Back on December 6, 2022 I published a post about the colourful murals outside a semi-neglected, mostly-deserted building on the southwest corner of Jarvis Street and Queen Street East (141 Queen Street East, to be exact). The only merchant in this sketchy-looking place is the iPot Cannabis store; a parking lot consumes the rest of the space outside the building.
I hadn’t been down to this area for over a year, but I found myself passing through there last weekend. I noticed that many of the murals had changed. Here are the latest:
I would have captured a few more shots but I surprised a couple of cracked-out zombies as I rounded the corner of the building, and they weren’t very receptive to my presence.
I like to revisit some of the urban mural sites every so often to catch up on the artists’ latest creations; I’m glad I chose that particular route home that day.
In 2018, Paul Raff Studios installed a sculpture entitled Hours of the Day. The piece honours Ontario’s correctional workers who have fallen in the line of duty.
The “sheets” are actual sculptural representations of the angles of the sun as it moves over the hours of the day, month, season and year, forming a kind of a three-dimensional sundial.
The sculptor of the piece – Paul Raff – remarks that:
…one doesn’t need to read the time with it, but what it does do is speak to the theme of time, which to me was the most important and essential theme in recognizing the vital role that correctional workers play in the health of our society. It is this contribution, of the hours of service, that we felt needed to be articulated in the sculptural form.
The geometry of the sculpture is derived from a very specific and elaborate computer program which tracks the angles of the sun throughout the day.
What I love about [the sculpture is that with its very accurate, high tech, three-dimensional mapping, it actually strikes a remarkably unique figure that offers a lot of visual richness. It looks different from every angle, unfolding for pedestrians as they commute past it, looking different on their way to work than on their way home. It looks different at different times of the day, and in different light.
The sculpture is situated by Queen’s Park Crescent East, near the Legislative Assembly:
The Chapel of St. James-the-Less is located at 635 Parliament Street, in the grounds of the St. James’ Cemetery and Crematorium. It is a mid-19th-century funeral chapel built of stone in the High Victorian Gothic Revival style. The chapel is picturesquely set atop a small landscaped knoll, just inside the main gates of the cemetery.
The Chapel of St. James-the-Less was designated a national historic site in 1990 because this small funeral chapel is a splendid example of High Victorian Gothic design.
Designed by prominent Toronto architects Cumberland and Storm, St. James-the-Less exemplifies the small chapels built in the High Victorian Gothic Revival style. It maintains the liturgically correct interior, steep roof and prominent tower of earlier Gothic Revival designs, but presents its component parts in a manner that is both dramatic and harmonious.
The chapel is enhanced by its elevated site and the picturesque setting of St. James’ Cemetery, laid out by John G. Howard in 1842.
Character-Defining Elements
Key elements contributing to the heritage value of the Chapel of St. James-the-Less include:
its rectangular plan, typical of small parish churches in the High Victorian Gothic Revival style, with a nave, porch, tower and transept;
the clear articulation of its component parts, the nave, the porch, the tower, the transept and the prominent roof;
features typical of Gothic Revival churches, including, the steeply pitched roof with deep caves and low sidewalls, the Gothic-arched openings that are often paired, the use of buttresses, and the pinnacles executed in both stone and cast-iron;
its rough-cut stone walls;
the deep entrance porch, with its steeply pitched roof, low eaves, and intricate woodwork;
the short, square belltower set to the side and topped by a tall, thin broach spire with triangular dormers;
its fenestration patterns and windows, including, the deep-set trefoil side windows with stained glass, the stained-glass chancel windows, and the triangular roof dormers;
its materials, including Georgetown grey sandstone, white brick, Ohio stone trim, slate roofing, and wooden porch;
its interior finishes, including the exposed timbers of the roof structure and the wood panelling;
its siting on a slight rise;
its setting within the picturesque grounds of St. James Cemetery.
Chapel Interior
Source: Historic Sites and Monuments Board of Canada, February 1990
Originally opened in 1930 as “Eaton’s Seventh Floor,” The Carlu was spearheaded by businessman Timothy Eaton. Lady Eaton, who aspired to bring high society and world-class culture to Toronto, was actively involved in the planning and design of Eaton’s College Street and the Seventh Floor. To realize her desire for style and elegance, she commissioned famed French architect, Jacques Carlu.
The College Park elevator to The Carlu on the 7th floor
Arriving at the 7th floor
Carlu was renowned for his masterpieces in the Art Moderne style, known as streamlined monumentalism for its clean lines and grand scale. The Seventh Floor exemplified this style in every element, including the colour palette, architectural details, artwork, room appointments, as well as the glorious Lalique fountain gracing the centre of The Round Room. In fact, it is said that the sheer beauty and unique shape of The Round Room may have inspired the design of The Rockefeller Center’s iconic Rainbow Room.
In 2003, the space at 444 Yonge Street in College Park was reopened as The Carlu event venue after an extensive restoration.
Event Rooms
The Carlu has 4 event rooms, namely the Concert Hall, the Sky Room, the Round Room and the Clipper Room. The following room descriptions are from Carlu’s website:
The Concert Hall
The Concert Hall can accommodate large functions ranging from 600-1500 guests. The versatile space can be transformed from a state-of-the-art concert space, to an exquisite backdrop for large galas, conventions, award ceremonies and more:
The Round Room
The Round Room is said to have inspired the design of The Rockefeller Center’s iconic Rainbow Room. Its unique shape, paired with the Lalique fountain that graces the centre of the room, make it an impressive space:
The Clipper Room
From an intimate corporate reception, to an on-site bridal suite, the Clipper Room functions as a flexible lounge, dining and reception space that can be used independently or in conjunction with The Carlu’s additional event spaces:
Recognized as one of Toronto’s best examples of Art Moderne architecture, the style is in evidence throughout the space:
Exiting through the Carlu’s South Lobby we get one last look at the graceful Art Moderne details:
The Carlu has been designated as a National Historic Site of Canada, and has played host to royalty on several occasions as the preferred space for high profile social fetes, conventions, and corporate celebrations.
This is such a lovely part of the city. I love how they fixed up that square and the fountain…