gateways, Vancouver Convention Centre, and YVR Skytrain Station.

I continue to explore and expand the possibilities of presenting my heritage and Central Coast Salish art form, paying tribute to my Musqueam heritage. I have created several original designs in my own unique style and as a young artist I am committed to both contributing to my culture while raising its public profile.

Gathering Place/Gateway

Art & Culture, the record of all human history; a tradition showcased at UBC. The Musqueam gathering place that originally sat on the plateau away from the bluffs is no different from the present-day community, a central hub that most paths led to and away from. ʔəlqsən (Point Grey) is known to my ancestors as the Battleground of the West Wind, a natural landmark dividing the Fraser River estuary from Burrard Inlet; the winds sweeping in often send rain clouds to the north and clear skies south.

The Peninsula has been a sentry point for thousands of years. From q̓ələχən, the fort and lookout for our warriors on the point, trails for our runners radiated out. The importance of the the Point Grey peninsula for defense has continued for the newcomers up to the Second World War. 70 years-on it has become a welcoming gateway, a beacon of positivity for students and people from around the globe.

From left: Close-up views of the šxʷəxʷaʔəs–thunderbird, sce:ɬtən–salmon and sθəqəy̓–sockeye, and yə́χʷəleʔ–eagle and p̓aq̓əs–bald eagle.

Design Concept

These vertical and linear pieces symbolize many paths, many directions, many journeys. Paths used for thousands of years by Musqueam peoples, are still in use today by many thousands of people. This place is a way of life.

As a Musqueam fisherman, I have seen many salmon transformations in the rivers since my childhood. In this piece, salmon are messengers carrying their own stories. They are being carried by the wings of these birds – both protected by the thunderbird and used by the eagle. This piece is a metaphor for the need for balance.

Eagles, salmon & thunderbirds, together, are uplifting and inspiring: symbols of protection and enlightenment.

I chose salmon for their resilience in weaving through Coast Salish culture and communities like the rivers themselves in which they return to spawn. Salmon tie together the web of life from coastal inlets and fjords as far inland as the Rocky Mountains: bringing rich proteins from the far North Pacific Ocean and these proteins are found in trees thousands of kilometers away. They truly are the sacred balance and in my artwork I hope to detail the significance of salmon by way of representing this cycle.

The imagery is full of symbolism, the bird images (Science and mythological– Eagles and Thunderbirds) that are on a journey, a story made up from simple Salmon eggs. It suggests that learners come to the university where they grow into messengers, seekers and travelers.

šxʷəxʷaʔəs – thunderbird

The Thunderbird is a giant supernatural bird who causes thunder and lightning. Lightning flashes from his flapping wings and blinking his eyes. Thunderbird is a mountain dweller and is highly intelligent. From his home, he keeps a close eye over his dominion. Thunderbird preoccupies his time carrying out law and protocol and asserting justice to communities in need. Thunderbird is often shown with ears, showing supernatural powers. Thunderbirds are the protectors of the people and salmon, raising waters for returning salmon or carrying them to water where the people need them.

sce:ɬtən – salmon

sθəqəy̓ – sockeye

The Salmon symbolizes instinct, determination and persistence. Salmon is also a symbol of abundance, wealth and prosperity because the Salmon is the primary food source for the Musqueam. It is also symbolic of dependability and renewal representing the provider of life. Salmon in pairs are good luck because they represent regeneration, a new bounty and are symbols of wealth

Out of respect, ceremonies are often held to celebrate the return of the Salmon to their traditional spawning grounds. Which I am trying to convey in my artwork concept. The artwork will be a beacon while entering or exiting the campus via the gateway. People will walk back and forth along this route which I liken to Salmon making the journey from the spawning grounds to sea and back. A true connection to the four-year cycle of sockeye salmon and undergraduates.

yə́χʷəleʔ -eagle

p̓aq̓əs -bald eagle

The Eagle is a sacred, wise and noble creature representing power and prestige. Eagle feathers are given as symbolic gifts to impart respect for accomplishment and display of courage and wisdom. The Eagle can be identified by a powerful beak whose upper half ends in a strong downward curve with piercing eyes, feathers and large talons.

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(left) Brent Sparrow. Photo by Martin Dee

A member of the Musqueam Indian Band, Sparrow trained as a welder but apprenticed alongside his mother, master carver Susan A. Point, and the late master carver John Livingston. His mother instilled in him an awareness and knowledge of his Musqueam culture, creating an inspiration and learning experience they share.

A community-based selection panel process was formed to choose the artist and Campus and Community Planning thanks them for their guidance with this project. The selection panel was comprised of three Musqueam community members, including a UBC student, and a UBC Faculty member from the Museum of Anthropology.

Brent worked collaboratively with the MacInnes Field design team, various campus stakeholders and Musqueam representatives to produce the installation. The installation enhances the arrival experience to UBC, brings cohesion and vibrancy to this highly public space, and informs those arriving to campus that UBC is on the traditional, unceded and ancestral territory of the Musqueam people.  

A special thank you to Vanessa Campbell from the Language and Culture Department at the Musqueam Indian Band for the recorded the audio clips.

• q̓ʷeχt was chosen for Agricultural Road as it means a place for cultivating food. Listen Here.
• xʷsel̕c̓əχən̓ refers to going around the perimeter of a building, denoting Crescent Road’s location near the edge of campus. Listen Here.
• cəl̕qʷas describes the location of East Mall, as to be facing East from its location is to face inland and away from the Salish Sea. Listen Here.
• stəywət describes the experience of walking along Lower Mall which is close to the shoreline and feeling a westerly wind off the Salish Sea. Listen Here. 
• šxʷʔey̓eʔ describes the location of Main Mall which runs along the middle of the UBC Vancouver campus. Listen Here.
• šxʷhək̓ʷmət refers to the way we remember the people and events that have passed before us. Listen Here.
• sq̓ʷəlexélə refers to a bird’s nest, a reference to the “Student Nest” in the nearby AMS Student Union Building. Listen Here.
• šxʷyəθəstəm recongizes that the land on which UBC was built has been, and continues to be, a place of learning for the Musqueam people and for the world at large. Listen Here.
• sme:ntásəm describes movement north along West Mall as it faces the direction of the χʷte ʔə ɬəɬal̕wəɬ ct smənme:nt (North Shore mountains). Listen Here.

We encourage you to walk around the UBC Vancouver campus to view the Musqueam street signs. As you stand near a sign, take note of where you are, and how the hən̓q̓əmin̓əm̓ names relate to your position on the land, in relation to the mountains and the Salish Sea. 

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Acknowledgements

Campus and Community Planning is grateful for Musqueam’s support in the street signs project and for the guidance of the Musqueam Community, Chief and Council, Elder Larry Grant, Leona Sparrow, Jill Campbell, Vanessa Campbell, and Jason Woolman.  

Thank you to the Office of the President, First Nations House of Learning, UBC Building Operations, UBC Brand and Marketing, and UBC Media Relations. Also thanks to Ross Mills of Tiro Typeworks.