ERA Architects

ERA at Passive House Canada Conference

Last week, ERA’s Graeme Stewart and Ya’el Santopinto joined City Housing Hamilton CEO Tom Hunter to present on the Ken Soble Tower Transformation at Passive House Canada’s National Conference in Vancouver. 

The Ken Soble Tower Transformation project kicks off a groundbreaking program by CityHousing Hamilton to use the ultra-low energy Passive House standard for the retrofit of their existing buildings and as the standard for their new construction. ERA is thrilled to be working with CityHousing Hamilton realize this vision. Built in 1967 as modern affordable housing, the building’s rehabilitation will preserve 146 units of affordable seniors’ housing and ensure that stateoftheart affordable housing is at the heart of the Hamilton’s growing West Harbour neighbourhood. 

Ken Soble Tower Transformation: diagram overview of Envelope, Systems, and Modernization.

The project is poised to be the first Passive House high-rise retrofit in North America and it will demonstrate the tremendous potential for aging affordable housing in Canada to be modernized through Tower Renewal. 

What is Passive House?
Common in Europe, the Passive House approach is centred around high-performance building envelopes, achieving nearly twice the insulation value of building code requirements, which drastically reduces required heating and cooling loads.

The Ken Soble Tower Transformation will:

  • Reduce greenhouse gas emissions by 90%
  • Reduce energy intensity by 70%
  • Reduce resource consumption through a 45% reduction in utility costs
  • Improve indoor air quality for resident health and comfort
  • Extend the life of the building and its systems for another generation

The 2018 Passive House Canada Conference in Vancouver opens up this discussion to a broad audience of builders, contractors, architects, city-builders, and policy-makers, and ERA is proud to be part of the growth of this approach in Canada, sharing best practices with our colleagues and collaborators. A highlight of the conference included a tour of Dockside Green, a master planned community with affordable housing, district energy, and low carbon buildings.

An idyllic urban setting shows the courtyard of Dockside Green with pond and a number of balconies overlooking.

Touring #docksidegreen, a master planned community with affordable housing, district energy, and low carbon buildings on par with the best of Sweden or Germany. Lessons for the rest of Canada in the city of Victoria!

Dockside Green interpretation panels explaining the water treatment systems in use.

Interpretive panels at Dockside Green help to educate and inform about water treatment and usage.

 

Our Growing Leadership Team

As ERA continues to grow and evolve, the Executives and Associates are very pleased to welcome Sydney Martin to the leadership team as our newest Associate.

Sydney has been with ERA for nearly a decade as a heritage conservation specialist whose expertise in architectural history, historic construction techniques and materials, and material repair has been a tremendous and integral asset to our team. Her portfolio of work at ERA has included all stages of the project lifecycle, from assessment and evaluation to conservation strategy, development and implementation, interpretation, and long term management plans for significant projects, including the Ontario Legislative Building at Queen’s Park, Maple Leaf Gardens, Osgoode Hall, and the Senate of Canada’s temporary new home, the Government Conference Centre in Ottawa.

Sydney is a member of the Canadian Association of Heritage Professionals (CAHP) and is a graduate of the Willowbank School of Restoration Arts, and of Fine Art History & Architecture at the University of Toronto.

We look forward to this new chapter and the exciting work ahead!

 

 

 

Toronto Set in Stone

A guest article by Brendan Stewart—Assistant Professor, Landscape Architecture, University of Guelph


Stone plays an outsized role in defining many of Toronto’s most beloved and well-used public spaces. Of course there is something singularly enchanting about the material itself, but as important is how it is arranged and put together — the artistry and craft that elevates the average to the exceptional.

Stone and stone work is something I’ve been thinking about more and more, starting with an article I wrote last year in Ground Magazine about dry stone walls, which has led to my involvement as a guest speaker at the upcoming Dry Stone Canada Festival on Amherst Island at the end of the month, and a talk next week at ERA with visiting Scottish stone artist David Wilson (RSVP here), which will explore ideas about the creative use of stone in public spaces.

In Toronto, a recent recurring theme is the importing and re-purposing of ancient precambrian boulders; carefully selected, removed and transported at great expense from northern Ontario’s Canadian shield wilderness, and strategically re-installed in vibrant downtown settings.

Ryerson Image Centre and Devonian Square (photo: Hoice, Wikimedia Commons).

Think of Devonian Square at Ryerson, created in 1978 by landscape architects Richard Strong and Steven Moorhead, which features artistic groupings of massive boulders scattered around the plaza, and is the setting for winter scenes of ice skaters whose silhouettes are dwarfed as they weave in and around the rock.

Then, there’s the giant granite outcropping that defines Village of Yorkville Park, created in the early 90s by US landscape architects Martha Schwartz, Ken Smith, David Meyer and PWP Landscape Architecture. An iconic landscape landmark to match any in Toronto, the experience of emerging from underground at Bay station to meet a friend for coffee on the warm rock is unique to Canadian urbanism.

Sugar Beach by Claude Cormier + Associés, opened in 2010, pays homage to the granite outcropping at Yorkville Park, but integrates playful white and red candy-cane stripes, referring to the active Red Path sugar factory that animates the dramatic, working waterfront views.

And finally, there is the newly opened Trillium Park, designed by lead landscape architects LandInc, which features the 83 metre long ‘Moraine Bluff’ — an artfully sculpted, complex wall of stone that was designed using an innovative combination of digital modelling and in the field craft. Laid out in full on the floor of a quarry in Dwight Ontario, the wall was then transported and re-constructed on the lakeshore at Ontario Place[1].

‘The Ravine with Moccasin Identifier’ Trillium Park (photo: Brendan Stewart).

‘The Ravine with Moccasin Identifier’ Trillium Park, details (photo: Brendan Stewart).

Moraine Bluff, Trillium Park (photo: Brendan Stewart).

These projects, all representing in one way or another the ancient and sublime landscapes of the near north, all go to extraordinary lengths logistically, technologically, and artistically to bring the sensual and intangible resonance of stone into the city to create powerful civic experiences.

Stone, of course, has been used in many other wonderful ways in Toronto’s public realm. From interpreting and commemorating the history of the Irish Famine migrants who landed in Toronto in 1847 at Kearns Mancini’s Ireland Park (2007), to defining tranquil academic courtyards such as the Quadrangle at University College, executed by landscape architect Michael Hough in the mid 1960s[2].

And before this, there is the rich legacy of carved stone, integrated into the great buildings of 19th and early 20th century Toronto, some of which remain in situ, and some of which can be explored, as salvaged and re-constructed artifacts in the unique Guild Park and Gardens at the top of the Scarborough Bluffs. This wonderful and curious place is described and explored in a 2016 article in Ornamentum by ERA alum Tatum Taylor here.

For more fascinating discussion on the topic of creative urban use of stone and placemaking, join us at ERA on Monday, September 24 with Scottish stone artist David Wilson (RSVP here).

 


[1] See ‘Romance of the Stone: When metaphor meets technology’ by Patrick Morello in Landscapes Paysages v.19, Winter 2017.

[2] See ‘Quiet, Green, and Orderly: The History of the UC Quadrangle’ by Jane Wolff

From Past to Page: Uncovering the Ward

An unidentified man on Centre Avenue, 1937 (City of Toronto Archives).

