Toronto Through My Lens

Author: Marvin Job (Page 7 of 32)

Illuminite 2024

Currently running until the end of March 2024 is an interesting LED light exhibition called Illuminite. There are 6 installations in total: 2 in Yonge-Dundas Square, 3 in Trinity Square Park behind the Eaton Centre, and 1 at Yonge and Shuter Streets (although this last one I was not able to locate during my visit).

Apparently Illuminite happens every year, but this was the first year I’d personally heard of it. I believe the event has been on hiatus over COVID so that would explain its absence.

At any rate, here’s a sampling of some of the works on display (descriptions courtesy of the Illuminite website):

Biolumen

Artist: Radha Chaddah & RAW Design
Location: Yonge-Dundas Square

Biolumen is by Toronto-based visual artist and scientist Radha Chaddah and architectural firm RAW Design.

Biolumen by Radha Chaddah x RAW Design is an immersive experience with changing light,texture, and sound. The art installation features ten large luminescent structures where art, science, and nature merge. Inspired by deep-sea Radiolaria, Biolumen represents resilience and beauty in harsh environments.

During the evening hours the columns cast patterns of light when spun by participants. During the day, the columns emit ambient sounds when spun.

Click images below for slideshow:

If there were darkness enough in Yonge-Dundas Square, this is how Biolumen would appear:

Digital Drapes

Artist: MattCreative
Location: HNR Properties 19-21 Dundas Square

Digital Drapes is the crossover between light, motion, and architecture, where all of the windows of a building are covered in grids of programmable LEDs. Dynamic visualizations are created that work together with the unique geometry of the building to activate the entire space, turning the entire building into an interactive canvas.

Unfortunately my shots of Digital Drapes cannot do it justice; the LEDs were constantly changing and pulsating so it was hard to capture this installation at its best:

Ethera

Artist: Ariel Weiss
Location: Trinity Square Park

Ethera is an interactive and LED based public art installation designed by students from the Department of Architectural Science at Toronto Metropolitan University. Toronto-based lighting design studio Urban Visuals and StrongLED also served as industry partners for the Media Architecture Biennale.

Through its polycarbonate and recycled glass-filled skin and its LED-based lighting system, the installation plays with lighting in both natural and artificial conditions.

The animated Ethera pavilion creates an immersive experience that invites visitors to disengage with the city around them, encouraging a childlike playfulness:

SAM Lamp

Artist: Sam Hardwicke-Brown
Location: Trinity Square Park

This installation is a response to episodes of negative mental health that we all face throughout our lives. Through the semiotics of structure, and the use of seasonal affective disorder (SAD) light technology, the intention of the installation is to provide support to those within the structure. This noctilucent installation aims to provide temporary comfort to those in need. In the bleakest of darkness, one will find support in the light.

This project acts as a Seasonal Affective Meditation space, and temporary safe haven for those in need:

Spectrum

Artist: Spectrum by Mirari, co-production of Quays Culture and Quartier des spectacles Partnership. Distribution by QDSinternational.
Location: Trinity Square Park

A listening experience, in which you are invited to engage with others in a sound-and-light dialogue. Take some time to listen, in order to see.

This interactive installation sheds light on the phenomenon of communication, by displaying the path taken by the waves generated by voices and other sounds. Here, the fundamental means of interpersonal communication, speech, is disconnected from language. Instead, it becomes a cascade of waves and luminous pulses, illustrating the fascinating trajectories of sound. Watch as your message moves from one end of the circles to the other. You will see how small gestures – invisible reverberations – can have a big impact:

The installations can be enjoyed for free daily until midnight, from March 1-31.

Illuminite has been created and sponsored by the Downtown Yonge BIA, with support from the Government of Canada and the City of Toronto.

Winter Stations 2024

What Is Winter Stations?

This past weekend I visited the latest iteration of Winter Stations at Woodbine Beach. Winter Stations is a single-stage international design competition held annually in Toronto. Participants are tasked with designing temporary winter art installations which incorporate existing lifeguard towers spaced strategically across the city’s Kew and Woodbine beaches. The structures (not in use in the wintertime) are considered visual anchor points for the installations.

Every year Winter Stations has a theme; this year it was entitled Resonance.

