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 [email protected] www.acontario.ca
Chair Editorial Committee F. Leslie Thompson Susan Ratcli e, 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 re ect Sta those of Architectural Conservancy Ontario. Will Coukell, Chief Operating O cer Devorah Miller, Development O cer Elizabeth Quance, Branch Coordinator ADVERTISE IN ACORN Marie May, Bookkeeper 2019 RATES Full Page $750 Half Page $400 Quarter Page $250 Heritage Classi ed $100
Please call Devorah Miller at 416.367.8075 or email [email protected] 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 Butter eld. 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 signi ers. 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 Butter eld. Photo Augustus Butter eld, 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. by large panes of glass set into wood wainscoted and framed panels. The 2014 expansion of the 1909 We were able to maintain all of the The new ramped entrance creates a brick base for the Brussels Library had to meet the original glazed panelled walls, while original building. Photo Dan Schneider, 2018 requirements of the Huron County also opening up three smaller rooms Library which operates the facility that had had solid walls with wide respected the original architectural and the Municipality of Huron East, open archways, and adding another style. which owns it. The library wanted large open archway between the a facility with no interior walls. The original building and the addition. New interior trim for the addition municipality wanted barrier-free has the same overall size as the accessibility without the costs of an During the 1970s the ceiling was original trim although a di erent elevator. The general public wanted dropped to potentially make the pro le section was used. This trim the lowered ceilings and boarded-up building easier to heat. The original was painted with a solid colour that transom windows reinstated for more transom windows above the double- is similar to the colouration of the natural light. Everyone agreed the hung windows were boarded up to dark brown stained original wood historic architectural character was to accommodate the lowered ceiling. trim, contrasting and distinguishing be respected. This previous renovation decreased new from old. Here too the similarity natural light levels in the building. The between new and old creates a The library sits on a corner lot and public was happy when we raised the congruent architectural balance. the municipal sidewalks varied from ceiling back up to almost its original
ve to seven feet below the main height, with additional insulation, Growing up in Brussels, I thought oor level. An addition with an and reinstated the windows with I had a solid understanding of the interior ramp was proposed but the their “spider” transoms. Maintaining building’s architecture. I believed increased size and cost eliminated the building’s original interior glazed that the original vocabulary of the that idea. Several proposals were partitions, woodwork, ceiling height, building was a symmetrical repetition investigated using an exterior ramp windows, and transoms preserved and of identical elements. After numerous
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ACO Fall 2018.indd 2 2018-09-25 �� 9:02:32 unsuccessful attempts at various actually an irregular composition that window types, shapes, sizes, and only implies regularity. Designing arrangements, I realized the original more variations of the existing architectural vocabulary was not original window con gurations and what I had thought. In reality, the placing them irregularly around original windows are variations of the new addition’s exterior with an the same double-hung window, informal relationship to the addition’s each topped with a single or double interior rooms, I slowly realized an “spider” transom window. What architecturally sympathetic design for seems to be a regular, symmetrical the building’s addition was emerging repetition of identical elements is with its own vocabulary — one that had grown out of careful analysis of the original architecture. Kolbe brand wood-framed windows with pre- nished exterior metal cladding were used for authenticity, low maintenance, and increased energy e ciency. Replacement windows with “spider” transoms and We lucked out when it came to relocated original bookcases help to restore the brick choice. Instead of using original interior. Photo Dan Schneider, 2018 reclaimed brick, we found that a new brick, Lancaster Red Stock #4930 manufactured by Ibstock Brick, achieved this. was a successful match in size and colour. Bear in mind that historically I leave you with a question regarding red brick buildings in Ontario were architecture and craft. Is it appropriate laid with mortar that was coloured. to add onto a building with an Therefore, when using red brick architecturally sympathetic addition for an addition to an old red brick that is congruent with the building’s building, the mortar also has to be original architecture; or, should one carefully coloured in order to achieve juxtapose a completely di erent style a successful brick match. for the addition?