In 2015, ‘The Ward—The Life and Loss of Toronto’s First Immigrant Neighbourhood’ was published, documenting the area within Toronto known as St. John’s Ward (or simply “the Ward”), home to thousands of immigrants between the mid-1800s and the mid-1900s. With little of the neighbourhood’s physical fabric remaining, The Ward had largely faded from public consciousness, but following the book’s release it quickly became a topic in public discourse with critical questions about how contemporary cities handle immigration, poverty, urban renewal, and the geography of difference.

At the time of that publication, Infrastructure Ontario (IO) and a team of archaeologists had begun digging up a parking lot next to Toronto City Hall on Armoury Street, the site of the new Toronto court house, and uncovered an extraordinarily rich buried history, which provided new material for the editorial team to start compiling a follow-up volume.

The new anthology, ‘The Ward Uncovered—The Archaeology of Everyday Life’ was published in June of 2018, bringing an important urban history to life through the findings of one of North America’s largest urban archaeological digs to date.

Excavation site on Centre Avenue (photo: Holly Martelle).

Assorted glass bottles

A leather shoe and ceramic container.

With a range of essays and images, the latest book further explores the stories of The Ward’s buildings, institutions, communities, and individuals. It aims to inform readers about the history of this neighbourhood, and to provoke discussion about how the Ward’s past informs Toronto’s present and how and why places are determined to be historically valuable and consequently preserved as “heritage.” ERA Architects principal Michael McClelland and heritage planner Tatum Taylor co-edited the book alongside archaeologist Holly Martelle and Toronto journalist John Lorinc, with support from the Canada Council for the Arts, the Ontario Arts Council, and the Government of Canada through the Canada Book Fund. Nearly 30 contributing authors include journalists, politicians, historians, architects, urban planners, archaeologists, artists, and descendants of Ward residents.

Ultimately, the book continues a public conversation that began with the 2015 publication of ‘The Ward’—how history can be conserved and understood into the future. ‘The Ward Uncovered’ highlights the immense importance of urban archaeology in meeting this task, creating for us a tangible link to the past and reclaiming an historic account that accurately reflects the diversity of immigrant experiences in building the City of Toronto.

“The Armoury Street Block is municipally, provincially, and nationally significant on many levels. Representing the remains of most of a city block, the site provides a rare glimpse of a neighbourhood and its evolution over time, as revealed by building remains and objects left behind. Equally rare is the opportunity to visualize intimate details of the daily life of the working class and immigrant families who helped build the city. Descendant communities, researchers, and the public will benefit much from the story-telling and educational opportunities this work has afforded.”
—Holly Martelle, Project Archaeologist, Timmins Martelle Heritage Consultants)

‘The Ward Uncovered—The Archaeology of Everyday Life’ is the fourth in a series of books published by Coach House Books that Michael McClelland has co-edited. Each book has dealt with a specific role of heritage and architecture within the City of Toronto. The first was called ‘East West—a Guide to Where People Live in Downtown Toronto,’ and focused on the development of Toronto’s neighbourhoods. The second, ‘Concrete Toronto—a guide to concrete architecture from the fifties to the seventies,’ focused on the architecture of the recent past, and the third, ‘The Ward—the Life and Loss of Toronto’s First Immigrant Neighbourhood,’ (eds. John Lorinc, Michael McClelland, Ellen Scheinberg, Tatum Taylor) looked at diversity, immigration, and urban renewal from an historical perspective. The intention of each book has been to highlight the need to continually re-evaluate our perceptions of heritage and cultural value in our urban environments.

In the same spirit of re-evaluating perceptions and understanding cultural heritage value, several Ward-related projects have grown from these books and have captured the city’s collective imagination: from the Mysuem’s walking tours, to an ongoing public exhibition of artifact displays at City Hall in partnership with IO and the City of Toronto, and even to a Ward Cabaret musical, created in collaboration with Juno Award winner David Buchbinder and performed to sold out audiences during Toronto’s 2018 Luminato Festival.

ERA-initiated series of books (CoachHouse Press).

Exhibit space at Toronto City Hall, curated and designed by ERA Architects, 2017.

The Ward Cabaret at Luminato, 2018.

“History is a verb. The passage of time is a constant. But what we seek to preserve from our past and what we choose to cast away has always been a selective process often informed by unexamined motives and biases.”
—Michael McClelland, The Ward (Co-Editor) & Principal, ERA Architects

Is there just one way to understand and interpret the histories of our city? How will we tell these stories into the future? How does a city remember? These collective projects each trace the past conditions of immigration and urban growth in Toronto in their own ways, promoting dialogue and understanding of neglected heritage landscapes. Once we are able to appreciate the history of marginalized areas such as the Ward, we can begin to reclaim an historic account that accurately reflects the diversity of experiences that have built the City of Toronto.

 

Creative Space & Urban Stone: Public Talk

Stone is the most fundamental material but over the last 50 years its creative use has declined in the public realm. Through a Winston Churchill Memorial Trust Fellowship David F. Wilson aimed to discover how other creatives are exploring the space between tradition & current practice, travelling in the USA & Canada through the summer months of 2017.

Where problems exist, new opportunities open up. Using photos and examples, David’s talk will explore the findings of his North American tour, the challenges posed to creative stone craft through modern building practice, and innovative ways to keep stone craft alive in urban spaces.

Through the lens of his landscape architecture practice and university teaching, Brendan Stewart will respond to the report and extend the conversation, relating these findings, challenges and opportunities to urban spaces in Toronto and Canada.

Report here: https://www.wcmt.org.uk/fellows/reports/creative-space-contemporary-use-stone-urban-spaces


A public talk by David F Wilson (UK) in conversation with Brendan Stewart (University of Guelph), co-hosted with the Dry Stone Walling Association of Canada (Dry Stone Canada).
REGISTER HERE VIA EVENTBRITE 

Doors at 6:30pm, Talk begins 7:00pm
625 Church Street, Toronto

3 minute walk from Bloor-Yonge Station (TTC)
Car and Bike Parking at the rear of building (Impark Parking)
This venue has elevator access and an accesible washroom

Reception to follow, generously sponsored by Jonathan Kearns, Founding Principal of Kearns Mancini Architects (B.ARCH., OAA, FRAIC, RIBA, FRIAI, AIBC, AANB, AAA) and Member Dry Stone Canada


David F. Wilson
Artist, Designer, Waller, Maker
Winston Churchill Memorial Trust Fellow and author of Creative Space: Contemporary use of stone in urban spaces

David graduated in 1987 from Duncan of Jordanstone, Dundee, with a Masters in Public Art & Design. Following a college art degree, he was inspired by a new trend for artists to work outside the traditional gallery system and decided to pursue a creative career in art for a wider public.

Flexibility has always been an asset in David’s practice when creating works in a public space. Every client & every different situation requires a unique design solution. Combining creativity with a playfulness of technique and form has always been at the heart of his process.

Two public projects that display this aspect well are the Edinburgh Airport Interchange and Livingston Landmarks. The latter was awarded the coveted Pinnacle Award from the Dry Stone Walling Association of Great Britain.


