Last weekend, while in the Bay-Bloor area, I suddenly had an idea to check on the state of the Cumberland Terrace mall. I knew it had fallen from grace lately, but I just wanted to see how far down it had gone – way down, as I found out.
For those not familiar, Cumberland Terrance is a two-story mall running from Bay Street to Yonge Street – a considerable distance. The lower level host(ed) a huge food court, and the street level contains shops and services (or what’s left of them…).
It was mid-day Saturday – peak time for people to be out and about, I should think. As I walked through the lower level food court area, it gave off a creepy vibe: there was no one around, other than a homeless person or two, and everything was shuttered. What little sound there was bounced off the barren walls and floors. I went up to the street level portion of the mall to see if it was in a similar state; it had fared a little better as it didn’t look quite as deserted as the lower level.
The Nicest Way From Yonge to Bay...
“The nicest way from Yonge to Bay” was Cumberland Terrace’s slogan when it opened on October 14, 1974:
Described in an ad as “three glass-enclosed levels of intriguing shops and restaurants,” it utilized fashionable hues of red and orange brick and flooring to enhance its landscaped interior. Initial tenants included a mix of chains (Black’s, Classic Book Shops, Dack’s Shoes, LCBO), and independent retailers with odd names like “Mr. Eat ’Em”.
Highlights of the opening on day one included a steam calliope playing at the northwest corner of Yonge and Bloor, and a display of classic cars sponsored by a cigarette maker. Within a month, DeBoer’s opened a two-floor furniture store. The mall’s location above a busy subway junction and across the street from a new parking lot seemed to bode well for its future.
Decline
The mall slowly decayed over the following decades, as its higher-end retailers moved elsewhere and its upper levels emptied. As the owners failed to upgrade the premises, Cumberland Terrace became an unofficial monument to 1970s shopping design. Despite providing a home for independent businesses, it was increasingly viewed as a blight on the increasingly aspirational neighbourhood streetscape. **
In Toronto, Cumberland Terrance is one of the last barely-altered examples of 1970s retail architecture. It never did bounce back after COVID wrecked havoc on the world; it’s a pity the mall has come to such a sad state.
Currently…
Like many, I remember how this mall was the place to shop and eat back in the day. Fast forwarding to today, here’s how the lower level looks:
The Future of Cumberland Terrace?
Apparently there have been many different development proposals over the years. The latest one can be found here.
Development proposal by KingSett Capital
We will just have to wait and see what becomes of the space.
So many people have expressed an interest in the so-called Cube House at 1 Sumach Street. I just saw this article in blogTO and wanted to repost it here for those interested in a recent update regarding the house’s future.
The author of this article is Jack Landau, writing for blogTO.
Toronto’s iconic Cube House to be Demolished but Not Completely Lost
The fate of Toronto’s iconic Cube House seems sealed, but a new company that has taken the helm of the forthcoming redevelopment is considering paying homage to the soon-to-be-demolished structure in a fun and creative way.
The eccentric structure at 1 Sumach Street was built in 1996 with an unconventional design by architect Ben Kutner and his partner Jeff Brown, inspired by Dutch architect Piet Blom’s similar works in Rotterdam and Helmond.
While beloved by many architecture enthusiasts, the building was first threatened when a proposal for the site planned for the current structure to be torn down and replaced with a new (and unique in its own right) 35-storey tower.
Block Developments acquired the site from previous developer Markee in 2023, and the company shared more details about the future of the Cube House in a press release on Thursday.
Block states that it has “been working closely with engineers and inspectors to explore ways to safely preserve the Cube House,” amid campaigns to save the heritage-listed landmark, but failed to find a solution that retained the beloved building.
However, the Cube House is set to live on in an unexpected way, as Block announced that it had partnered up with local artist Benjamin Von Wong to reimagine the structure following its impending demolition.
“After exploring multiple paths for the Cube House’s future, it became clear that it could not be safely preserved. Instead, we have chosen to continue its legacy through this collaboration with Benjamin,” says Joseph Reichmann, Chief Development Officer of Block Developments, adding, “We look forward to seeing where his creative process takes us.”