New details similar to the old in overall size, shape, and proportion were designed and developed using About the author variations of building materials instead of problematic duplication. Additions John Rutledge is an architect should be sympathetically congruent based in Blyth who restores, and contextually in harmony with renovates, and upgrades old their parent buildings. I hope the houses, small public buildings, work done to the Brussels Library has and old churches in Southwestern Ontario. John has done numerous New windows in the addition are variations of the ACO Preservation Works! reports. original windows. Photo Dan Schneider, 2018
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ACO Fall 2018.indd 3 2018-09-25 �� 9:02:39 BACK TO FRONT: FINDING WHERE HERITAGE VALUE LIES
By Paul Goldsmith and Edwin Rowse
The back wing, rear addition, rear Recently, we investigated two The process of discovering and extension or tail are all terms used buildings that clearly contradict this identifying the patterns and in Ontario for an extension at the presumption about the typology. characteristics of construction and back and at right angles to the main Extensions were typically used to style is gradual, painstaking work and body of a house. The terms are used provide space for a summer kitchen di cult to describe as vividly as it is interchangeably and sometimes separate from the main body of experienced. Evidence of age and inaccurately. There is often a the house, or for servants’ quarters, construction does not necessarily presumption that the extension was storage or additional bedrooms. We emerge in a neat logical sequence as built at the same time as the house will see through two detailed case the layers of generations of change or later, and this easily leads to wrong studies how the presumed “addition,” are identi ed. Case studies are the conclusions when evaluating cultural identi ed by a familiar use, may best means to describe the process. heritage value and interest, as this actually be the original building on article will illustrate. a site to which a front addition was Case Study #1: 1615 Brock Street added, often nearer to the street. South, Whitby
The rst study was in Whitby where Paul Goldsmith was hired to demolish a heritage house, with an assignment to salvage heritage materials from the “front façade” and record any heritage details that were discovered during the course of the work. The main house, situated within a few hundred metres of Whitby Harbour, had once served as a post o ce.
The building, known as the Abner Nash House, was built in 1840 in brick and had a wood-framed back “addition.” The property was once owned by the Scadding family and prior to that by John Graves Simcoe. A dilapidated and more recent lean-to porch and much debris in the interior obscured the character of the so- called back addition; however, careful inspection determined without doubt that the wood structure described as a back addition was, in fact, the original structure and the 1840 brick building was the later front addition. Original pre-1840 wood-framed structure attached to 1840 brick building in Whitby. Photo Paul Goldsmith, 2016
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ACO Fall 2018.indd 4 2018-09-25 �� 9:02:43 It was the geometry and modest size ceiling height, both odd features if protected area below the window sill, of the older back building that rst built with, or after, the 1840s house. suggesting the building was painted suggested a di erent story. Measuring at least three times and the paint just 5 metres by 6.5 metres (16 by 22 Despite its small size, its main framing had mostly weathered away before feet), it had a one-and-a-half storey was constructed of heavy, adzed the 1840 building was constructed. timber-framed structure, just a step timbers, mortice-and-tenon jointed Even with intervals of 12 to 15 years up from grade to the ground oor, and dowelled together, with good between the three painting episodes on a foundation separate from the wind bracing. What was unusual, — a modest life for lead-based paint attached 1840 building. It was several however, and really spoke of its — a construction date at the start steps up from there to the ground age, was that all the studs and oor of the nineteenth century seems oor of the front brick house and its joists were also mortice-and-tenon reasonable. Interestingly, there was attic-like second oor had a very low jointed, without the use of any nails. also a faint rectangular shadow on the The familiar marks of pit sawing on exterior siding suggesting that a sign the lighter framing members also had hung on the exterior wall for a suggested early construction. second commercial purpose, possibly related to the harbour. The best evidence for understanding a building’s evolution is often at the As the great age and rarity of the back junction of old and new. In this case building emerged, the decision was the exterior brickwork of the 1840 made to label and carefully dismantle building was constructed up to the it for possible future reconstruction junction, thus leaving the west wall of in another location, rather than the older building directly abutting demolish it. During the dismantling, the interior framing of the east wall two previous chimney locations and of the 1840 construction. Part of the the stair location between the ground exterior wall at attic level remained oor and attic space were discovered. in place, creating a time capsule of a section of the elevation as it would On the south side of the building, have looked in 1840, including a below the eaves and facing Port window frame and part of a door Whitby, an image of a three-masted jamb. It was also evident that at one ship scratched into a siding board was time an exterior landing and handrail found. One can imagine a workman had been cut away, so originally there sitting on the sca old, perhaps eating would have been an exterior stair and his lunch, and scratching an image of direct exterior access to the second a ship he could see at Port Whitby in oor. the distance.