As in previous years, Winter Stations intends to build 4-6 winning proposals for a six-week exhibition along the waterfront, funding permitted.

While Toronto beaches are not typically as well visited in the colder seasons, Winter Stations has captured the imagination of the city. Designers can expect their designs to be well-visited and should anticipate public interaction.

The Installations

This year Winter Stations is spread around a little more to offer more easily accessible locations. There are six installations on Woodbine Beach, which are the ones I’ve covered in this post. There are three more installations that I did not get to: one in Woodbine Park, one in Kew Gardens and one in Ivan Forrest Gardens.

Installation descriptions courtesy of the Winter Stations website.

Bobbin’

Bobbin’ invites the visitor to a place where pivotal moments and whimsical memories prompt reflection. It shelters visitors with slats that create an ever-changing threshold between the bobbing zone and the surrounding beach. The seesaws draw from the playground-like Sling Swing and Lifeline projects, while its form within the landscape reflects HotBox and Introspection. Each material has been sourced from previous student projects in addition to salvaged materials from the community of Cambridge. As you navigate through, bobbing up and down, a fresh perspective unfolds, encouraging resonance with the surrounding and past Winter Stations.

We Caught A UFO!

We Caught A UFO! builds upon the project In the Belly of a Bear, which utilized the lifeguard chair by lifting the public above ground into a cozy space, transporting them into a new world. We Caught a UFO! re-imagines these qualities by referencing the rumours and whispers of the many UFO sightings across Lake Ontario. However, these rumours can no longer be disputed, as there is now physical proof! Caught under a net, the UFO is wrapped in glued aluminum foil which glimmers in the light, contrasting its surroundings as a foreign object. The public (especially kids!) are encouraged to explore the UFO and can climb up into the main space where pink plexi windows transform the beach into a new tinted landscape or planet! Ultimately, We Caught a UFO! is an installation which stimulates the public’s imagination while also providing a necessary shelter from the wind and cold.

WinterAction

WinterAction is a collaborative installation between the University of Guelph Department of Landscape Architecture and Ashari Architects in Iran. Its physical form is extremely simplistic and frankly underwhelming, but that’s because this iterative installation requires a phone to get the full experience. Through an augmented reality labyrinth journey, participants are provided with the opportunity navigate from confusion to inner peace, symbolized by a virtual tree at the centre that dynamically evolves with interactions. To begin, you need to download an app from the QR code on the installation’s sign.

Nova

Beneath the night sky, stars shine and create geometric patterns. Nova is a star that has crashed on top of a lifeguard station and illuminates Woodbine Beach throughout the night. Nova highlights TMU’s past decade of Winter Stations, inspired by the origami, materiality, and form of Snowcone, Lithoform, and S’Winter Station. Nova introduces 3D printing, a textile canopy, and an elegant steel pipe connection to create a pavilion with Resonance. The star pavilion shields users and encourages them to engage with their surroundings, and the lifeguard station makes a beacon for users to access panoramic views of the beach.

Nimbus

Inspired by the airy strands that make up the 2016 installation Floating Ropes, Nimbus’s playful shapes and colours do more than just resonate with its predecessor. Nimbus evolves the concept and materials by adding saturated blue ropes hanging below a bubbly white structure. The station asks visitors to consider the presence and absence of rain in our contemporary world by referencing both severe storms and flooding, as well as concerning trends of lack of rain, drought, and desertification.

A Kaleidoscopic Odyssey

A Kaleidoscopic Odyssey invites onlookers to step into an experience where we challenge where reality ends and imagination begins. Explore the limitless depths of perception with this mesmerizing adaptation of Kaleidoscope of the Senses, 2020. In this installation, there are two guiding concepts. The scale of a traditional kaleidoscope is magnified 84 times to a human scale so participants can inhabit the instrument and become a part of its wonder. Where a kaleidoscope is commonly a closed-loop system, this device is deliberately severed into two sculptured equal-and-opposite parts, with purposeful space between them.

The Old Don Jail

Given that my last post was of the Hennick Bridgepoint Hospital, it seems only natural to segue into posting about its next door neighbour – the old Don Jail.

When I first arrived in Toronto many moons ago I remember hearing about the infamous Don Jail from so many different people. To say the place fell into wrack and ruin was an understatement; by all accounts it had all the charm of a medieval dungeon.