Brendan Stewart
Assistant Professor, Landscape Architecture, University of Guelph; past Associate, ERA Architects, Toronto

Brendan Stewart received his BLA from Guelph, attended Edinburgh College of Art, and received an MLA from the University of California, Berkeley. Brendan’s research focuses on heritage conservation planning and design processes, cultural landscape theory, design history, service learning and participatory design practices.

Throughout his more than a decade of practice experience, Brendan has been actively engaged in the academic, professional, and community spheres. He has been a regular guest lecturer, critic, and instructor at the University of Toronto, Ryerson University, and the University of Waterloo, and was an editorial board member of Ground Magazine, the journal of the OALA.

In 2015, he was involved in organizing and participating in the ‘Leading with Landscape’ conference in Toronto, hosted by the Washington DC based Cultural Landscape Foundation, which was attended by over 400 landscape practitioners and scholars from around the world. He is a director of the Friends of Allan Gardens a not for profit organization with a mission to revitalize one of Toronto’s earliest designed landscapes. Starting in 2017, Brendan is the University of Guelph’s appointed educator to the Ontario Association of Landscape Architects governing council.

 

TALLINN–TORONTO: The Influence of Estonian Modernism in Shaping Toronto

Toronto in Estonian: Section of exhibition at the Museum of Estonian Architecture.

This spring, the exhibition To The New World: Estonian Architects in Toronto launched at the Museum of Estonian Architecture (http://www.arhitektuurimuuseum.ee/en/). Following a smaller exhibition and symposium last fall hosted by Toronto’s Tartu College, the show explores the strong Estonian link in the creation of Toronto’s particular branch of modernism.

Exhibition and Symposium in fall of 2017 at Toronto’s Tartu College with ERA’s Graeme Stewart as presenter.

These exhibitions, and forthcoming book, are a result of years of research by Tallinn Architecture Centre archivist Jarmo Kauge. Following with curiosity the rise in cult status of Estonian-Canadian Uno Prii, whose large cannon of whimsically optimistic modernism have become local icons (and protected heritage properties), Jarmo began to explore the link between Estonian trained architects and the building of modern Toronto. Through a series of study tours, he quickly realized that the connection went well beyond Prii and that an entire generation of Estonian emigres practiced, taught, and transformed Toronto.

The opening of the exhibition at the Museum of Estonian Architecture represents a milestone for the international exposure of modernism in Toronto as well as the transatlantic scholarship that affected architectural and planning practice in post-war Toronto. ERA is proud to have been a collaborator in these efforts and congratulates Jarmo for the tremendous work in making it a reality.

Toronto in Estonian: Section of exhibition at the Museum of Estonian Architecture.

Toronto in Estonian: Section of exhibition at the Museum of Estonian Architecture.

For more on on Toronto’s Estonian modernism, the works of Prii and other Estonian Canadian architects feature strongly in both Concrete Toronto http://www.eraarch.ca/project/concrete-toronto/

(ERA / Coach House) and the Concrete Toronto Map https://bluecrowmedia.com/collections/architecture-maps/products/concrete-toronto-map (ERA / Bluecrow Media).

Also see an article by the Globe & Mail’s Dave LeBlanc published during the Toronto launch of the exhibition last fall.

ERA Has Moved to 625 Church Street

For two decades, we have called 10 St Mary Street our home, an eight storey modernist office building (1957) designed by the architects Mathers and Haldenby, whose offices were located on the 8th floor of the building. It seems fitting today as we say goodbye and start a new chapter in ERA’s story, that we’d share some of the history of this place that’s grown along with us all these years.

10 St Mary Street, in all its modernist glory, 1957. (Archives of Ontario)

The ground floor suite of 10 St. Mary Street, which faces both Yonge and St. Mary streets, was originally conceived as a retail space with a strong relationship to the public realm. Until recently, this suite has been occupied by a chain of fast food restaurants. The open volume at the base of the building has been partially enclosed as a restaurant terrace.

The original entry to 10 St Mary Street boasted exquisite mosaic tile work. (Archives of Ontario)

The Site sits on land originally owned by the Buchanan and Elmsley families in the early 19th century. In 1848 Captain John Elmsley donated part of his land to St. Michael’s College and St. Basil’s Church and began subdividing the property, naming local streets after his favourite saints. Many of the buildings that presently occupy the block bounded by Yonge, St. Mary, St. Nicholas and Charles streets were constructed during the latter half of the 19th and early 20th centuries, following the extension of Charles Street (formerly Czar Street) westward from Yonge Street in the 1880s. As Yonge Street developed as a commercial strip, cross streets were often developed with row houses. The length of the block along Charles Street West up to the westward addition to 720 Yonge Street is occupied by a row of residential buildings constructed in 1891.

The Yonge Street properties (with the exception of the mid-century building at 10 St. Mary Street) represent the second generation of storefronts along the Yonge Street corridor, which was revitalized with increased commercial activity at the turn of the last century. These were constructed in 1909 as a parade of shops with similar detailing; The mid-block shopfront properties at 710-718 Yonge Street first appear on Fire Insurance Plans in 1912.

The portion of the Site at the corner of St. Mary and St. Nicholas Streets was originally residential, but primary source documents show automotive uses began in the early 20th century and continued until the 1940s. In the 1920s the Holden Vulcanizing Works and Johnson Motors Repair operated at 79 St. Nicholas Street. The Uptown Auto Body and Fender Repair Co. were replaced in the 1940s by General Auto Body and later Pep Boys Garage.

Coles Bookstore purchased the Barron properties in the 1940s, using the Yonge Street storefront for retail and the former stables on St. Nicholas for storage. The fine-grained Victorian buildings along the southern portion of the block were replaced in 1957 by the 8-storey office building at 10 St. Mary Street, designed by Mathers & Haldenby. In the latter half of the 20th century, the properties on St. Nicholas Street witnessed a string of tenants and a wide variety of uses, including furniture stores, art galleries, restaurants and discotheques.

The evolution of the block over the past century. (ERA Architects)

Our office will be closed on Friday, June 15, while we pack up and head just down the street to 625 Church Street, and we’ll be back to regular business on Monday, June 18.
OUR NEW ADDRESS IS: #600-625 Church St, Toronto ON, M4Y 2G1

ERA & CaGBC: Sustainable Development

Late last month, on Thursday April 26th, the Toronto Chapter of the Canadian Green Building Council met for their annual Spring Open event. Hosted at the newly opened EY Tower downtown, the event included a series of rapid and informative presentations known as the event’s “Building Blitz” —highlighting the newest and most sustainable buildings in Southern Ontario.

ERA’s Shelley Ludman was invited to speak about the adaptive reuse of 158 Sterling Road, the new home of Toronto’s Museum of Contemporary Art (MOCA). We were honoured to present on the often overlooked importance of adaptive reuse as a strategy for a sustainable future.

Other presentations included: 

  • 80 Atlantic Avenue, Presented by Quadrangle
  • Zero House at the Endeavour Centre, Presented by Ryerson University, Department of Architectural Science
  • Kiln Building at Evergreen Brick Works, Presented by LGA Architectural Partners
  • University of Toronto – The Centre for Engineering Innovation & Entrepreneurship, Presented by Montgomery Sisam Architects Inc. 
  • York University Student Centre, Presented by CannonDesign

Concrete Toronto Map available now!