Von Wong is best known for his works that transform recycled and reclaimed materials into sculptural art, including his well-received “E-Waste Generator,” currently running as part of Arcadia Earth’s Toronto Exhibit.
Von Wong’s work on the upcoming 1 Sumach project will see materials from the Cube House repurposed into a sculptural artwork intended to extend the structure’s legacy well past its demise.
“I’ve always tried to create art that triggers a sense of shock, awe and wonder,” says Von Wong.
“The Cube house does all three, and I’m excited to have the opportunity to repurpose and reimagine what a future metamorphosis could look like in this creative partnership with Block Development that respects both the community and its legacy.”
“The cube house was originally envisioned as an urban community – but as that chapter closes and a new one opens up, I’m excited to see how we can honour that legacy as we design an installation that explores new ways we relate to ourselves, each other and the world around us.”
Joseph Reichmann stated that the team is “excited to partner with Benjamin to reimagine the Cube House in a way that honours its architectural significance while embracing the future of the site.”
The new project planned to replace the Cube House is expected to bring a mix of market-rate rentals, condos, and affordable housing to the site.
According to Block, “Plans for the overall development site are still under development,” and the developer is working with the City “to present a vision that will bring much-needed housing and community amenities to the neighbourhood. The developer is also exploring the possibility of including a grocery store, as well as various housing options.”
At 189 Yonge Street we find the fabulous Elgin and Winter Garden Theatres. These are separate theatres located in the same building: the Winter Garden is located seven storeys above the Elgin, which is at street level. They are the last surviving Edwardian stacked theatres in the world.
Hallway to theatre lobby
A Bit of History
Currently owned by the Ontario Heritage Trust, the pair of theatres were originally built as the flagship of Marcus Loew’s theatre chain in 1913. The building was designed by architect Thomas W. Lamb, who also designed the Ed Mirvish Theatre (formerly named the Pantages Theatre). The Elgin Theatre has a seating capacity of 2,149, while the Winter Garden Theatre seats a maximum of 1,410.
Lobby of the Elgin & Winter Garden Theatre
Before construction of the stacked theatres, Marcus Loew intended to rent out the Yonge Street frontage as commercial space, but the dimensions contravened a 1912 Toronto bylaw. To bypass the bylaw, Thomas Lamb had to file drawings with the City Architect’s Office that showed a “sham” entrance on Victoria Street. Today, the Victoria Street entrance is still used — as the stage door.
Both theatres were built to host vaudeville acts and the short silent movies of the time. Each theatre was intended for a different class of patron. The gold-and-marble, domed, “hard-top” lower theatre (originally called Loew’s Yonge Street Theatre) was home to continuous vaudeville and movies. The theatres played host to such greats as George Burns & Gracie Allen, Sophie Tucker, Milton Berle and Edgar Bergen & Charlie McCarthy.
The Elgin
The classical architecture of the Elgin was typical of vaudeville stages, set apart by its lavish interiors. Renowned for its warmth of colour and coziness, it was decorated in modern French Renaissance style – with gilt, imitation marble, red damask and ornamental plasterwork of festooned grapes, ribbons and musical instruments.
In 1939, the Elgin held the premieres of classic films such as The Wizard of Oz and Gone With the Wind. It would continue to be open for the public from the end of World War II into the late 1970s, but as a cinema the theatre was facing high taxes. Even in 1940, as it lost money, the Elgin was beginning its journey towards degradation as the splendour of the old vaudeville days was starting to fade.
The Winter Garden
The upper-level Winter Garden is an “atmospheric” country garden under the stars, painted with murals of plants and garden trellises, with tree trunk columns and lantern lights. This upper theatre was originally built for the “big time” vaudeville market and had reserved seats at premium prices, catering to affluent patrons. As well as competing in a different market, the upper theatre could be used for experimentation with acts, without the risk of closing the lower theatre.