The original nish on the exterior wall The evidence all points to a was painted clapboard siding. The last signi cantly earlier date than 1840 for Interior and exterior views of wall facing the 1840 building. paint colour was white, but there were the small back building. Comparison Photos Paul Goldsmith, 2016 traces of other colours visible in the of tree ring data with wood in the
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ACO Fall 2018.indd 5 2018-09-25 �� 9:02:50 building could reveal that the older heavy timbers, mortice and building was old enough to be part of tenoned and dowelled together, the original town that grew up around with substantial wind braces. Studs, Whitby Harbour, and thus dates from joists and rafters show the marks as early as the turn of the nineteenth of pit sawing and were fastened century. with handmade rosehead nails. In the attic, the building is framed Case Study #2: Old Bronte Road, independently from the adjoining Oakville structures. The roof rafters are widely spaced, small, inconsistent in size The discovery of unusual curved and framed without a ridge board, rafters at the back of an 1875 two- all characteristic of early nineteenth- storey brick building on Old Bronte century Ontario construction. Road in Oakville led to a similar careful Original cedar roo ng enclosed within the attic of the later re-evaluation of the evolution of this To add to the interest of the building, annex. Photo Paul Goldsmith 2018 house. some of the split plaster lath was made from recycled painted wall From the site evidence, it was quickly panelling. The addition on the south determined that the one-storey back kitchen was the original building on the site and that the 1875 building on the east side and storage area on the west side were later additions. With smaller north and south side additions and alterations, the original structure is now at the center of the building and in good condition.
As with the Whitby building, it was the building geometry that rst suggested a di erent evolutionary sequence. One-storey back kitchen on Old Bronte Road. Curved rafters from the porch of the original building. Photo Paul Goldsmith, 2018 The one-storey middle structure is the Photo Paul Goldsmith, 2018 only area with a cellar and its stone foundation is clearly independent of side was clearly added early in the the adjoining structures. The wood history of the building as an annex structure exposed there includes sill and is probably the second oldest plates of heavy adzed timbers and part of it. When the annex roof was oor joists of round logs, many with constructed, it enclosed part of the bark remaining and cut at on the top roof of the original building. Some face to accept oor boards. of the original roof shingles, typically thin because of the quality of rst The clear signs of early Ontario growth wood, remain within its attic. construction continue above. The main frame of the one-storey It is di cult to determine the exact structure is constructed of similar Painted, recycled split lath. Photo Paul Goldsmith 2018 age of this original building, apart
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ACO Fall 2018.indd 6 2018-09-25 �� 9:02:59 from saying that it is consistent with early nineteenth-century construction. We reviewed the historical tax and census records at the Oakville archives; there was only one famed building under two storeys listed on the 200-acre property between 1808 and 1839. This small building could be the original pioneer home. The rear of Washburn House showing an earlier wing on the circa 1835 residence. Photo from The Settler’s Dream: A The curved rafters turned out to be Pictorial History of the Older Buildings of Prince Edward County by Tom Cruikshank and Peter John Stokes. part of a small enclosed porch at the north side of the original building. The original land owner, Benjamin Smith, structurally independent of the main migrated from the U.S. in 1789 and in house and the ground oor walls were About the authors 1806 was listed as the town carriage constructed of a small brick without maker. It is not di cult to imagine him a frog, recognized for their great age Paul Goldsmith was trained adding this nice little feature. by a local engineer expert in heritage in England under a 5-year structures. City & Guilds apprenticeship A Picton Example as a heritage mason and has A farm lease of 1804 between 35 years’ experience working We are aware of another signi cant Ebenezer Washburn and two Quebec on heritage buildings. He example of an older back wing City merchants states that he leased is the President of Historic predating the main house in Picton, his 400-acre lot “with the dwelling Restoration Inc., a Toronto Prince Edward County. In this case houses and all houses … being based company, that specializes we have only been able to gather or to be built.” The now lost back in the restoration and alteration anecdotal information. “extension” was likely one of