In partnership with Blue Crow Media, ERA is excited to present the Concrete Toronto Map, now available in stores and online.

A companion to Concrete Toronto, the map offers a guide to the City’s longstanding concrete architecture, showcasing a collection of over 40 well-known landmarks and smaller projects built from the 1950s to 1980s. The Map has been highlighted for its celebration of this mid-century building stock.

London-based Blue Crow Media,  specializes in architecture maps from around the world and has released maps from major cities such as Paris, London and New York. See more on the Toronto Concrete Map and others here.

Copies of the new Concrete Toronto map are now available at the U of T Bookstore “Toronto” section, near the concrete buildings on campus, and Spacing Magazine.

Concrete Toronto is available from Coach House books at https://chbooks.com/Books/C/Concrete-Toronto

Government Conference Centre: Progress on Heritage Interiors

The heritage interiors and finishes are coming to life at the Government Conference Centre (GCC) in Ottawa. Since the new year, the scaffolding has come down in the General Waiting Room (GWR, as shown here), revealing the rehabilitated suspended ceiling in its entirety and the recently painted imitation travertine wall finishes.

The GWR is an elaborate and significant interior space, part of the formal processional route bringing visitors through the building to some of its grandest interiors. As a visitor enters through the Rideau Entrance Lobby, down the grand stair, they find themselves here: viewing the building’s Beaux-Arts features evident in its monumental use of classical forms such as the columns, entablatures, pilasters, arches and vaults.

The GCC Rehabilitation Project is transforming the former Ottawa Union Station into an Interim Senate Facility for ten years, after which it will revert back to its role as the GCC. The rehabilitation aims to reveal the historical elements of the building that were concealed over time, such as its theatrical qualities and rich palette of materials.

ERA Architects is working as the heritage architects with Diamond Schmitt/KWC Architects in Joint Venture.

Photos courtesy of ERA Architects.

Our Expanding Leadership Team

As ERA continues to grow and evolve, ERA’s executive and associate team is thrilled to announce the appointment of seven new associates: Alexis Cohen, Dan Eylon, Samantha Irvine, Shelley Ludman, Jordan Molnar, Annie Pelletier, and Janice Quieta.

We’re very pleased to recognize the leadership of these new associates and their commitment to ERA’s core values. We also appreciate the energy they bring to their work, their individual perspectives on city-building and cultural planning, and the professional expertise they offer our clients and their colleagues at ERA.

Congratulations to all!

 

Alexis Cohen is trained as an architectural historian and brings her research background to a range of heritage planning projects at ERA. She works collaboratively with complex project teams using historical research and analysis to inform the conservation of evolving urban environments.

 

Annie Pelletier possesses nearly a decade of work experience on projects between New York and Toronto, managing project types from residential to institutional, on a mixture of new-build, adaptive re-use, extensions and conservation work.

 

Dan Eylon collaborates with differing levels of government, engaging in a broad range of conservation and planning projects. He is driven to make a meaningful contribution to the quality of urban development and heritage resource management.

 

Janice Quieta has studied and worked in Toronto, Halifax, Dusseldorf, and Koln and participated in a number of national and international design competitions in Canada and Germany. She is interested in sustainable technology at the intersection of new and existing materials.

 

Jordan Molnar’s project experience is both broad and deep, including heritage conservation, adaptive-reuse, and renovations/additions. He compliments his architecture portfolio with interests in small community development through Culture of Outports and Small, participating in community feasibility studies, community workshops and design-build projects.

 

Samantha Irvine oversees projects that impact culturally significant buildings, neighbourhoods and landscapes. She is committed to creating opportunities for historic buildings to enrich urban life. Her perspective is informed by the uncommon combination of a legal background and experience in both heritage conservation and community planning.

 

Shelley Ludman has been involved in significant conservation and adaptive re-use projects within the cities of Montreal and Toronto, including additions to existing heritage designated properties, drawing inspiration from existing buildings and their surrounding context.

Kensington Market Lofts Presents a Gateway of Colour to the Neighbourhood

The scaffolding has finally come down to reveal the brilliant collection of 17 colours featured on the east façade of the Kensington Market Lofts building, a public art piece created by notable local artist and area resident An Te Lui! Inspired by the culturally-diverse public realm in which it is located, it as a gateway to the neighbourhood.

Located at 160 Baldwin Street, the Kensington Market Lofts was built in 1952 by George Brown College to house their technical school, was and attached to an older red brick school building dating from 1923. The new addition was clad in glazed yellow terra-cotta blocks, which over time had begun to allow water to infiltrate its steel support structure. ERA has worked with the condo board on a long-term multi-stage revitalization of the buildings, including interior finish upgrades and wayfinding, as well as developing an extensive program of façade remediation.

It was determined that the east façade was at particular risk of future infiltration, and that a robust over cladding strategy would be required to protect the steel structure once remediated. Simultaneously the remaining terracotta blocks could be salvaged for use in preserving the original features of the building on the remaining facades. In addition to its functional necessity, ERA and the condo board viewed the proposed over cladding as a unique opportunity for the building to contribute to the public realm, and asked An Te Liu to develop a pattern that could speak to the building’s important context within Kensington Market.

An Te Liu’s concept for the colour configuration was based a pattern depicting the neighbourhood’s historic diversity, the distribution of the colours being drawn from an analysis of the percentage of those present in the world’s national flags. The significance of the approach is that the material sits comfortably within its bohemian context as it complements the existing vibrant-coloured awnings, shops and graffiti that energize the streetscape. The project faces one of Toronto’s most important thoroughfares, providing a landmark that will invite people into the market at one of its primary entrances. It is a physical manifestation and embodiment of the eclectic spirit and energy of the market.

Congratulations to ERA’s project team: Graeme Stewart, Max Berg, and Leah Gibling!

To access the recent Globe and mail article on this project by David LeBlanc, click here.
To access recent CODAmagazine coverage on this project, click here.

Images by An Te Liu and Vik Pahwa.

Tower Renewal in 2017

The Tower Renewal strategy has had significant impact over the past year. Across all levels of government, there is a growing consensus: Tower Renewal can have a scalable impact nation-wide as a means to meet climate change, affordable housing, poverty reduction, smart growth, and economic development objectives. Some highlights include:

1. Announcement of $15.9B Co-Investment Fund, committing to the rehabilitation of 240,000 units of existing affordable housing as part of Canada’s landmark National Housing Strategy.

2. $350M allocated towards apartment retrofit through Ontario’s Social Housing Apartment Retrofit Program (SHARP) and Social Housing Apartment Improvement Program (SHAIP) with the first round of projects underway.

3. Release of Transform TO, a strategy adopted by Toronto City Council that will require every multi-unit residential building (MURB) to undergo deep energy retrofit by 2050.

4. Intermunicipal Working Group convened with representatives from Ontario’s four largest cities: Toronto, Hamilton, Mississauga and Ottawa working toward a collaborative Tower Renewal framework. 

5. Provincial collaboration toward Tower Renewal action. Initiated in 2017, five provincial ministries are coordinating to tackle the question of enabling Tower Renewal in Ontario through housing rehabilitation and neighbourhood growth planning.

