Redeveloping the Distillery District, Toronto

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Redeveloping the Distillery District, Toronto Place Differentiation: Redeveloping the Distillery District, Toronto by Vanessa Kirsty Mathews A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Geography University of Toronto © Copyright by Vanessa Kirsty Mathews 2010 Place Differentiation: Redeveloping the Distillery District, Toronto Doctor of Philosophy Vanessa Kirsty Mathews, 2010 Department of Geography University of Toronto Abstract What role does place differentiation play in contemporary urban redevelopment processes, and how is it constructed, practiced, and governed? Under heightened forms of interurban competition fueled by processes of globalization, there is a desire by place- makers to construct and market a unique sense of place. While there is consensus that place promotion plays a role in reconstructing landscapes, how place differentiation operates – and can be operationalized – in processes of urban redevelopment is under- theorized in the literature. In this thesis, I produce a typology of four strategies of differentiation – negation, coherence, residue, multiplicity – which reside within capital transformations and which require activation by a set of social actors. I situate these ideas via an examination of the redevelopment of the Gooderham and Worts distillery, renamed the Distillery District, which opened to the public in 2003. Under the direction of the private sector, the site was transformed from a space of alcohol production to a space of cultural consumption. The developers used a two pronged approach for the site‟s redevelopment: historic preservation and arts-led regeneration. Using a mixed method approach including textual analysis, in-depth interviews, visual analysis, and site observation, I examine the strategies used to market the Distillery as a distinct place, and the effects of this marketing strategy on the valuation of art, history, and space. ii Two central arguments direct the thesis: first, in an attempt to construct place differentiation, what emerges is a sense of sameness which limits the potential of the district and produces a disconnect between the space and its users; second, it is only by understanding how differentiation operates in discourse and practice that alternative formations of place-making can emerge and socio-spatial disconnectedness can be rethought. iii Acknowledgements It is a pleasure to thank everyone who provided guidance and support from the conception of this project through to its completion. First and foremost, I would like to thank my co-supervisors, Deborah Leslie and Robert Lewis, who have been incredible mentors and colleagues since the first stages of my program. My overlapping interests with Debby in the arts and culture sector led to a productive and rich set of conversations over the years, and I thank her for sharing her experiences and expertise at every turn. In addition, she has imparted to me sound practices in research design and methods which have honed my skills in the field. Her consistent support and enthusiasm, whether it was providing detailed marginalia on drafts or sending along pertinent forwards, have kept me on track. Robert is one of the closest and most constructive readers that I have encountered, and I thank him for his challenging questions which demanded that I articulate my arguments differently with greater clarity. He cares deeply about his students and their successes, a characteristic that has not gone unnoticed. His combination of patience, experience, and wit has been the perfect accompaniment throughout. While co-supervision can be a difficult feat to manage, Robert and Debby have gone above and beyond to ensure that I received consistent and constant feedback and encouragement for which I am grateful. They have contributed immensely to my intellectual development, and have made me into a stronger researcher, writer, and teacher. I am grateful to my supervisory committee who provided an engaging and challenging intellectual atmosphere throughout this process, and whose critiques and suggestions have proffered a number of intriguing threads for future research. Emily Gilbert was an invaluable and delightful member of my committee and offered her eyes, ears, and sense of humour whenever I needed them. Kanishka Goonewardena introduced me to a rich set of thinkers early on in the process which helped to deepen and develop my conceptual framework. John Hannigan joined my committee as my internal-external examiner and offered a helpful set of questions and reflections for consideration. Lastly, I want to extend my gratitude to Mike Crang, my external examiner, who was a close and provocative reader during the final stages of this project. I was fortunate to share this experience