those of historic structures. Edwin houses then standing on this same Rowse is a founding partner The circa 1835 Washburn House in property. This story shows how easily in ERA Architects Inc. with Picton had a brick back “addition” that the magni cence of the later 5-bay 43 years of experience as a was described by Tom Cruikshank Georgian house with its elegant Greek heritage architect. In 2017 he and Peter John Stokes in The Settler’s Revival details, drew all the attention was the recipient of the Eric Dream: A Pictorial History of the Older and led to wrong assumptions about Arthur Lifetime Achievement Buildings of Prince Edward County as the relatively humble back “addition.” Award from the ACO. Paul and original, but with a later alteration of Edwin have worked together a mansard roof to the second storey. In our experience, the important on projects for more than 20 During a recent renovation, the age lesson to be drawn from these years and undertake detailed and signi cance of the back extension examples is that careful attention site investigations together of was not recognized, possibly because must be given to back structures, under-appreciated vernacular of the late-nineteenth-century especially to the construction historic buildings. The authors Empire Revival Style mansard roof, techniques and craftsmanship, to are grateful to Amanda and approval was given for its ensure that buildings of great age and Sherrington for her help with replacement by a new addition in a signi cant cultural heritage value are archival research. “classical” design. During demolition, not inadvertently lost. it became clear that the addition was
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ACO Fall 2018.indd 7 2018-09-25 �� 9:03:02 THE SIGNATURE OF CRAFTSMANSHIP By Alexandre Krucker and Christian Tice
During the summer of 2017, Christian Tice, Amielya Gilmore and Alexandre Krucker took part in the restoration of the metal façade on the Petrie Building at 19 Wyndham Street in downtown Guelph, Ontario. Built in 1882 for Alexander Bain Petrie and designed by architect John Bain, the four-storey building originally housed a drugstore and pharmacist’s workshop. It is one of the oldest examples of machine stamped metal façades in Canada. Christian and Alex sat down to discuss what craftsmanship meant to them and how they found it relevant to the work they undertook in the Petrie Building. Here are excerpts from that conversation:
Christian: Looking back at our experiences working on the Petrie Building, what was your favourite part of the restoration process? Alex: For me, it was the feeling of being part of a larger process for that building’s history. Not just in the context of the restoration but, more importantly, as another hand that helped physically shape the building. Uncovering the names of previous workers, painters and bricklayers, gave me a sense of pride and connection to the past. It was in those moments that the building felt like a timeless place. Christian: Actually seeing the dates 1893 and 1902 beside those names gave me a sense of wonder. I really enjoyed working on the façade, Lion’s head sculpture on the Petrie Building, 19 Wyndham Street, Guelph. Photo Alexandre Krucker, 2017 especially, when I was touching the
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ACO Fall 2018.indd 8 2018-09-25 �� 9:03:08 THE SIGNATURE OF CRAFTSMANSHIP
surface. Being up close and personal building’s history. By signing our work about, looking to our past to see with certain features, I was awestruck as well, I feel that our contributions where we came from. by the details of the corn, the lions have now joined the work of the Alex: That is the interesting and seeing the artistry that went into previous craftspeople. connection between heritage making them. I found it to be a very Alex: I have had this realization conservation and craft. In the Petrie intimate relationship working on and hope that someone, years from Building we are seeing that played out revitalizing the façade. now, will nd value in the work that in the architectural, in the woodwork, Alex: Agreed, by looking at what was we have added and that they will in the plaster, the metal façade, and done before, you are following in the choose to keep and restore it. Working how the building sits within the footsteps of previous craftspeople. It around or with existing craft instead city. It has certainly made a lasting is important to respect that you aren’t of removing it feels to me that you are impression on me as a major part of the rst one or the last to have a role giving it due reverence. my journey into a career in heritage in this building. We found that quite Christian: If we don’t appreciate what restoration. literally when we were uncovering the has come before us then I feel that we walls and nding the signatures of the may lose our connection to our past, painters and bricklayers, don’t you our communities, and our stories. agree? That ties back into the importance Christian: Absolutely! It was fun of craftsmanship and heritage to be part of the story and seeing conservation. The e ort, the materials, the people who have shared in that having something for people to talk