Construction & Cramped Quarters

The Don Jail was built between 1858 and 1864, with a new wing built in the 1950s. Designed in 1852 by architect William Thomas, who also designed St. Michael’s Cathedral and St. Lawrence Hall, the jail was constructed with a distinctive facade in the Italianate style.

The Don Jail opened in 1864 and closed in 1977. The Jail was state-of-the-art when it was built, and considerably more humane than jails in much of the world at the time. It was certainly a great improvement from earlier Toronto Jails. The cells, though, were tiny – just 86 centimetres wide and there was no electricity or plumbing. A bucket served as a toilet, which was emptied every morning.

Prisoners were not allowed to talk without permission and received only monthly visits from friends and family. Violations frequently resulted in flogging. For about the first 100 years, inmates generally were not allowed to speak unless addressed first by a prison official.

Prisoners spent 23 hours a day in the cell blocks with the remaining hour in the outdoor exercise yard, now a parking lot. They had to keep moving in the yard and were not allowed to sit around and soak up the sun. The inmates did much of the maintenance including painting, carpentry work and other jail repairs. They also worked a jail farm that covered much of the present Riverdale Park.

Overcrowding

In later years the Don Jail became extremely overcrowded. Frequently three inmates were held in cells meant for a single prisoner and in other cells inmates went for days without a chance to exercise. The environment was so bad that both prisoners and guards were at risk. The jail did not meet the minimum prison standards of the United Nations.

At one time the jail held 691 prisoners, well over the recommended maximum. It was designed to house 275 prisoners, one per cell, and it was noisy and plagued with mice and cockroaches. Many of the prisoners suffered from mental illness.

Public Hangings

Public hanging in Canada wasn’t abolished until 1869, and in Toronto it was moved indoors from the Don Jail yard to its confines in 1905. Before capital punishment was abolished in Canada, the Toronto Jail was the site of a number of hangings. Starting with the execution of John Boyd in January 1908, hangings at the jail took place in an indoor chamber, which was a converted washroom, at the northeast corner of the old building.

Previously, condemned men had been hanged on an outdoor scaffold in the jail yard. The indoor facility was seen as an improvement because outdoor executions were quasi-public (at the hanging of Fred Lee Rice on July 18, 1902, crowds had lined surrounding rooftops to see something of the spectacle), and because the condemned didn’t have to walk as far.

A Massive Renovation

When the Hennick Bridgepoint Hospital demolished the 1950s-era Riverdale Hospital building to replace it with a new 10-storey facility, the historic Don Jail building was extensively renovated to serve as the administrative wing for the hospital, a process which included the removal of “150 years worth of grime” from the exterior. About 20 per cent of the former jail’s heritage interior was preserved, including the centre block’s half-octagonal rotunda featuring clerestory windows, as well as original iron railings and balconies supported by griffin and serpent cast-iron brackets.

In 2012, Bridgepoint Health commissioned a complex restoration project to be carried out on the Don Jail, overseen by several architecture firms. The inflexible floor plan, established for the isolation and separation of prisoners, was transformed into an open, welcoming, and functional administrative space for the new Bridgepoint Active Healthcare Centre.

About 20 per cent of the former jail’s heritage interior was preserved, and the rest of the brickwork cleared out to make way for modern office space. Clear material distinctions were made between new and old and the patina of history. A new partition never meets an old wall, but instead is separated by a glass fin and the marks of history. This work was recognized with the 2016 Built Heritage Award of Excellence.

Hennick Bridgepoint Hospital coupled with the Old Don Jail

The east wing was formally decommissioned on January 6, 2014, at which point it too was transferred to Bridgepoint Health and demolished in March and April of that same year. The grounds of the former jail are being landscaped into a city park to be named Hubbard Park after William Peyton Hubbard. The former Don Jail Roadway has been extended and renamed Jack Layton Way after Jack Layton, the late leader of the New Democratic Party of Canada and former Member of Parliament for the area.