Decline and Closure
With the decline of vaudeville, the Winter Garden closed in 1928. It remained closed for more than half a century, becoming a time capsule of a bygone era. The lower-level Elgin, with its grand domed ceiling, continued as a movie house, gradually slipping into disrepair with the passing of each decade. After closure there was left inside a large collection of vaudeville flats and scenery, now the world’s largest surviving collection.
In 1969, Loews sold the Elgin to Famous Players. By the late 1970s, the Elgin was showing mainly B movies and soft-core pornography. In 1981, the Ontario Heritage Foundation bought the structure from Famous Players. The Elgin was closed as a movie theatre on November 15, 1981; the final film presented at the theatre was the erotic sex comedy What the Swedish Butler Saw.
From March 1985 through March 1987 the musical Cats was very successfully presented in the essentially unrestored Elgin, showing the viability of the theatre. Cats went on to gross nearly $22 million in ticket sales, making it one of Toronto’s most successful commercial shows.
Rebirth
Later in 1987, a $29-million restoration began in both theatres, directed by architect Mandel Sprachman; this was the largest theatre restoration ever undertaken in Canada. The gilt plaster detail work in the Elgin required more than 300,000 wafer-thin sheets of aluminum leaf. The walls of the Winter Garden had to be cleaned using hundreds of pounds of raw bread dough to avoid damaging the original hand-painted watercolour artwork. More than 65,000 square feet of new space was created, including lobby and lounge areas and an eight-storey backstage pavilion housing modern dressing rooms and two rehearsal halls. The theatres reopened to much acclaim in 1989.
The Elgin had suffered extensive alterations through its declining years of use as a movie theatre. The proscenium arch had been destroyed to accommodate a wider screen and the opera boxes had disappeared. With the original architectural drawings and archival photographs as reference points, the interior of the Elgin with its gilt ornamental plaster surfaces, red damask wall coverings and imitation marble features was painstakingly restored or reconstructed.
Historical Photos
Out front of Loew’s Yonge Street theatre in the 1920s Photo: Toronto Transit Commission Archives
The decaying structure of the The Winter Garden, 1967 Photo: Toronto Star Archives
The Elgin undergoing its extensive renovations in 1987 Photo: Toronto Star Archives
Here’s an excellent short video detailing the history, decline and rebirth of these beautiful theatres:
The Elgin and Winter Garden theatre building is a National Historic Site of Canada, and the theatres remain one of Canada’s finest theatrical stage complexes. A sampling of shows that have been presented here includes:
The Wizard of Oz
Kenneth Branagh’s King Lear
Robin Philips’ production of Aspects of Love
The North American premiere of Joseph and the Amazing Technicolor Dreamcoat with Donny Osmond
Napoleon
George F. Walker’s Nothing Sacred
The Who’s Tommy
STOMP
Forever Tango
Tap Dogs
Mikhail Baryshnikov and the White Oak Dance Project
Grease
The Full Monty
Stones in His Pockets
The Drawer Boy
Copenhagen
Rent
Avenue Q
Tuesdays with Morri
Various productions by Opera Atelier, the Canadian Opera Company and Ross Petty Productions
The theatres have also presented musical and comedy concerts, lectures, award presentations, gala screenings from the Toronto International Film Festival and a variety of special events and receptions.
The marvelous ceiling in The Elgin Theatre
A Haunted Elgin/Winter Garden?
According to the website TorontoGhosts.org, a number of paranormal occurrences in the theatres have been reported over the years, including:
A workman in the theatres watched once as a group of theatre seats in the Winter Garden folded down as if an unseen audience had just sat down to watch a performance, and then, moments after, returned to their normal position.
The hand operated elevators, which supposedly require an operator to move, will suddenly start up by themselves and go to various floors for no apparent reason. Staff have either experienced this themselves or know someone closely who has.
Many staff and a few theatre patrons have reported an apparition of a woman in Edwardian clothing appearing in the lobby and remaining long enough to be witnessed by a few before disappearing.
Some of the volunteers doing the renovation conducted a session with a Ouija Board. Almost as soon as they started, a ghost named “Samuel” identified himself. He had been a trombone player in 1918 who had passed away by falling into the orchestra pit of the Elgin. The volunteers asked if there were any other spirits there. He said yes, but when they asked to talk to them, he refused.
