The Craft of Conservation
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FALL 2018 THE CRAFT OF CONSERVATION VOL. 43 ISSUE 2 ACO Fall 2018.indd 1 2018-09-25 �� 9:02:26 HOW WELL DO YOU KNOW ACO? What we do » advocate for the conservation and adaptive reuse of Ontario’s heritage buildings through education and outreach » oer mentorship and work opportunities for students and young professionals with an interest in history and heritage » honour the work of architects, communities and visionary individuals who are working to preserve Ontario’s heritage, through ACO’s annual Heritage Awards » provide expert conservation advice and assessments at The founding of ACO was centred on saving Grafton’s Barnum House, one of Ontario’s finest neoclassical buildings. Since then, ACO has helped to save hundreds of buildings across Ontario. modest cost to individuals and communities through ACO’s PreservationWorks! Who we are » support branches across the province, each oering services Founded in 1933 by architect Eric Arthur, Architectural and events that celebrate and Conservancy Ontario was established to help preserve advocate for local heritage Ontario’s architecturally significant structures - not just those of the 18th and 19th centuries, but more modern ones as well - » increase public awareness saving them for future generations. through our magazine ACORN, and our monthly e-newsletter Our Mission ACORN in a Nutshell Through education and advocacy, to encourage the » support and promote Ontario’s conservation and re-use of structures, districts and landscapes Heritage Conservation Districts of architectural, historic and cultural significance, to inspire and benefit Ontarians. » co-host the annual Ontario Heritage Conference with Community Heritage Ontario ACO works on behalf of all Ontarians. and the Ontario Association of Your support is vital. Heritage Professionals » host events such as symposia, How you can help walking tours, lecture series, skills training seminars, film If you want to help fund ACO’s work, please consider making screenings and more a donation. Contributions from generous individuals and companies that care about heritage help us do the important work of protecting these resources for future generations. donate now at www.acontario.ca ACO Fall 2018.indd 2 2018-09-25 �� 9:02:26 CONTENTS 1 From the President by F. Leslie Thompson 2 Carnegie’s Legacy Respected by John Rutledge 4 Back to Front: Finding where heritage value lies by Paul Goldsmith and Edwin Rowse 8 The Signature of Craftsmanship by Alexandre Krucker and Christian Tice 12 From Footings to Window Frames in Four Years by Sarah King Head 14 Making Silver into Gold by John Wilcox 18 Artisans Rescue Trinity United Treasures by Susan M. Burke, photography by Karl Kessler 22 Addison’s Temple of Treasures by Richard Longley 24 Ancaster Old Town Hall: A place to celebrate by Em Cheng 26 Sandstone Stewardship by Guy Burry and Liz Lundell Sandstone restoration at 135 St. George Street, Toronto. Photo The York Club, 2018 Fall 2018 ACO Fall 2018.indd 3 2018-09-25 �� 9:02:27 ACORN Fall Issue 2018 Vol. 43, Issue 2 Architectural Conservancy Ontario 401 Richmond Street West Suite 206 Toronto ON M5V 3A8 T 416.367.8075 TF 1.877.264.8937 F 416.367.8630 E info@arconserv.ca www.acontario.ca Chair Editorial Committee F. Leslie Thompson Susan Ratclie, Chair, Guy Burry, Jane Kim, Liz Lundell, Devorah Miller, Dan Schneider Vice-Chair Managing Editor Kae Elgie Liz Lundell Photo Editor Corporate Secretary Guy Burry Connor Turnbull Designer Jane Kim Past President Catherine Nasmith Contributing Authors/Editors/Photographers Susan M. Burke, Guy Burry, Augustus Butterfield, Em Cheng, Paul Goldsmith, Sarah King Head, Spencer R. Higgins, Karl Kessler, Alexandre Krucker, Richard Executive Members-at-Large Longley, Liz Lundell, Devorah Miller, rych mills, Susan Ratcliffe, Edwin Rowse, Caroline DiCocco Dan Schneider, Richard Seck, Mark Shoalts, John Rutledge, F. Leslie Thompson, Jean Haalboom Christian Tice, John Wilcox, The York Club. Sarah Hill Jocelyn Kent Publisher Shannon Kyles Architectural Conservancy Ontario Architectural Conservancy Ontario gratefully acknowledges the ongoing support of PreservationWorks! the Ministry of Tourism, Culture and Sport and the Honourable Sylvia Jones, Minister. Catherine Nasmith, Interim Manager R. Scott James, Advisor SSN:0704-0083 Peter Stewart, Advisor ©2018 ACORN is a publication of Architectural Conservancy Ontario. No parts of this publication can be reproduced without permission of the publisher. The opinions expressed by our writers and contributors do not necessarily reect Sta those of Architectural Conservancy Ontario. Will Coukell, Chief Operating Ocer Devorah Miller, Development Ocer Elizabeth Quance, Branch Coordinator ADVERTISE IN ACORN Marie May, Bookkeeper 2019 RATES Full Page $750 Half Page $400 Quarter Page $250 Heritage Classied $100 Please call Devorah Miller at 416.367.8075 or email development@arconserv.ca to book an ad for our Spring 2019 issue. All ads are printed