Shoreline House

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Presenting The Shoreline House.

Set along the water’s edge, just beyond the energy of Commercial Drive, stands one of East Vancouver’s rare waterfront homes. A well-kept secret, part of a quiet stretch of fifty oceanfront residences on the east side.

Originally built in 1961, this artist’s sanctuary has been thoughtfully remastered, preserving its mid-century modern bones while introducing bold new gestures that circulate around a central pool and gardened courtyard.

Reimagined by Geoffrey Farmer, the internationally acclaimed artist who represented Canada at the Venice Biennale, the home became a living work, part residence and part composition. Every surface, every sightline shaped with intention.

A singular expression of modernism on the east side now awaits its next custodian.

2391 Wall Street
Vancouver, BC

Neighbourhood
East Village

Designer
Remastered by Geoffrey Farmer

Built & Designed
1961 / 2012

Price
$3,500,000

Specification
Mid-century Modern

Program
West Coast Modern

Floors
2 Level

Rooms
2 Bed 3 Bath

Building
1,728 sqft
Lot
3.855 sqft

Monograph Brochure

Floor Plan

Originally built in 1961 and remastered in 2012, The Shoreline House was reimagined by artist Geoffrey Farmer during a pivotal period in his career. It was within these walls that he completed The Surgeon and the Photographer, a seminal work that would go on to international acclaim. The house became his studio, his subject, and his shelter.

After Farmer, it passed to another custodian, a writer and artist, who continued its quiet evolution. The home has remained a place of creative production, shaped over time by those who saw space not just as backdrop but as collaborator. A sunken art studio anchors the plan, while a central pool brings light and stillness to the core, gathering the rooms around it with quiet intent.

The architecture doesn’t call attention to itself. It lets the materials speak, cedar, concrete, water, glass, composed with the kind of restraint that invites you to slow down.

“Your intuition leads you to explore even in the presence of uncertainty. In my case dismantling or cutting something up has been where the work and my understanding of the work emerges. The cutting up unhinges things, it introduces the idea of mutability.”

— Geoffrey Farmer

Geoffrey Farmer

International art star and Canada’s representative at the 57th Venice Biennale

Born in 1967 on Eagle Island, British Columbia, Geoffrey Farmer is a Vancouver-based artist whose work transforms the ordinary into the extraordinary. His installations, comprising cut-out images, found objects, sound, and kinetic elements, are immersive environments that blur the lines between sculpture, theater, and collage.

Farmer's artistic journey began unexpectedly at age 21 when he attended an art class with his sister, igniting a passion that led him to study at the San Francisco Art Institute and Emily Carr University. His practice is defined by process and transformation, often reworking his pieces in real time to mirror the shifting nature of perception and memory.

Two of his most emblematic works, Leaves of Grass (2012) and The Surgeon and the Photographer (2009), distill his approach. The first stretches 124 feet and features over 15,000 cut images from internationally acclaimed magazines, each figure standing upright like a crowd suspended in time. The second consists of 365 puppet-like forms made from fabric scraps and archival photographs, quiet and uncanny figures that recall Surrealism and silent cinema.

Farmer represented Canada at the 2017 Venice Biennale. Whether working in a gallery, a national pavilion, or within the quiet geometry of his own East Vancouver home, his world-building extends beyond art. It seeps into structure, into renovation, into the choreography of space itself. His hand do not just assemble. It reimagines, turning the act of living into an evolving installation.