On A Final Note, Literally…

Those who know me know I’ll link pop music to anything, and the Don Jail is no exception. Most of us from the music video era know that a certain Canadian pop star who liked to wear sunglasses at night shot his 1984 signature video at the old Don Jail. This was way, waaaaay before its current renovated state of course:

OK, queue the pulsating synths…

Resources:

There are practically hundreds of articles written on the history of the Don Jail. The information above was gleaned from several websites, the City of Toronto and the Ontario Heritage Foundation by the Toronto Historical Board.

For an interesting 2011 article from The Globe & Mail regarding the Don Jail, click here. The piece highlights much of the harrowing and inhumane conditions in the jail during its prime.

The Max Tanenbaum Sculpture Garden

The Max Tanenbaum Sculpture Garden is a semi-hidden Toronto gem. It sits on the west side of the Hennick Bridgepoint Hospital beside the old Don Jail at Broadview Avenue and Gerrard Street East. I call it “semi-hidden” because the figures in the Sculpture Garden can only be seen from the Don Valley Parkway; they are practically invisible from either Broadview Avenue or Gerrard Street East.

These are marvellous figures, created by Canadian sculptor William Lishman (1939-2017). Since 2015, twenty of his works have been displayed outside Bridgepoint, a hospital for patients with complex chronic disease and disability.

The works of this talented creator are displayed at a number of Canadian locales. Amazingly, Lishman was dyslexic and colour blind, which must have made for an interesting time when creating these sculptures.

Designed in memory of the late businessman and philanthropist Max Tanenbaum, the colourful, life-sized pieces at Bridgepoint aim to celebrate the human spirit. According to a post on Hennick Bridgepoint Hospital’s website, the figures aim to express the capabilities of the physical form through dance, sport and movement. The sculptures complement our building and speak to the hope and aspiration we bring to our patients, families, and the community.

We are privileged to have an installation by William Lishman on our campus. These life-sized sculptures depicting human figures engaging in dance, sports and movement evoke a sense of wonder, The artwork inside and outside of our hospital has a positive impact on our patients, connecting them to the life of the community and city. We’re grateful to the Spiro Family who donated the work, which was designed in memory of the late Max Tanenbaum (1909-1983).
Dr. Gary Newton, President and CEO of Sinai Health System

If you would like to view a short YouTube video highlighting the Sculpture Garden, you will find one below:

A Few Bonus Shots

As I was leaving the Hospital grounds, I noticed these Sorel Etrog sculptures by the front doors:

The Max Tanenbaum Healing Centre

As an adjunct to this Sculpture Garden, The Max Tanenbaum Healing Garden can be found on the 14th floor atrium of Princess Margaret Cancer Centre. The Princess Margaret website describes this garden as:

cultivated patterns of formal French gardens incorporating the artistry of hand-blown glass flowers, enclosed by an artificial boxwood hedge. The vertical walls feature decorative panels that add another visual dimension and unify a garden rich in colour, creativity and natural forms. The hand blown glass flowers have each been created to blend together in a colourful garden that resembles a rainbow; red, orange, yellow, green, blue and purple are all represented in the garden with flowers that carry one colour or a blend of multiple colours and tones.

The few shots I’ve seen of the Healing Garden look amazing and I plan to feature it in a future post.

Curves At The AGO

The Art Gallery of Ontario (AGO) at 317 Dundas Street West is a near-limitless photography source of beautiful curves, gentle angles and spirals.

The building complex takes up 45,000 square metres of physical space, making it one of the largest art museums in North America and the second-largest art museum in Toronto, the Royal Ontario Museum (ROM) being the largest.

The gallery was established in 1900 as the Art Museum of Toronto and formally incorporated in 1903. The museum was renamed the Art Gallery of Toronto in 1919, before it adopted its present name, the Art Gallery of Ontario, in 1966.

The museum’s permanent collection includes over 120,000 works spanning the first century to the present day. The museum collection includes a number of works from Canadian, First Nations, Inuit, African, European, and Oceanic artists. In addition to exhibits for its collection, the museum has organized and hosted a number of travelling art exhibitions.

If you’d like to check out the latest exhibitions at the AGO, click here.

From The Vaults: Farewell, Jack

This post is based on an event from thirteen years ago, so I guess it qualifies for my so-called From The Vaults series.