6. The Tower Renewal Action Forum brought together international experts and local city-builders to explore innovative strategies for transitioning aging tower neighbourhoods to meet the demands of our 21st century cities with welcome remarks from Mayor of Toronto,  John Tory and the Minister of Housing, Peter Milczyn.

7. 500 tower sites in the City of Toronto rezoned through the launch of the RAC Zone, removing barriers to Complete Community objectives being met on tower sites. CUG+R, the Tower and Neighbourhood Revitalization UnitUnited Way Toronto and York Region, and Toronto Public Health won the 2017 OPPI Excellence in Planning Award for the implementation of this work.

8. New primary research underway towards a comprehensive Tower Renewal framework: Retrofit Finance Analysis for a nation-wide retrofit program prepared by the Tower Renewal Partnership and the National Housing Collaborative, and a study on Housing Quality and Standards prepared by CUG+R and Transsolar in partnership with Maytree identifying standards to ensure healthy, safe, and resilient retrofits.

9. University Research Network established, harnessing applied graduate student research on Tower Renewal at five academic institutions across Ontario.

10. Unit Retrofit Challenge initiated, creating a prototype to engage owners and industry in research, development, monitoring, and verification of local best practices on a single-unit basis.

In 2018, work continues by a diverse set of partners to continue to enable Tower Renewal and the Tower Renewal Partnership continues to be a catalyst for this progress through ongoing research, policy advocacy, and action.

Urban Form and Social Energy of the City- the University of Waterloo focuses on isolation in Toronto’s mature suburbs

This March, ERA’s Ya’el Santopinto was a panelist at the “Urban Form and Social Energy of the City”, a forum hosted by the University of Waterloo’s School of Architecture. Under the overarching theme of non-isolating urbanism and architecture, discussions explored challenges and opportunities in preserving affordable housing and transforming tower neighbourhoods throughout the Toronto Region.

Alongside Ya’el were Martine August from the University of Waterloo Planning and George Baird from the University of Toronto, Daniels Faculty of Architecture, Landscape and Design with Adrian Blackwell as Moderator.

For more information, visit the University’s event page here.

Header image courtesy of the University of Waterloo Architecture’s Instagram account.

Casey House is Awarded the Lieutenant Governor’s Ontario Heritage Award for Excellence in Conservation

The 2017 Lieutenant Governor’s Ontario Heritage Award for Excellence in Conservation has been awarded to ERA Architects, for the conservation of Casey House. The award highlights projects across the province that contribute to the conservation of a heritage building and the community enhancement it fosters. The firm is thrilled, and could not have successfully completed this endeavor without collaboration from Hariri Pontarini Architects and the broader community.

Casey House is a significant visual reminder of the affluence and grandeur of Jarvis street during the late 19th and early 20th centuries. The property has been redeveloped as a state-of-the-art AIDS/HIV healthcare facility that integrates the historic building with a new four-storey extension.  The design of the contemporary facility juxtaposed against the Victorian mansion is a distinct but complementary addition by Hariri Pontarini. It embraces and respects the existing building, preserving its qualities and organizing the day-to-day user experience. Throughout the project, the architects considered how to manifest unifying themes from the AIDS movement such as ‘embrace’ and ‘quilt’ by working the design concept from the inside out.

The conservation strategy was to retain and conserve the heritage fabric, replacing deteriorated elements where necessary. The preservation of the exterior was extensive, including the removal of paint from the masonry, repointing of brickwork, the replacement of stone bands, the fabrication and installation of new window boxes, and new lead-coated copper spiralettes on the roof. The iron fence was repaired and repainted, and the wall it sits on was cleaned, re-pointed, and any deteriorated stone replaced. The interior preservation included the repair and repainting of the plasterwork, the development of the colour scheme, preservation of the fireplaces, and repair of the mosaic flooring in the vestibule. The woodwork was repaired and refinished, and the timber flooring repaired and re-stained. A high degree of durability in the finishes was required to withstand the rigours of the daily/weekly cleaning regimes required of a hospital. Casey House is Canada’s first and only stand-alone hospital for people living with HIV/AIDS.  

In spite of the complexity involved with designing a health facility, the preservation and restoration of the original building—an example of the grand homes that lined Jarvis Street at the time of its development—was at the forefront of discussions when expanding the facility first arose.

At its heart, the redevelopment of Casey House was a community-inspired and driven initiative, with stakeholders recognizing the importance of their generous contributions.

Congratulations to ERA’s project team: Michael McClelland, Edwin Rowse, Scott Weir, Jessie Grebenc, Joey Giaimo, Luke Denison,  and Mikael Sydor.

Related links:
http://www.eraarch.ca/project/239/
http://www.eraarch.ca/2017/a-hospital-with-heart-that-embraces-its-patients-celebrates-its-grand-reopening/
http://www.eraarch.ca/2017/capitalizing-on-heritage-awarding-conservation-materials-craftsmanship-and-construction/
http://www.heritagetrust.on.ca/en/index.php/media-releases/lieutenant-governors-ontario-heritage-awards-presentation

​Project photos are courtesy of Vik Pahwa.

The Legacy Lives On: Hamilton’s Built Heritage Inventory as an emerging practice in historic urban landscape stewardship

ERA Associate Victoria Angel’s article in Plan Magazine’s Winter Issue ‘Urban heritage: A living legacy’ on the UNESCO Historic Urban Landscape (HUL) Recommendation (2011) illustrates its implications and emerging practices, using the City of Hamilton’s Built Heritage Inventory as a case-study. The recommendation encourages a more holistic, integrative approach to urban heritage conservation, focusing on the urban landscape. It proposes that future considerations around urban development should enhance sustainability, functionality, inclusivity, place-making and local identities. Governments have experimented with its implementation, in spite of the complexity of the various urban systems.

Practices that have emerged as a result include a greater use of community consultation, and the characterization of large urban areas through the use of Geographical Information Systems (GIS), which integrate well with other municipal information systems.

Hamilton’s Built Heritage Inventory process was adopted by its City Council in the spring of 2014 and was the subject of a paper by Victoria Angel, Angela Garvey and Mikael Sydor that was published by the International Society for Photogrammetry and Remote Sensing. The City of Hamilton intends to implement the strategy one neighbourhood at a time, at a citywide level.

By incorporating the HUL’s recommendations, ‘…Citywide surveys and inventories, landscape characterization, and an understanding of people’s perceptions of the places they inhabit could, in the future, be used by cities to identify a much broader range of conservation opportunities, better understand an area’s capacity to change and evolve, and reposition historic resources to serve as the springboard and foundation for new development….’

Article in CIP’s PLAN Canada Journal: http://www.kelmanonline.com/httpdocs/files/CIP/plancanadawinter2017/index.html
Related content: http://www.eraarch.ca/2017/hamiltons-durand-built-heritage-inventory-project-incorporates-digital-innovation-to-develop-a-citywide-approach-to-heritage-planning/
http://www.eraarch.ca/project/hamilton-downtown-built-heritage-inventory/
http://www.eraarch.ca/2013/9295/

All images courtesy of ERA Architects.