The team of craftspeople that restored the façade. Photo Christian Tice, 2017 Signature and drawing of the painters dated 1873. Photo Christian Tice, 2017
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ACO Fall 2018.indd 9 2018-09-25 �� 9:03:13 Christian: I believe these buildings bring a vibrancy of street life to the area, especially with the Petrie Building and its unique features. I found it interesting how it sparked interest in the community by being in the newspapers and on social media. It helps give the city a sense of self by engaging the people, generating interest and promoting conversations. Alex: I think you will nd people who love old buildings, but may not point to exactly why they do, which is why we need to build awareness just like the Petrie Building did. Christian: That is one of the reasons why I think Kirk Roberts and Peregrine Wood deserve credit for their work with the Petrie Building. They were always nding ways to promote interest in the restoration process. § Alex: Since this is your rst time working on a heritage building, what does craftsmanship mean to you? Christian: I think that craftsmanship is unique. It’s a way of putting your own stamp or experience on your work. It is like wisdom — hopefully, with time you get better. Part of craftsmanship to me is also always learning, listening, going above and beyond what is required no matter the cost. The craftsperson takes the time to put more e ort into their trade by caring about what they are doing, lending their unique skills and applying it to whatever project they are working on to get the best result. Alex: I really like the comparison that you make with wisdom Christian: Thank you. How about you, what are your thoughts on craftsmanship? Alex: For me, craftsmanship is an approach, a mentality that you take on. I agree that it is about care for materials and method, but it is also about artful solutions to design problems. I believe it’s important to recognize the craftspeople who have honed their craft over the The Petrie Building after the completion of the façade restoration. Photo Christian Tice, 2018 years, as well as the newcomer
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ACO Fall 2018.indd 10 2018-09-25 �� 9:03:14 Corn detail on Petrie façade. Photo Christian Tice, 2017 Detail showing ornament before (left) and after cleaning and coating (right). Photo Christian Tice, 2017
who exhibits that mentality of With this being a unique experience and craft? care and appreciation. The idea of for you have your thoughts changed Alex: What I have taken away from craftsmanship being a quali cation on what craftsmanship means? working on the Petrie is that more can that is hard to achieve is what keeps Christian: Yes, I de nitely look at be done to recognize the craftspeople people from really engaging with it. buildings di erently now knowing who built our historic places as well Christian: Or it could do the opposite what is involved and the care taken as our current craft professionals who — engage those people who are by other trades. By watching what work on the restoration. Seeing the looking for a challenge. By making it Jan Suchomel (Empire Restoration) signatures puts a name to people we too easy, you could be diminishing the did with the metal façade, Jen Weber don’t usually talk about — we should value of craft and artistry. (Iconoplast) with the plaster moldings, try to unearth their stories. Alex: Not necessarily, I think there and Mike Sharp (Sharp Contracting) is an authenticity to craftsmanship with the woodwork, my appreciation that shows itself in the work that for quality restoration work has can’t be faked. The work is the end increased tenfold. Getting the About the authors result of a process which does require opportunity to see the process, I can experience and skill but, more see the craftsmanship shine through Christian Tice is the owner/ importantly, it requires an attitude and in the quality of the end result. operator of a Guelph- approach such as care, understanding, Alex: Craftspeople have a lot to teach based painting business knowledge, wisdom and art. us about how to approach the task at with over twenty years Christian: I believe we instantly hand. Perhaps we should use them as of experience while Alex recognize a work of craftsmanship an example for heritage conservation. is currently nishing a through the quality and skill behind Christian: Being a student and diploma program in heritage its uniqueness. having had the opportunity to work conservation at Willowbank § on a unique heritage building, have School of Restoration Arts in Alex: You had been a painter for some these experiences changed your Queenston, Ontario. time before the Petrie restoration. perspective on heritage conservation