A Bit Of Background

Everyone who has a pulse is familiar with the name Jack Layton (July 18, 1950 – August 22, 2011). Jack served as the leader of the NDP from 2003 to 2011 and was leader of the Official Opposition in 2011. Previous to that he sat on Toronto City Council, occasionally holding the title of Acting Mayor or Deputy Mayor of Toronto during his tenure as City Councillor. Jack was also the Member of Parliament (MP) for the Toronto-Danforth riding from 2004 until his death.

Jack rose to prominence in Toronto municipal politics, where he was one of the most prominent left-wing voices on the City and Metropolitan Toronto Councils, championing many progressive causes. In 1991, he ran for Mayor, losing to June Rowlands. Returning to Council, he rose to become head of the Federation of Canadian Municipalities. In 2003, he was elected leader of the NDP.

Under Jack Layton’s leadership, support for the NDP increased in each election. The party’s popular vote almost doubled in the 2004 election, which gave the NDP the balance of power in Paul Martin’s minority government.

Jack died on August 22, 2011, after being diagnosed with cancer. He was survived by his wife of 23 years – our current Mayor – Olivia Chow.

Remembering Jack, Nathan Phillips Square

In the week before the funeral, Jack’s body was laid in state at Parliament Hill at the House of Commons foyer in Ottawa, then in repose at Toronto City Hall.

On August 26, 2011 a huge memorial for Jack was held in Nathan Phillips Square, outside Toronto City hall. It is from this memorial that my following pictures originate. It was a low-key but very powerful event; the love and respect for this man was clearly on display everywhere in the Square that evening:

Interment

Jack Layton’s ashes were scattered in three places: Cote St. Charles United Church in Hudson, Quebec where he was raised; on Toronto Island, where he was married; and at the Toronto Necropolis, near where he lived.

Here is Jack’s bronze bust atop a red granite pillar at the Toronto Necropolis:

Leaving A Legacy

For those interested, here is a CBC timeline of Jack Layton’s accomplishments

New Timothy Schmalz Sculptures

As I roam the city with camera in hand I’ve discovered one sculptor whose work appears in several places: Timothy Schmalz.

Timothy Schmalz is a prolific and gifted Canadian sculptor from St. Jacobs, Ontario. Most of his work personifies his devotion to Catholicism. Cast editions of his life-sized sculptures have been installed in major cities in front of some of the most historically significant Christian sites in the world.

Notable Work

Timothy Schmalz is best known for his Homeless Jesus sculpture he created in reaction to the many homeless living on the streets. That bronze sculpture was intended to be provocative, with Schmalz commenting: That’s essentially what the sculpture is there to do. It’s meant to challenge people.

As of today, over 50 bronze casts of Homeless Jesus are installed in religiously significant and historical locations around the world from Vatican City to Capernaum, Israel to Johannesburg, South Africa to Singapore.

We are fortunate to have a copy of Homeless Jesus here in Toronto, located at the doors to Regis College, 100 Wellesley Street West. If you would like to read my post on Toronto’s Homeless Jesus, you will find it here.

When I Was Sick

During the course of one day I recently came across two new (to me) sculptures by Timothy Schmalz. The first is entitled When I Was Sick and it can be found in front of the Church of the Redeemer at 162 Bloor Street West, on the corner of Bloor Street West and Avenue Road. It was unveiled on September 24, 2023:

Let The Oppressed Go Free

The other new Schmalz sculptor I’ve discovered is entitled Let The Oppressed Go Free. This enormous sculpture is located in front of Regis College at 100 Wellesley Street West, at the corner of Queen’s Park Crescent. The work was unveiled on October 25, 2023.

Schmalz was requested by the Vatican to create a sculpture on the theme of human trafficking. The depicts former slave St. Josephine Bakhita opening a trapdoor as she frees figures that represent human-trafficking victims.

The sculpture contains almost a hundred figures representing the different faces of human trafficking including sex exploitation, forced labour, debt bondage and more. Men, women, and children, including an infant are shown to demonstrate the wide range of victims of human trafficking:

The sculpture’s inspiration and name come from the Bible passage Isaiah 58:6:

Is not this the kind of fasting I have chosen: to loose the chains of injustice and untie the cords of the yoke, to set the oppressed free and break every yoke?

The original of this massive bronze sculpture is installed in the Shrine of St. Bahkita in Schio, Italy.

