Springtime has come to Berczy Park.
Someone put little red and green scarves on the pups in the Berczy Park dog fountain… very cute!
Category: Public Art (Page 1 of 6)
The McMurtry Gardens of Justice on University Avenue is a series of sculptures and fountains sitting among Osgoode Hall, the Law Society of Ontario, and the Superior Court of Justice. Each item in the gallery is designed to represent one of the fundamental legal rights that belong to all Canadians.
The McMurtry Gardens of Justice were created to recognize the Honourable R. Roy McMurtry, who served Ontario for decades as a public servant, elected official, and diplomat. McMurtry was a Member of Provincial Parliament from 1975 to 1985, spending part of that time as the Attorney General of Ontario. He was appointed to the Superior Court of Ontario in 1991 as the Associate Chief Justice, and by 1996 he became the Chief Justice of Ontario at the head of the Court of Appeal. He remained there until he retired in 2007, which was the same year the Gardens opened.
The Pillars of Justice
This statue is a prominent landmark in downtown Toronto, standing in front of the courthouse containing the Superior Court of Justice. When it was unveiled in 2007, The Pillars of Justice was the first and only statue in the McMurtry Gardens of Justice.
The Pillars of Justice was sculpted by Edwina Sandys in 2007. She was first inspired to be an artist when she saw her grandfather, Sir Winston Churchill, painting. Over the last 35 years, the United Nations has commissioned five of her sculptures for their centres in Geneva, Vienna, Rio de Janeiro, Dublin, and New York. Her work is famous for responding to political and social issues, and this piece is no different.
This sculpture depicts a jury of eleven people standing under a roof that represents a courthouse. Juries are usually made up of twelve people, depending on the type of case. Looking at The Pillars of Justice, you will notice an empty space where the twelfth juror would be. This empty space invites the viewer to imagine they are the twelfth juror.
The McMurtry Fountains
The McMurtry Fountains were designed by landscape architect Michael Hough and installed in 1964. They were restored in 2010. The fountains act as symbols of balance and justice, themes that run throughout the Gardens. They form a significant cultural presence in the City of Toronto and continue to symbolize the importance that Canadians place on the values of our justice system and human rights:
Freedom of Expression
Freedom of Expression is a bronze and stainless steel sculpture created by Marlene Hilton Moore in 2012. Hilton Moore is a renowned artist based in Hillsdale, Ontario. She has created public art and hosted art exhibitions in Ontario, Quebec, and New Brunswick. She is also responsible for the Freedom of Religion statue that faces this one. These two pieces, along with Equal Before the Law, were added to the Gardens in 2012.
The statue depicts a female figure delivering a speech with her arms open wide, holding a book in one hand. The figure stands on a black-brown base of granite, determined to communicate her message. Both of Hilton Moore’s pieces use bronze, which is usually associated with classical sculpture, and stainless steel, which we see in contemporary art and architecture.
Freedom of Religion
Freedom of Religion was created by Marlene Hilton Moore in 2012, who also made the Freedom of Expression statue across from it. Both figures are made of bronze. Like Freedom of Expression, this piece stands on a base of black-brown granite.
This sculpture depicts a male figure proudly holding up a globe. The globe is covered with eleven symbols associated with the world’s religions and faith groups. The individual symbols are beautiful images in their own right, and together they represent and individual’s freedom to practice whatever religion they choose:
Frederick G. Gans, Q.C. Memorial
This piece, created by local Canadian artist Maryon Kantaroff in 1980, is a memorial to lawyer Frederick G. Gans. Gans was killed in 1978 by a former client’s husband in the hallway of the courthouse that used be at 145 Queen Street West (now the Four Seasons Centre for the Performing Arts). Although installed in 1980 and not formally a part of the Gardens, the sculpture is consistent with the Gardens’ themes in style and values:
Equal Before The Law
By Eldon Garnet, 2011. The lion and the lamb are represented as classic figures in Western thought. The lamb often signifies purity, meekness, and vulnerability, while the lion is the ‘king of beasts,’ powerful and imposing. The lamb and lion’s physical differences are amplified by their symbolic meanings.
Both of these animals are life-sized and constructed out of bronze. This sculpture connects to the other pieces of art in the Gardens by combining bronze and stainless steel, which is used in the scale:
The tower is twisted to a 60-degree angle, which runs parallel to the top of the scales. The ends of the platform are cut at 30-degree angles in relation to the support tower. Everything is calculated to be in perfect proportion, always balanced but turned or angled. The final effect is a scale that gets its balance from a good deal of complexity and careful planning.
The text on the scale is taken directly from section 15(1) of the Charter. It reads: “Every individual is equal before and under the law and has the right to the equal protection and equal benefit of the law without discrimination.” The Charter continues, “and, in particular, without discrimination based on race, national or ethnic origin, colour, religion, sex, age, or mental and physical disability.”
Scales of Justice Bike Rack
In April 2019, the Toronto Lawyers Assocation (TLA) dedicated a new Scales of Justice bike rack at the Court House, 361 University Avenue. The bike rack/sculpture is composed of a series of scales of justice, engraved with legal principles, as suggested by the clerks of the Court of Appeal. The work was produced with the assistance of at-risk youth:
References: Osgoode Hall
The Max Tanenbaum Healing Garden is found on the 14th floor Atrium of the Princess Margaret Cancer Centre at 610 University Avenue. I should mention that the Healing Garden is not to be confused with the Max Tanenbaum Sculpture Garden at the Hennick Bridgepoint Hospital (click here for my earlier post on the Sculpture Garden).