If you’re still reading this – thank you! I realize this has been a long-ish post but with such a fantastic subject, it’s easy to get a little carried away – the building is certainly deserving of architectural praise. We are so very fortunate to have this historic, gorgeous theatre complex in our city and shouldn’t take it for granted. The Elgin and Winter Garden came very close to being demolished like so many of Toronto’s heritage buildings… and that would truly have been a shame.
The last time I walked down The Esplanade, I was struck by how many new condos have sprung up in that neighbourhood. I thought it may be interesting to put together a little photo journal of the structures I encountered that day.
More condos going upNovotel, on The EsplanadeNovotel, on The EsplanadeNovotel, on The EsplanadeIn behind Meridian Hall (aka The Okeefe Centre/Hummingbird Centre/Sony Centre… take your pick)“Eagle V. 1” by Dean Drever, 2018. 1 The Esplanade, southeast corner of The Esplanade and Yonge Street. I had not noticed this remarkable sculpture until I turned around and looked behind me.Reflections from Front Street EastReflections in Commerce CourtKing Street West and Yonge Street
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.
On an oddly-angled section of Dundas Street East, just east of Yonge Street, sits a heritage building which recently has become nothing more than a hole in the ground.
Many will remember this building as the old Hakim Optical store from several years ago:
Photo: Adam Wynne
In June 2023, Toronto Metropolitan University (TMU, formerly Ryerson University) announced the acquisition of two new properties, including 38-40 Dundas Street East. Prior to the sale closing, the City of Toronto deemed 38-40 Dundas Street East in a state of disrepair and required it to be demolished in order to protect public safety. The building has sat vacant since 2010 after its most recent tenant – Hakim Optical — vacated the property.
Despite its history tracing back at least 113 years, the building at 38-40 Dundas Street East lacks heritage protections, and, in its current condition, has been deemed non-salvageable.
Street Murals Found a Home
Despite the building being unsafe on the inside, the south exterior side was in good shape, providing a wide canvas for several murals over the years.
Here’s how the building appeared in October 2021:
On the Yonge Street/Victoria Street sideOn the Yonge Street/Victoria Street sideOn the Dundas Street East side
In August 2022 we were treated to this new Made In Canada mural:
Then, in October 2022 we were greeted by Harry Styles, gazing down at us:
So Long, Harry…
And now – in June 2024 – we say goodbye to Harry and 38 Dundas Street East, as the demolition proceeds in earnest. When I passed the building last week, Harry was quickly disappearing:
A Bit of Building History
The construction date of 38-40 Dundas Street East has been identified as 1913 in several sources. However, there is the possibility that the extant building may have incorporated parts of an older structure predating the 1910s. Notably, 38-40 Dundas Street East is situated directly on the site of the former, long-time residence of Rev. Dr. Egerton Ryerson and family. Several historical resources indicate the former residence of the Ryerson family may have been heavily renovated and incorporated into the design of the existing building at 38-40 Dundas Street East instead of being outright demolished.
38-40 Dundas Street East appears to have been painted since at least the mid-1920s and it is possible the paint was obscuring details, such as evidence of an older underlying structure and/or alterations over time. Peeling paint on the rear elevation had revealed yellow brick (likely from the mid-19th century) on the lower levels with red brick (likely from the early 20th century) on the upper levels.
The property is one of two buildings sold by the City of Toronto to Metropolitan University (TMU) in 2023, along with the adjacent Toronto Public Health building at 277 Victoria Street, topped by the iconic Sam the Record Man sign:
The iconic ‘Sam the Record Man’ sign, mounted on top of 277 Victoria Street.
Photo update
Here’s what the site looked like on June 29, 2024:
The Annex is one of Toronto’s oldest neighbourhoods. It has an old world feel to it and is somewhat diverse, including U of T, trendy eateries, art galleries and one-of-a-kind shops. On its side-streets are gorgeous residential homes — many built around 1880.