62 – 64 Charles Street: The Lost Craft of Tuck-pointing Returns

Tuck-pointing was developed by the English back in the late 17th century and was practiced all the way up to the early 20th century. Historic preservationist/educator Michael Shellenbarger states in a 1993 essay titled Tuck Pointing History and Confusion the correct definition of tuck-pointing (based on historical precedents) is:

…… a masonry jointing that uses mortar in two colours to simulate the appearance of narrow joints. The actual joint is disguised with a flush mortar tinted to appear similar to the colour of masonry units. A joint like groove (the tuck) is often cut into this flush joint. Then mortar of a contrasting colour is added onto the flush joint and into the groove and is shaped and trimmed into a narrow false joint, which usually projects slightly. This line gives the appearance of a narrow projecting jointing.    

Completed properly, tuck-pointing is the most highly skilled of all pointing finishes. It creates the illusion of finely pointed gauged brickwork, enhancing the quality of appearance of buildings constructed of damaged or irregular bricks.

62 – 64 Charles Street East, an ERA project where recent conservation work has restored the tuck-pointed building to its former glory under the expert hand of Hunt Heritage. This is the largest application of the process that ERA has been involved with, and it’s an exemplar for bringing this lost craft back to the city. The project was undertaken in the late summer of 2015 and completed in late spring of 2017.

As heritage consultants ERA strived to protect the value, significance and integrity of the heritage assets. The work required a full conservation scope on the semi-detached house, that included the rarely-seen craft of tuck-pointing for which National Trust (Aus) award-winning Tuck-pointer Antoni Pijaca was hired to share his expertise and the secrets of his trade.

The Charles Street project was honoured last fall with a 2017 CAHP Award of Excellence —Materials, Craftsmanship and Construction. ERA is continuing to feature this technique prominently through work on the Selby Hotel at 592 Sherbourne, which is set to be completed in the summer.

For more information: https://www.youtube.com/watch?v=zxPc6_2R-Hc
Article by Dave LeBlanc in the Globe and Mail: https://www.theglobeandmail.com/real-estate/toronto/the-lost-art-of-tuckpointing-reborn-intoronto/article37802073/

Related content: http://www.eraarch.ca/2017/capitalizing-on-heritage-awarding-conservation-materials-craftsmanship-and-construction/
http://www.eraarch.ca/2017/era-learns-the-fine-art-of-tuckpointing-from-a-melbourne-based-master/
http://www.eraarch.ca/2012/tuckpointing-a-note-on-detail/

 

In-House Experts: Barrier-Free Design and Heritage Buildings

At ERA we thrive on finding new uses for existing buildings and integrating the heritage fabric of our city into contemporary designs. One of the ways we approach conservation of existing fabric is through modifications to buildings and cultural landscapes that enable all users to enjoy our shared heritage. Many heritage structures are not barrier-free by today’s standards: the main entrances often are only accessible by stairs, they have heavy doors without automatic operators, the washrooms don’t accommodate wheelchair users, the stairs don’t have the tactile and colour-contrasting nosing that aid users with low-vision in navigating them.

Improving upon our heritage fabric to create a more accessible environment requires a careful and sensitive approach. Whereas a barrier-free approach to a new building design is integrated from the very beginning, a barrier-free retrofit requires considering the impact of the alterations on the historical features of the building: How can we position a new entrance ramp to minimize its visual impact? How can we modify existing doors to accommodate power door operators without damaging the existing fabric? How can we renovate an existing washroom to allow for universal access? What materials can we use to provide tactile and colour-contrasting nosing without negatively impacting a historical wood stair?

Two of our most recent projects in downtown Toronto feature smart designs that integrate barrier-free features into the existing fabric of heritage structures: the Sultan Street Development and 330 University Avenue.

The Sultan Street Development features the integration of a row of red brick Romanesque houses with a new office tower development designed by Hariri Pontarini Architects (HPA). As the original entries to the heritage houses featured a series of steps up to the doors, they impeded the possibility for barrier-free access from the street. ERA proposed a simple modification to the entrances which lowered the doors to street level and enabled barrier-free access without the need for a ramp or elevating device.

At 330 University Avenue (also known as the Canada Life Building), ERA took a different approach to providing barrier-free access. In this case, the existing steps to this Beaux Arts building were maintained and a ramp was designed to allow barrier-free entry through one of the three main doors off University. In addition, the original bronze and glass doors were equipped with power door operators to ensure a fully barrier-free path of travel to the public lobby.

Post by guest writer Max Yuristy.
All photos courtesy of ERA Architects.

Archaeology in The Ward: A New Exhibit

Just a few steps northwest of Toronto’s city hall is a quiet, empty plot of land and a former parking lot that will soon be the home of the new Toronto courthouse. But long before this site was just a place to park, it was a bustling part of St John’s Ward (The Ward), an area where newcomers to Toronto established themselves for over a century. In 2015, Infrastructure Ontario (IO), on behalf of the Ministry of the Attorney General, led a complex excavation and archaeological dig of the new Toronto courthouse site which revealed tens of thousands of artifacts from The Ward, providing an unprecedented level of insight into Toronto’s early multicultural history. As part of the heritage interpretation efforts for the site, IO and the City of Toronto developed a partnership to create opportunities to share the artifacts and their stories in four display cases at City Hall.

Archaeology in The Ward display case, showing a selection of bottles and glassware recovered from the excavation site. An enlarged Goad’s Insurance Map of Toronto shows the site in context.

ERA Architects is no stranger to the histories related to The Ward—Michael McClelland and Tatum Taylor helped to literally write the book. As heritage professionals and editors of ‘The Ward: The Life and Loss of Toronto’s First Immigrant Neighbourhood’ (Coach House Books, 2015), they were well positioned to approach the exhibition project with a comprehensive understanding of the site context along with the ability to provide powerful interpretations for the subjects reflected by the artifacts. ERA has been pleased to offer our expertise in this unique documentation of Toronto’s history, providing contextual research and interpretation for emergent themes, as well as designing the exhibit spaces in collaboration with City of Toronto Museums and Heritage Services.

The first of many planned exhibit installations was officially opened in February 2017 with the Mayor’s Reception for Black History Month and featured stories and important artifacts focused on Black History in The Ward, including the foundation stones of the British Methodist Episcopal Church, and a rare Black doll’s head.

We are excited to announce the latest installation of the ‘Armoury Street Dig’ series of exhibits at City Hall has opened this past week. This latest installation focuses on ‘Work in the Ward,’ showing that with the rapid industrialization of the late 19th century, manufacturing moved from homes to factories. In The Ward, this industrial and social shift can be seen clearly, with factories steadily replacing houses between 1895 and 1950. The exhibit is open now and on view during regular public hours in city hall’s main floor rotunda, located adjacent to both the east and west elevator bays, and will be on display through spring of 2018.

In the west exhibit cases, artifacts from the ‘Armoury Street Dig’ highlight two 19th-century household industries that were prevalent on the site: shoemaking and tailoring. The excavation site includes one of the largest archaeological collections of 19th and early 20th-century shoes ever unearthed in Canada, most too fragile to display but documented by photographs and reproduction tools. Other artifacts on display include tools commonly used by tailors and seamstresses in the period: straight pins, buttons made of ceramic and glass, thimbles, wooden spools, and bodkins.