Illustration: Janet Rosenberg & Studio
Illustration: Janet Rosenberg & Studio
The Max Tanenbaum Healing Garden officially opened on November 10th, 2014. It was established by the Tauba and Solomon Spiro Family Foundation in honour of Tauba’s father, Max Tanenbaum, a noted businessman and philanthropist who loved nature and the outdoors. Created as a year-round oasis for patients and visitors at Princess Margaret Cancer Centre, the Max Tanenbaum Healing Garden is a creative way to honour those who have been affected by cancer.
The challenge was to create a natural and beautiful space without using live plants in order to ensure a pleasing, year-round, no-maintenance garden on the 14th floor Atrium of Princess Margaret Cancer Centre.
In response to this challenge came the design from Janet Rosenberg and Studio. The Studio design uses the strong, cultivated patterns of formal French gardens and incorporates 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:
Here’s a short video of the Healing Garden:
Flowers can be dedicated via a monetary gift to the Cancer Centre. Here’s a little info from the Princess Margaret Cancer Centre’s web page:
Secure a flower in The Max Tanenbaum Healing Garden with a gift of $1,000 and dedicate it to a loved one. If you would like to make more than one dedication, then you may secure multiple flowers; each flower can be dedicated with a donation of $1,000.
The Healing Garden is a display of honour, hope and healing and is a tribute to the many loved ones who have been affected by cancer. Every flower helps us to continue making advancements in patient care at Princess Margaret Cancer Centre and carry out our mission to Conquer Cancer In Our Lifetime.
There are a limited number of flowers available – To ensure that you are a part of this beautiful display, please make your gift today. You can also call (437) 225-1711 to secure your flower over the phone.
Text reference: The Princess Margaret Cancer Foundation
Underpass Park is truly an interesting and unique place in Toronto. Opened on August 2, 2012, the Park is located under the Eastern Avenue, Richmond and Adelaide overpasses. The actual address is 168 Eastern Avenue.
Designed to transform derelict and underused space, the park takes full advantage of the concrete beams and columns of the overpasses to create a unique and inviting community asset and provide year round weather protection.
This unique public space is part of Waterfront Toronto’s revitalization efforts of the West Don Lands neighbourhood. It serves to link Corktown Common, River Square and the neighbourhoods of both sides of the overpass complex through the provision of safe and animated public realm design.
Mirage
A public art layer was integrated into the underside of the structure to interact with the lighting scheme and to reduce the oppressive character of the heavy structures above. A portion of the overpass ceiling is adorned with a reflective public art piece entitled Mirage, created by Paul Raff Studio in 2012. This mirrored artwork dramatically brightens the covered spaces, adding to the interplay of natural light during the day and becoming its own piece of magic at night when the park lighting scheme is fully employed.
The artwork on the ceiling of the park uses the unique condition of the site to recreate a naturally occurring optical illusion that blurs the boundary between ground and sky.
Playground & Recreation Facilities
A sizable playground is located in the middle section of the park, between St. Lawrence Street and River Street. The eastern-most section of the park, east of River Street, includes two basketball half-courts, and an extensive skatepark featuring a series of obstacles, rails and ledges. There is also a flexible open space that can be used for community events:
The Locals
Several of the figures on the pillars are caricatures of local residents:
Designed by landscape architects PFS Studio with The Planning Partnership, Underpass Park is part of an ongoing effort to transform pockets of neglected urban spaces on the waterfront into valued public amenities.
The Park is another project of the developer WaterfrontToronto, a joint effort of the Federal, Provincial and Municipal governments, created in 2001. Their focus is to create parks, public art, infrastructure and buildings that combine to create vibrant waterfront neighbourhoods, for example, The Bentway and Underpass Park; these gave unused spaces a new life.
Underpass Park is the 18th public space that the WaterfrontToronto group has built or revitalized since 2005 in the Toronto waterfront district.
On Church Street there are “village gateways” which indicate the boundaries of the Church-Wellesley Business Improvement Area (BIA). The markers consist of two 22-foot signposts with swirling rainbow blades. At night, lights inside the markers illuminate writing on the cube base, which reads: Church-Wellesley Village. Each of the two markers is accompanied by a colourful utility box depicting caricatures of people living in and around the village.
The gateway markers were designed by architect Claudio Santo and installed during early 2013. Claudio Santon says the BIA gave him a fair amount of artistic freedom within certain design specifications. He says they wanted a representation of the rainbow flag, which is iconic of the Church-Wellesley Village. They also wanted the markers to convey a sense of inclusion, because everyone is welcome in the Village.
The South Gateway
The South Gateway is located at 484 Church Street, on the west side of Church Street between Wood and Alexander Streets. It accompanies the The Village utility box (left, in shot below):
The North Gateway
The North Gateway is located at 557 Church Street, outside Hasty Market, between Gloucester and Monteith Streets. It is also coupled with a fun and colourful depiction of village folks on a nearby utility box (right side, below):
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.
Text source: Park Hyatt Toronto website
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.
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 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.
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
Latest Comments
Now the puppies are nice and warm. Love this fountain.
Pretty sad but it’s time had come
What would be also nice is Ottawa's Remembrance Day Ceremony on November 11. Was there in 2024 and quite loved…
Well done Marv! I walk by this area so often and really take these for granted, but when you highlight…
This is such a lovely part of the city. I love how they fixed up that square and the fountain…