For this walk I started at Bay Street, crossed Scollard Street, went down Hazelton Avenue, then on to Yorkville Avenue. From there I completed the rectangular route of Avenue Road, Prince Arthur Avenue, Huron Street, Lowther Avenue, returning to Avenue Road.
Scollard Street
Let’s start out with some beautiful spring tulips on Scollard Street:
Table of Love
At 120 Scollard Street there is this absolutely delightful sculpture called Table of Love by the artists Gillie & Marc.
The text accompanying the work reads:
Even though it was their first date he asked her to marry him. And she said YES. They say when you know, you know, and Dogman and Rabbitwoman both did after just one date. They met, they had dinner, he asked, she said yes. And within a week of first meeting each other they were in Nepal getting married in the foothills of Mount Everest. They still love going on dates together, sharing food, laughter and conversation. And after all this time – to adventure, to chance, to each other – they always say yes.
Hazelton Avenue
Outside Gallery Gevik at 12 Hazelton Avenue I encountered The Chorus, a 1966 sculpture by the Canadian artist Sylvia Lefkovitz:
I’ve always thought this sculpture dark, depressing, foreboding; it fills me with a sense of dread, à la the Dementors in the Harry Potter movies…
Time to move on to something a little cheerier…
Prince Arthur Avenue
Prince Arthur Avenue was named for the Duke of Connaught (1850-1942) who became Governor-General of Canada from 1911 to 1916. He first visited Canada in 1869 and this street name appeared on the Toronto registered plan in 1870.
I’ve been wanting to revisit Prince Arthur Avenue for a while. I’ve always admired the historic homes and buildings on this relatively upscale street:
15 Prince Arthur Avenue “This dwelling dates to the 1870s. Its side entrance is innovative for the time, but the general tone is conservative as symmetry prevails under a conventional gable roof. Of special interest are the pairs of semicircular arched windows across the façade”.
20 Prince Arthur Avenue Across the street is one of Uno Prii’s architectural masterpieces. Uno Prii claimed 20 Prince Arthur Avenue, built in 1965, was his favourite building, and it’s easy to understand why: the tower captures space age excitement with a rocket-like profile that flares outward at the base, then soars 22 storeys to scalloped peaks.
If you’d like to read my post dedicated to Uno Prii’s architectural creations in the Annex, click here.
Painted utility box outside 20 Prince Arthur Avenue
The Duke of York – 39 Prince Arthur Avenue The Duke of York Pub is a Toronto landmark restaurant with a long history. It opened in 1976 and has been in successful operation since.
36A Prince Arthur Avenue Outside the restaurant Trattoria Fieramosca
“Rosamund” by Frances Gage (1968) – 50 Prince Arthur Avenue “Able to work in a variety of media (wood, plastic, terracotta, plaster and cast stone) and execute a number of techniques (carving, modeling, commercial bas-relief, garden sculpture and portraiture), Frances Gage is one of Canada’s most prolific sculptors. After studying at Oshawa Collegiate and Technical Institute (1943), the Ontario College of Art in Toronto (1951), and the Art Students’ League in New York (1953-55), she received a scholarship from the Royal Society of Canada to study at the École des Beaux-Arts in Paris, where she remained for two years.
Frances Gage’s numerous commissions include a twice-life-sized sculpture and four walnut relief panels for Fanshaw College in London, Ontario (1962), a portrait relief of Dr. Bertram Collip for the University of Western Ontario (1963), crests for the Metro bridges in Toronto, a fountain for the rose garden of Mrs. F.S. Albright of London, Ontario, “Woman,” a marble sculpture for the Women’s College Hospital in Toronto, and many others. A member of the Council of the Royal Canadian Academy, and teacher at the Artists’ Workshop in Toronto, her other accomplishments include the Rothman purchase award (1965) and the development, with the help of her engineer father, of a new durable material called epoxy-resin. Her work has been shown in several group exhibitions, perhaps most notably at the International Congress of Medallic Arts in Florence, Italy (1984), but also in Colorado City, Colorado (1987), Helsinki, Finland (1990), and London, England (1992).”