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ACO Fall 2018.indd 11 2018-09-25 �� 9:03:17 FROM FOOTINGS TO WINDOW FRAMES IN FOUR YEARS By Sarah King Head
For the rst time in more than 150 tuned historic sensibilities and a 26 windows. Key to the building’s years, willing suspension of disbelief creative approach to the management history is appreciating the impact was not required when local artists of existing resources. This is evident in adaptations of the interior space in gathered “en plein air” to render their his work throughout Ontario, from the the late nineteenth century had on impressions of historic Beaverdams Sharon Temple to rebuilding the roof the structure’s appearance. As the Church in Thorold, Ontario. By of Trinity United Church in Thorold. church’s primary function shifted contrast, their predecessor, the from a liturgical to a more pastoral watercolourist John Wesley Cotton, At Beaverdams Church, Shoalts’ acuity role in the community, the great felt compelled to illustrate the was rst demonstrated with the interior expanse was partitioned. A meeting house style building replete foundation restoration. Recognizing false ceiling was added separating the with 26 twelve-over-twelve, double- that the structure required second storey gallery and its grand hung windows in 1913 — several stabilization before work could begin, elliptical ceiling above; at the same decades after seven of the upper a non-invasive and easily reversible time one of the two staircases was storey windows had been blocked in. support system was designed and decommissioned and seven of the 26 installed by attaching Krinner ground windows boarded up. An upper room The restoration of the windows to a screws to each of the building’s posts1. was created with the removal and pre-1875 appearance is something Importantly, the solution did not relocation of the pews and addition that has been eagerly anticipated by require excavation and therefore did of a wall. Here and in other ad hoc the Friends of Beaverdams Church not disrupt the archaeological strata. rooms, private Methodist “class” and since the organization took ownership After receiving the go-ahead from later Sunday school meetings could of the building in 2014. Although it is Archaeological & Cultural Heritage be held. not known precisely when, archival Services in August 2016, Heritage Brick photographic evidence indicates that and Stone of Ancaster began work Again relying on the expertise of window frames had been adapted to that October. Shoalts, the Friends hired Webwood accommodate a two-over-two sash Windows of Newton, Ontario, to build con guration before the end of the The rst step was to remove the stone 26 windows. Old Order Mennonites, nineteenth century. foundation and the deteriorated portions of the timber sill — thus Completion of the window restoration leaving the massive 40 by 50 square represents a second important step in foot building supported solely by the an ambitious project that began with Krinner screw system. Once the new replacement of the stone foundation Douglas r sills were installed and between 2016 and 2017. the structure levelled, a reinforced concrete footing and block foundation The Friends are extremely fortunate was installed prior to facing the whole to have the restoration process area above grade with salvaged stone. overseen by Mark Shoalts of Shoalts The work was completed by April Engineering, based in Fenwick, 2017. Ontario. A well-seasoned heritage Beaverdams Church by John Wesley Cotton, circa engineer, Shoalts has decades of With the foundation complete, the 1913. Courtesy of Toronto Public Library experience in heritage conservation. Friends’ attention shifted to the His work is characterized by well- next priority: replacement of the
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ACO Fall 2018.indd 12 2018-09-25 �� 9:03:22 the company does not have a the heritage community, private website and recommendations come and corporate donors, and the local solely word-of-mouth. From a rst community will continue with their meeting in April 2017, it took slightly generosity. more than a year to complete the bespoke window order. In addition If you would like to donate to this to emulating the twelve-over-twelve important cause or learn more style that would have been used from about the restoration projects, the time of the church’s construction please contact the Friends at in 1832 until replacement with larger [email protected]. double paned-sashes at the end of the nineteenth century, each pine window 1 See Mark Shoalts, “Timber Frame Supported,” Good relies on a window con guration with Footings: The Newsletter of the Ontario Chapter of the The restored Beaverdams Church foundation following repair beaded stops and stools typical of Canadian Association of Heritage Professionals (2017), no. 3, in 2017. Photo Courtesy of Mark Shoalts the pre-1850 period in mostly original pp. 1–2. frames.