with a number of inspired and inspiring colleagues and friends. Amy Siciliano, Emily Eaton, Patrick Vitale, Jennifer Ridgley, Roger Picton, Paul Jackson, and Lisa Freeman have provided intellectual support, stimulating conversation, and fitting distractions over the years. I also benefitted from the numerous formal and informal departmental social events, which often (to my excitement) included foosball and always led to lively debates, and I am grateful to all those colleagues and friends who played a part. I would like to extend my gratitude to the forty interviewees who offered their time, space, and reflections on the redevelopment of the Distillery. Their generosity and iv openness made this project possible. I learned more about the site and the arts and heritage industries from these conversations than could ever fit into a single work. This research was partly funded by an Ontario Graduate Scholarship and a Social Science and Humanities Research Council doctoral award. This funding enabled me to carry out my research and writing schedule in the manner that I had envisioned, and I am grateful for this support. I want to thank Jean-Jacques, Patricia, and Jennifer Demers who have welcomed me into their homes over the years and offered a constant supply of good food, laughter, and bocce. This thesis is dedicated to my mum (Joyce Mathews) and my brother (Paul Mathews) who have always been my loudest cheerleaders. Their consistent praise and unwavering belief in my abilities gave me the strength to continue on this path. They have sacrificed a great deal so that I could pursue my dreams, and I thank them deeply for everything. Lastly, I offer my heartfelt thanks to Jason Demers who has been nothing short of incredible throughout this process, sharing an unbounded amount of love, inspiration, and compassion. He offered brilliant advice, much needed distractions, and the perfect amount of support and encouragement at every turn. I thank him for the constant supply of treats that he would return home with – whether in the form of films, snacks, plants for the garden, or books – which always suited my changing states. v Table of Contents Chapter 1 Differentiation and Sameness: Contemporary Urban Festivity at the Distillery District A Time & Space for Festivity……………………………………………………… 1 Historicizing Urban Festivity: The Emergence of Cities as „Places to Play‟……… 8 Whiskey and Windmills / Art Galleries and Condominiums……………………… 13 The Inclusion of Art and Culture to Catalyze Change……………………... 16 Historicizing Space: Heritage and Urban Redevelopment………………… 19 Contextualizing Urban Redevelopment: Shifting Policy Regimes………………... 24 Neighbouring Lands: Contextualizing the Distillery……………………………… 29 Differentiation & Distinction……………………………………………………… 33 Differentiation as Negation……………………………………………….... 39 Differentiation as Coherence………………………………………………. 40 Differentiation as Residue…………………………………………………. 42 Differentiation as Multiplicity……………………………………………... 44 Approach to Differentiation……………………………………………...… 44 Methodology……………………………………………………………………….. 47 Textual Analysis…………………………………………………………… 48 Interviews…………………………………………………………………... 51 Participant Observation……………………………………………………. 54 Representation …………………………………………………………….. 55 Outline………………………………………………………………………………56 Chapter 2 Looming over Progress: Historical Impressions of Gooderham and Worts Introduction………………………………………………………………………… 60 “The Distillery, 1832”: Windmill and Whiskey Production……………………….. 68 Constructing the 1860s and 1870s: Milling, Distilling, Malting…………………... 75 The Fire of 1869: Vulnerability and Rebuilding…………………………… 83 The Precession of two Generations: Looking North and East 1880s-1890s………. 86 Outward Expression: The Gaze of Labour………………………………… 93 Solvency Amidst the Fires of Nationalism: WWI and the Temperance Movement. 99 Wartime Industrial Complex………………………………………………..100 Desiring Liquor…………………………………………………………….. 104 Conclusion…………………………………………………………………………. 107 Chapter 3 Reconstructing Space & Time: Redeveloping Gooderham and Worts into the Distillery District Introduction………………………………………………………………………… 112 Officiating Change…………………………………………………………………. 116 Land Use Planning: Economic Constraints and Alternative Arrangements.. 116 vi Narrativizing Deindustrialization and Brownfield Remediation…..……..... 123 Leasing Space: 1990-2000…………………………………………………. 127 Making Space: Enter Cityscape……………………………………….…… 130 Selecting Time & Dealing History………………………………………………… 135 Constructing History: Linearity and Unity………………………………… 140 Contesting History: (Contemporary) Labour and Everyday Life………….. 149 Built Form and Containing Culture………………………………………………... 156 Securing Space for Cultural Activity………………………………………. 158 Recognizing Culture & Creativity…………………………………………. 159 Incorporation of the
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