Thomas W. Horn House – Corner of Prince Arthur Avenue & St. George Street The actual address here is 180 St. George Street. “President of a specialty glass company, Thomas Horn pulled out all the stops in creating his dream home in 1898. Employing the skills of Frederick H. Herbert, an architect with several Annex houses to his credit, he chose the Richardsonian Romanesque style. With a conical tower marking the corner site, the house also sports that other hallmark of the genre: the broad arcaded arch, here used to enhance the recessed front door and second storey loggia. The house stands out as one of the few of its type entirely faced in stone”.
Lowther Avenue
Construction of permanent dwellings began on Lowther Avenue around 1875, and shifted to the semi-detached houses that are so characteristic of the 1880s.
Painted utility boxes, southwest corner of Lowther Avenue and Huron Street
82 Lowther Avenue “Architect Frederick H. Herbert designed this 1896 house, which is part of an attractive group of houses lining Lowther Avenue. This home’s hallmark is a circular tower with terra cotta stylings accompanying the dormer. The requisite arches and recessed entryway mark a Romanesque inspiration”.
80 Lowther Avenue This home is a City of Toronto Heritage Property, built in 1900 by architect F.H. Herbert.
78 Lowther Avenue This heritage Eaton Coach House was originally built in 1899. It was converted into luxury three-unit condos in 1985. Suite sizes range from 1800 square feet to 3500 square feet. One of the units is currently on the market for a mere $4.295 million. Alternately, one can rent the townhomes – in 2017 they were renting for $14,000.00 per month. The listing agent says Ryan Reynolds once lived here for a little while.
“The Vessel” by Ilan Sandler (2011) – Taddle Creek Park Commissioned by the City of Toronto. “This sculpture of a water-carrying vessel is made from 4 kilometers of stainless-steel rod. The rod measures the approximate length of Taddle Creek, which ran from Taddle Creek Park through downtown Toronto to Lake Ontario. The piece reconstitutes a memory of the buried creek by referencing its length and by bending the steel rod into water-carrying arteries. The sculpture’s surface is porous, allowing one to see light slicing through the stainless-steel rods that create its volume. Water flows from the top of the rim of the vessel over its surface and then cascades onto the ground, creating sound that drowns out the noise of traffic. The piece is like an over-flowing pitcher, evoking the creek’s long history as a source of sustenance.
Water from “The Vessel” is stored in an underground cistern and used to irrigate the park. Vessels have accompanied all peoples for millennia, and are often seen as a surrogate for the body; the desire of all civilizations to anthropomorphize these water-carrying vessels is evidence of their importance to our survival as a species. The ability to harness the flow of water both for physical and imaginative nourishment has been an inseparable part of the evolution of all societies. The Anishinaabe Nation or Ojibway-speaking people of the region would have drawn water for sustenance from many sources, including Taddle Creek. They also drew inspiration from water in the development of their creation myths, one of which says, “the rivers that run underground are the veins of Mother Earth and water is her blood, purifying her and bringing her food. Mother Earth implies reproduction, fertility and life.” Although “The Vessel” represents a container, it also acts as a fountain, relating the creek’s historical significance as a life-sustaining water source to the future pleasure of the community.” – Ilan Sandler 2011
39 Lowther Avenue
Carriageway Houses: 25-29 Lowther Avenue “The Georgian style had come and gone and not quite come back again when this singular duo was constructed in 1875. Although not much older than their neighbours, the twin units recall an earlier urban type far removed from high-Victorian eclecticism. Restrained in detail and guided by symmetry, the houses follow the standard Georgian rules. Curiously, however, the central focus is a shared carriageway (which led to the backyard stables), topped by a gingerbreaded gable. The latter contains an oriel window, the only eccentricity in an otherwise tempered composition. Number 25 (the left side) gets the oriel”.
31 Lowther Avenue This cute little house is a Heritage Property, built in 1877.
6-8 Lowther Avenue This double house is a Heritage Property, built in 1892. It exhibits the Bay-n-Gable architecture theme of that era, embracing a Romanesque arch.