In the east exhibit cases, industry in factories is examined through narratives that range from small-scale family operations such as the Edward Lye and Sons Church Organ Builders which operated first out of their home, to the large-scale T. Eaton Co. Tent and Awning  Factory on Chestnut Street. On display are two moulds used in mass production: one small drawer handle mould, likely used in furniture manufacturing on the site, and a large rubber hat mould used to form men’s brimmed felt hats from the Fashion Hat & Cap Company, which occupied the former Eaton’s factory on Chestnut Street from the 1940s to the 1960s.

The exhibit is on view during regular public hours in city hall’s main floor rotunda, located adjacent to both the east and west elevator bays, and will be on display through spring of 2018.

Infrastructure Ontario is creating an online archive of past exhibit displays available at infrastructureontario.ca/armourystreetdig

Link to the Toronto Star’s coverage: https://www.thestar.com/news/immigration/2018/01/11/new-exhibit-sheds-light-on-torontos-early-immigrant-entrepreneurship.html

Related content:
http://www.eraarch.ca/2015/the-ward-a-new-book-coming-2015/
http://www.eraarch.ca/2015/the-ward-a-new-book-update/
http://www.eraarch.ca/2017/coming-up-the-ward-songs-and-sounds-of-a-lost-toronto-neighbourhood/

Post by guest writer Carl Shura.
All photos courtesy of ERA Architects and TMHC.

When Crazy Gets Creative

Crazy Dames Share their Innovative Approach to Community Engagement and Design Development

Inspired by the work of Jane Jacobs and a desire to use the artist’s studio as a site for fostering creative engagement, Jennie Suddick, and Sara Udow founded Crazy Dames. Their focus is on enhancing the user experience of urban spaces, empowering communities to drive the change they desire through ‘tactical and collaborative approaches’ to city-building. Crazy Dames utilize unconventional, yet playful methods from which innovative ideas evolve.

Their portfolio includes activities as diverse as building a blanket fort as part of a residency at the Gardiner Museum, entitled ‘We Built This City’. There they programmed events over the course of two weeks in the summer of 2016, including workshops, artist-led ‘walkshop’ walking tours, a collaborative art project, and closing event and panel discussion. The pair have also found attentive audiences through public engagement projects at the Yellowknife Artist Run Community Centre, and Create Your Path initiative.

In each case, they strive to create an experience that will bring broad communities together, break down barriers, and ignite their imaginations to ultimately express their thoughts/feelings about the city they live in, generating ideas for change. At the end of the day, it’s about talking to people, listening to divergent perspectives, and encouraging long-term community involvement and ownership.

Fast forward to August 2018, Jennie and Sara have been invited to participate in a residency in Valletta, Malta, European Capital of Culture. They have also recently been chosen as Varley Art Gallery’s inaugural Community Artists in Residence. This residency will run in 2018 in Markham, ON.

ERA was delighted to host them for an interactive presentation on Wednesday, January 10th, 2018, when they shared an informative slide presentation. Not wanting to rest solely on traditional methods however, they invited staff to get out of their seats, split into two groups and create a 3D drawing using balls of black yarn. The objective of the exercise was to define the space we were in, how it’s used and how it has evolved. The teams discussed various perspectives before creating two intricate webs. The communication and designs that resulted made for an interesting collaborative experience.

For more information visit: http://www.crazydames.com/
U of T News article: https://www.utoronto.ca/news/these-crazy-dames-want-us-rethink-way-we-engage-city

All photographs courtesy of Crazy Dames.

Nothing is Impossible: NXT City defines its strategies for city-building through an inspirational presentation at ERA

On December 13th, NXT City visited ERA to engage staff as part of our Wednesday Morning Forum ‘Spark Sessions’, a series of talks presented at ERA’s office by people and organizations who are at the forefront of their respective practices, and pushing the boundaries of design, policy and development in our city.

NXT City is a not-for-profit organization that unites the desire of emerging leaders to make a difference with city builders looking for innovative ideas to program and develop public space. It was established in 2013 by founders Christine Caruso, Mackenzie Keast and Justin Leclair, who have since garnered much attention for their exciting initiatives, such as an annual NXT City Prize, public space symposium, quarterly talks and secret warehouse parties.

In the early days, the team identified a gap in opportunities for Toronto’s current and future city-builders to assemble, in order to network, strengthen partnerships, and synergize ideas. As a result, they devised a strategy to connect various stakeholders whom they admire (Jennifer Keesmat was an early supporter), programming approachable, exciting events that draw people together to brainstorm on methods of reshaping the city in delightful, unexpected ways.

The various platforms compliment and reinforce their objective: the NXT City Prize was initiated as an opportunity to encourage and reward thought leadership on relevant topics. Teams are invited to submit proposals for jury review based solely on the quality of the idea. The NXT City Symposium promotes itself as ‘public space on a global stage’, offering up discussions on civic innovation and ideas by industry leaders challenging the boundaries and limitations of public space. The mix of speakers is a potential tension-builder, arranged as a counter-point to create a more meaningful dialogue. The NXT City Talks are small-scale panels with a ‘how to’ approach to project development. The secret warehouse parties offer an opportunity for the community at large to connect and celebrate all that is exciting and ground-breaking in the Toronto region and beyond.

To gain more insight on NXT City visit: https://nxtcity.ca/

Photos courtesy of Nicky Brunn-Meyer

The Broadview Hotel’s terracotta panels have a story to tell

Much has been spoken and written of the Broadview Hotel over the past few years. Having opened last spring, the updated landmark at the corner of Queen and Broadview has already established itself as the new go-to site for entertainment in the Riverdale neighbourhood. With all the positive attention, comes increased interest in the building’s history and the stories that continue to be revealed.

One such story can be found in the features that adorn the exterior of the Richardsonian Romanesque-style architecture, the semi-circular terracotta panels that sit atop the third-floor arched windows, and those interspersed amoungst the rich surface textures of the brick enhancements, and the moulded profiles of the arches. Twenty-one modeled reliefs provide a decorative element, featuring faces and personifications that may allude to a narrative that is not understood and could be open to interpretation.

Though the artisans are not known, the reliefs were supplied by the Toronto Pressed Brick and Terracotta Company, started in 1888 and based 2 miles west of Milton, ON. The factory was situated on a slope near the Credit River, where Medina shale was available. The main product was pressed brick. Moulded and ornamental bricks, roofing tiles and terra cotta were considered a specialty. In 1906 the company was bought by Charles Lewis. He and his brothers focused on fine terra cotta works, the only large company in Canada to do so. Many office buildings and private residences were adorned with their product, such as the 1890’s Confederation Life Building, and the Gooderham Building in Toronto.

The typical production process involved taking ground shale, kneading into a soft condition and casting it in Plaster of Paris moulds made from design drawings. The Broadview Hotel reliefs however were completed only by hand and they have a variety of textures and finishes that reveal the energy of the work and the skill of the author. Finished pieces were set to dry prior to being fired in a down-draft kiln.

The reliefs have multiple personifications of the wind, sun and moon. As companion panels these are interspersed with a series of faces; a canine, a bearded man, an Indigenous man, an owl and a boar. The collective meaning of these panels is open for interpretation.