in full colour. ACO Fall 2018.indd 4 2018-09-25 �� 9:02:28 FROM THE PRESIDENT If we could read walls, what would here, was inspired to write the they tell us? Grammar of Ornament because he was dismayed by the confabulation The principles discoverable in the of visual elements and an observed works of the past belong to us; not disregard for the principles of design F. Leslie Thompson so the results. It is taking the end for emerging in Victorian-era architecture ACO President and Chair the means. and design. He attributed the trend Photo Matthew Plexman — Owen Jones1 to a lack of visual literacy among designers, craftspeople and especially A friend recently spoke with me about the public. Our authors in this issue of made by the absence of mortar, the the grammar of stone. He pointed out ACORN articulate an appreciation of path functions as a minor movement the proportional relationships of bond the grammar of design and craft. that supports the lone cobblestone stones, the snecks and the dressing as a point of emphasis. That design (textures) of a wall like the one Let’s look more closely at the example choice and the references of the illustrated below, built by Augustus below. Although a contemporary wall, material contrast with the sandstone Buttereld. After that conversation it was constructed with knowledge that derives from the same whirlpool about stone walls, I began to notice of and references to historic formation that Em Cheng describes how walls could be read and how stone construction processes and for the Ancaster Old Town Hall in this the choices of experienced and materials. I see that the proportional issue. The builder-artist’s choices both enlightened craftspeople and relationships of the stone shapes give invite the viewer to read the wall and designers communicate much more visual and functional balance, as well ask what his choices mean. I read a than their structural integrity and as a rhythm to the composition. The sense of play in the design elements function. dominant horizontal lines are unifying chosen that, when juxtaposed with elements; however, as I look carefully, the physical stability of the wall and its In this Fall 2018 issue of ACORN I a couple of those lines are almost historic references, question notions am joined in a multi-perspective diagonal and perhaps even ironic of permanence. conversation about the value of signiers. While the colours and tonal craft to heritage conservation by values of the stones also move the eye The demonstration of the grammar architects, artisans, historians and around the composition of the wall, of craft and design witnessed in conservationists. All contributors to there is contrast in the texture and the windows, walls, and buildings this issue celebrate the value added to a few of the stones are trapezoidal. described in this issue of ACORN invite our experience as viewers of amazing Could this wall have a dynamic us to read tangible heritage. Maybe it windows, buildings and walls by the composition instead of the common is just me; but as I read the walls, they honed craft and experience of the homogeneous coursing? Indeed, as are talking. artisans and the architects. the viewer’s eye follows the subtle — Leslie The architect Owen Jones, quoted variations of the negative spaces 1 Owen Jones (1809-1874), The Grammar of Ornament (London: Day & Son, 1856. From the Ivey Press Ltd. 2001 Edition) Raewynn’s Wall constructed by Augustus Buttereld. Photo Augustus Buttereld, 2009 ACORN Fall 2018 1 ACO Fall 2018.indd 1 2018-09-25 �� 9:02:28 CARNEGIE’S LEGACY RESPECTED By John Rutledge During the late 1800s and early 1900s and new entrance o the side street, over 100 libraries were built in Ontario with none of them meeting anyone’s with grants from Andrew Carnegie’s approval. After much deliberation it library program. Two of these were in was decided that the entrance should Seaforth and Brussels. An interesting be o Turnberry Street, Brussels’ sidenote is that James Bertram, who main street, adjacent to the town’s administered Carnegie’s grants from commercial core. Pittsburgh, married Janet Tod Ewing, originally from Seaforth, and both are This approach favourably generated buried in Maitland Bank Cemetery the nal design leading to resolution The 1910 corner pediment of Brussels Library on the near Seaforth. of the addition’s oor plan and left with 2015 addition on the right. Photo Dan Schneider, a 60-foot-long exterior entrance 2018 The guidelines for the Carnegie grants ramp. This created a welcoming generated architecturally similar entrance along the side of the old library buildings with almost all of building into a new rear addition. them including an exterior staircase The library’s original corner entrance (to ascend to knowledge) and with its classical pediment became symmetrical façades with rusticated a new adult reading room. Most of plinth bases, classical columns, the building’s original interior was pilasters, entablatures, and traditional visually open with rooms separated detailing.