Avenue Road
Returning to my starting place of Avenue Road, I noticed this intriguing sculpture entitled Figure Catching a Fly by David Altmejd (2019).
Made of bronze, the sculpture sits in front of the Yorkville Private Estates at 200 Cumberland Street; the front of the sculpture faces Avenue Road.
“Altmejd’s bronze statue, standing more than eight feet in height, fancifully updates the traditional bronze figurative monument. Clad in billowing, flowing robes, the sculpture’s striding female figure arrives like a deity, simultaneously gesturing downward to earth and skyward triumphantly. With arresting appeal, Almejd’s animated bronze figure conjures the history of the Yorkville neighbourhood that in the 1960s became Toronto’s epicenter of fashion, fine art, and nightlife, signalling the city’s sophistication and cultural aspirations.” – storeys.com
That’s it for today! Thanks for joining me on this mini-tour of Toronto’s Yorkville-Annex neighbourhood.
These cast bronze figures, located in the driveway of the Park Hyatt Toronto hotel at 4 Avenue Road, are entitled Mixer. The work is created by sculptor An Te Liu, a Taiwanese-Canadian artist living and working in Toronto.
Mixer envisions its installation as a stage inhabited by a pair of cast bronze figures engaged in dialogue with passersby, hotel visitors, and each other. Bold and distinctive in silhouette and richly finished in a lustrous deep gold patina, the sculptural ensemble forms a vivid and iconic tableau establishing the Park Hyatt as a singular destination.
As a public artwork, Mixer is monumental in scale – visible from afar and instantly recognizable. Open and intimate, the work invites visitors to experience the artwork fully and in the round. People become a critical part of the scenography, which unfolds within the architectural proscenium and extends out into the city.
Mixer finds shape and expression in the rich history of Park Hyatt Toronto, merging classical figurative allusions with industrial, artisanal, and organic forms culled from glassware, vessels, and couture. The forms also stem from a reinterpretation of the artistic legacy of Henry Moore, a seminal figure in the history of the modern era in Toronto.
Mixer captures the allure of social encounters and celebrates imbibing in all the senses. They form a continuity between the illustrious past of Park Hyatt Toronto and its present renaissance as an exemplar of elegance and luxury. An Te Liu’s inspiration for this work comes more specifically from an archival photograph of the Park Hyatt Rooftop Lounge, commonly known as “The Rooftop bar at Park Plaza,” years ago. An Te Liu would visit during his years as a student at the University of Toronto – understanding its social significance as a landmark in the city.
Park Hyatt Toronto invites visitors to experience the artwork in the round, as this ensemble of works seems like an encounter or conversation. The hotel program inspired this meaningful concept as a place of social convergence, where friends and strangers cross paths and mingle.
Stackt Market is a truly unique concept. Located at 28 Bathurst Street at Front Street West, Stackt Market has been awarded “Public Space of the Year” by Designlines Magazine, and is also the winner of “Retail Innovation for Fast Company’s Innovation by Design”.
Opened in the summer of 2019, Stackt Market is built entirely from 120 reclaimed shipping containers which create 100,000 square feet of art, retail, events and public space. The containers are – wait for it – stacked, with those on the bottom retrofitted and occupied by pop-ups, creative incubators, 30+ retailers and food/beverage vendors. The shipping containers up top act as large canvasses for local and international artists, drawing attention to the site from the many surrounding condo developments and office towers. Stackt Market is also home to 300+ annual events and 7 annual festivals which put community at the forefront.
Designed by LGA Architectural Partners’ Janna Levitt and Danny Bartman with Stackt Market founder Matt Rubinoff, Stackt Market inhabits the site of a former smelting plant. The 2.4-acre-lot is roughly the size of two city blocks.
Onsite Art Gallery
Even the WC were container-like…
Stackt Market is strong on community and art. According to their website:
STACKT is on a mission to innovate a new experience where customers, businesses, art and hospitality thrive as one. STACKT is built on the idea that commerce is culture, and culture is community made. The community is made up of innovators, creators, collaborators, and consumers alike.
This is such a lovely part of the city. I love how they fixed up that square and the fountain…