Photography courtesy of Steven Evans

A once-popular historic Mackinac Island retreat is in the process of being restored to its former glory

ERA is highly anticipating the completion of their latest project in Michigan, Silver Birches Resort. Built between 1906-1912, it is a well-loved landmark on the remote north shore of Mackinac Island. The Lodge is a rare example of a rustic log hotel and is included on the State Register of Historic Sites.

This helped spread a uniquely North American architectural vernacular that was ideally suited to rustic summer structures.

This vernacular has been embraced and highlighted. The client’s family are heavily-invested in the region and its prosperity. Possessing a deep desire to understand the property and to restore it in a way that honoured the architecture and its surrounds, they became intimately engaged with the site during the early renovations. Mackinac Island, ‘the crown jewel of Michigan’, is regaining its lustre.

The project team have spent the last four years managing the site as design lead in support of the local architecture firm and project manager, and coordinated the work of the various consultants. The scope included the complete restoration of the site’s “Yellow Cottage”, and the extension and refinishing of its “Blue Cottage”. Also included was the preservation and restoration of the lodge’s ground floor log assembly, the rebuilding of its wrap around log veranda with code-compliant replacements, and the complete re-build of the upper two storeys to match the appearance, form and materiality of the original.

The project team includes:
Scott Weir – Principal
Brendan Stewart – Associate
Sandford Riley – Project Manager
Rui Felix – Landscape Designer

Links to related articles:
https://mynorth.com/2016/08/historic-mackinac-island-lodge-silver-birches-undergoing-renovations/
https://www.freep.com/story/travel/2016/07/09/grand-hotel-resort-hotel-mackinac/86716566/
https://savingplaces.org/stories/silver-birches-polishing-a-jewel-at-michigans-mackinac-island#.WirAvbQ-dUN

Link to related blog post:
http://www.eraarch.ca/2016/mission-point-resort/

In-House Experts: Heritage Mortars 101 & Heritage Interiors

Although there is obvious benefit to be drawn from the synergy created from ‘the whole’, we would be remiss if we did not recognize and highlight the individual expertise that makes up the sum of ERA’s parts. Staff have been treated to two presentations recently that featured their peers introducing topics for which they possess expertise through weekly ongoing information session series.

First up, ERA Associate Jessie Grebenc gave a talk on ‘Heritage Mortars 101’ as part of the Wednesday Design Forum series. The presentation led in with the philosophical decision-making process required to conserve a building. More thoroughly, it defined mortar, its components, uses and evolution, how to determine its age based on set analytical criteria and the related issues/challenges that arise under various circumstances (such as Canadian vs. European material, manufacturing and climactic contexts). The presentation was intended to give staff a solid foundation on the topic, discuss best practices from the North American and British contexts, and review the options available given the multiple factors surrounding the project.

ERA Associate Jan Kubanek and Project Manager Sydney Martin presented on the topic of ‘Heritage Interiors’, highlighting the project work completed to date on the Government Conference Centre (GCC) in Ottawa and a review of the topics presented at the Architectural Paint Research Conference in New York City that they attended in the spring.

Jan provided an overview of the GCC Rehabilitation Project currently underway that is transforming the former Ottawa Union Station into an Interior Senate facility, a project on which ERA is the heritage conservation architect working with Diamond Schmitt/KWC Architects in Joint Venture. The Beaux-Arts interiors are characterized by a formal procession route taking the visitor through the Rideau Entrance Lobby, down a grand stair into the General Waiting Room, through the Ticketing Block Anteroom and into the Concourse.

Finishes include marble floors and wall paneling, imitation travertine wall finishes (a patented process involving the application of tinted plaster with a texture characteristic of travertine laid in ashlar coursing, elaborate plaster ceilings and suspended plaster ceilings in the two large spaces.  The rehabilitation project, through careful paint and material analysis, allowed the revealing of the original colour and material palette of the building that had been concealed over time.

Sydney Presented on aspects of paint technology, assessment and methodology and how they apply to ERA’s work on the GCC.  Due to the condition of the original faux travertine plaster walls (scagliola) and the extreme difficulty of using the original plaster technique for repairs it was decided to replicate the original appearance of the tinted plaster faux travertine with paint and provide a unified appearance. Her presentation focused on the development of the paint technique and colour selection for the imitation travertine surfaces that honour the original design intent. The colours for the faux travertine were derived from analysis of the original tinted plaster.  The painted technique was meticulously tested on mock surfaces and under various lighting to emulate the original faux travertine surfaces in the building.

She then shared details of her experience at the conference, including a presentation by a Painting Conservator/Consultant, and a tour of Ellis Island featuring installations by French artist JR entitled ‘Unframed’ that added a layer of heritage interpretation to the abandoned spaces as a reminder of their purpose as an entry point to America for millions of immigrants.

All photography courtesy of ERA Architects.
All historic images accredited to the Library and Archives Canada.
All renderings accredited to DSA-KWC Architects in Joint Venture.

 

Eva’s Phoenix wins a Canadian Brownfields Network (Brownie) Award and signals a transformational start to the redevelopment of the Water Works

Both the Broadview Hotel and Eva’s Phoenix were named as finalists for the REBUILD category of the 2017 Brownie Awards, a program of the Canadian Brownfields Network established to promote projects and programs arising from the brownfield community. The REBULD category in particular recognizes ‘excellence in site-specific responses to public policy initiatives that accelerate the pace of regeneration resulting from development’, promote an enhanced public realm and successfully reimagine the adaptive reuse of heritage structures that promote increased health and well-being.

Eva’s Phoenix, located at 60 Brant Street (at the corner of Richmond Street), took home top honours. ERA’s role was of heritage consultant, supporting the work of lead architect LGA Architectural Partners. The scope of work included the photographic documentation of the property; conducting background research on the history of the property and its context, sourcing archival photographs and context maps; determining the impact of the proposed development on the existing heritage fabric; and preparing the Heritage Impact Assessment report, including a Statement of Cultural Heritage Value. The project team was comprised of Michael McClelland and Sydney Martin.

The site was once home to Toronto’s Water Works building, a heritage-designated property that was the site of the St. Andrew’s market from the 1830’s until 1860, when it was destroyed by fire. After an 1873 rebuild, the activity in the market began to decline, forcing it to close in the early 1900’s. The building that stands today was built in the Art Deco-style of architecture in 1932, designed by then City Architect J.J. Woolnough. It’s location between the high-density and thriving neighbourhoods of Queen and King Street West presents an exciting opportunity to redevelop the site as a culturally-rich, inclusive and dynamic resource for the local community. ERA has been brought on board as the heritage consultant to review the heritage approach and specify and review the conservation work. The site will eventually include a new YMCA, a public food hall, affordable housing, and a residential condo development tower that sits atop the conserved heritage base. The project team consists of Michael McClelland, Andrew Pruss, Annie Pelletier, Dan Eylon, Annabel Vaughan, Miranda Brunton, Anna Pavia, Diana Roldan and Peter Pantalone.

Brownie Award details: https://canadianbrownfieldsnetwork.ca/brownfield-awards/brownies
Water Works Development details: http://urbantoronto.ca/news/2017/09/work-begins-waterworks-building-heritage-preservation

Photos courtesy of Nathan Cyprys.