Honourable Mention

Also of note, there is a Timothy Schmalz sculpture in front of St. Paul’s Bloor Street (227 Bloor Street East), entitled When I Was a Stranger. This piece invites pedestrians to sit on bronze stools, joining the cloaked figure of Jesus Christ. I will be publishing a future post about this sculpture, so stay tuned for that.

If you would like to learn more about the artist, Timothy Schmalz’s website is found here.

So Long, Icefest

Traditionally, one winter event I always look forward to in Toronto is the Bloor-Yorkville Icefest. It makes for a great photo opp and a chance to admire some truly amazing ice sculptures created by very talented artists.

The event is usually held about this time every year, so about two weeks ago I started prowling the Internet for event details. After practically reaching the end of the Internet and not finding any listings for Icefest (except for stale information from last year’s event), I learned that the Bloor-Yorkville Icefest has been permanently cancelled after many successful years of its run… say WHAT!?

To that end, I finally found the following media release on the Bloor-Yorkville BIA website:

A Message from Bloor-Yorkville Icefest

Bloor-Yorkville Icefest is an annual event, produced by the Bloor-Yorkville BIA,
for the past 17 years, bringing the community together to celebrate winter and to
support important charitable causes.

Unfortunately, we have made the difficult decision to cancel Icefest for the
foreseeable future. This decision was made in response to logistical challenges
and limitations, which have impacted our ability to organize and execute the
event successfully. We are immensely grateful to all our suppliers who have been
incredible partners in developing Bloor-Yorkville Icefest through the years, and
we also would like to thank the community, our businesses and our annual
sponsors for their continued support.

Well… crap! Another Toronto tradition bites the dust…

The Bloor-Yorkville Icefest Gallery

So, in light of Icefest’s demise I present to you a collection of images from its past few years – an Icefest Retrospective, if you will. Just click on the first image to launch the slideshow; hovering your mouse over the image will pause the slideshow.

Enjoy…

The Toronto Inukshuk

The Toronto Inukshuk resides in Toronto Inukshuk Park at 789 Lake Shore Boulevard West, west of Coronation Park.

The sculpture is one of the largest of its kind in North America, according to the City of Toronto. It stands 30 feet high and its arms span 15 feet. Made of granite, it
weighs about 50 tonnes. The Inukshuk was unveiled in 2002 to commemorate World Youth Day, when Pope John Paul II visited the city.

The Inukshuk, a sculpture made up of piled stones, is a familiar symbol of the Inuit, mostly found in the Arctic landscape and often used as a navigational tool.

This Inukshuk was designed by Nunavut-born artist Kellypalik Qimirpik.

Former Mayor Mel Lastman spoke at the 2002 unveiling. His speech is engraved on this granite slab next to the Inukshuk. Part of it says:

World Youth Day has been a true navigational guide for millions of young people throughout the world. The Toronto Inukshuk invites each one of us to become beacons of light and hope, striving for justice and peace in this world.

“Across Time and Space, Two Children of Toronto Meet”

In 2011 sculptor Ken Lum completed his work: Across Time and Space, Two Children of Toronto Meet. The piece is located west off Bay Street and south of Dundas Street West, directly behind City Hall. It involves a long passageway from Bay Street to City Hall.

Two bronze sculptures placed on either end of this corridor represent historical immigrants to the area in the form of two children from different eras. The boy wears traditional Chinese clothing, closely related to the clothing worn during the Qing dynasty including the six paneled “Little Hat,” and the tunic with a mandarin collar and frog buttons which were popular during this period.

Pinned lettering in oxidized bronze separating the children reads: Across time and space, two children of Toronto meet…

The girl wears a simple collared, long sleeve dress with a bandana tying her hair.

The work calls the audience to think about the children’s divergent histories which have preceded their settling in Toronto. Specifically, the figure of the boy in traditional clothing is symbolic of the Chinese immigrant community through his cultural clothing. In contrast, the figure of the little girl in European dress, becomes a reminder of Canada’s white immigrant history, which has interacted directly with the Chinese immigrant history in the nation.

By facing the children toward one another, Lum uses his art to point towards a complicated web of national settler histories that converge and negotiate with one another, which has taken place in this very area of the downtown core.1

1Kaliyah Macaraig, Open Library

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