Installation of the windows into their 185-year-old frame apertures was About the author done by carpenters from Square Roots — just in time for the Friends’ annual Sarah King Head is a historian Yard Sale in early June 2018. based in Fonthill. The research on which she based her book Next up for the Friends is fundraising Where the Beavers Built Their for replacement of the weatherboard Dams: A Unique Cultural Heritage siding. Heavily deteriorated over Landscape in Thorold, Ontario nearly 200 years by extremes in (2017) earned her the ACO’s temperature and weather as well as Margaret and Nicholas Hill by persistent incursions by nesting Cultural Heritage Landscape honeybees, only the siding on the Award in 2017. Her desire to north end above the height of the ensure the rich cultural heritage doors is original, and it is in poor legacy of the Niagara region is condition. The rest of the siding has not lost has seen her participate been subjected to community-driven many local initiatives, including remediation since the late nineteenth the restoration of historic century. This has involved installation Beaverdams Church (1832), the of new boarding at di erent times on Welland Canal Fallen Workers three of the elevations. The building Memorial, and the Landscape of has also been repainted at least twice Nations 360° National Education The restored windows in 2018. Photo Sarah King Head in the twentieth century. Fundraising Initiative. to cover the predicted $90,000 cost was launched in May and it is hoped
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ACO Fall 2018.indd 13 2018-09-25 �� 9:03:28 MAKING SILVER INTO GOLD By John Wilcox
Conservation is craft; we are and red over 500°C on at least one preserving the handwork of others piece of glass. The resultant e ect past. The minimum requirement is a golden transparency variable of learning a craft is often the from pale straw to golden orange. thoughtful repetition of a series Discovered for window glass in the of tasks, culminating in intimate fourteenth century, the existence of material knowledge acquired through silver stain assists in dating medieval frustration, defeat and eventually windows. con dence. Before an artisan is expected to conserve even a portion The most sympathetic conservation of an historical artifact, years are spent follows a philosophy of minimal learning how mistakes are made on intervention, utilizing every possible their own new creations, teaching the piece of existing material as per hand and mind what not to do. Before original intent. Repair rather than being allowed to have the past placed replace at all cost. Whether as a result in our care, we must rst make all of of the slip of a mason’s hammer, ying our mistakes within the present. storm debris, the general fatigue of the lead came support, revolution, The skills in development should not or war, glass breaks. Occasionally a place heritage in danger. These skills piece of glass can be broken out of a Hart House caricature, artist unknown. Photo John can be accumulated whilst creating stained glass window and lost forever. Wilcox, 2018 new current craft and art, allowing These holes can be replaced with a the mistakes to be experienced dated and signed replica of glass and without damaging historic artifact. paint and stain. A replica can never The craft skills required for creating match the original exactly, nor should or conserving that thin and luminous it. The newly inserted piece should be protective veil of melted sand we call indiscernible at viewing distance yet stained glass are many and varied. Of identi able to the trained eye upon all these crafts within the craft, it is the close inspection. It is in the replication actual painting and staining of glass of these pieces that a craftsperson craft that I nd most alluring. can develop their own skills through experimentation of material and In Ontario, we generally refer to all technique, attempting to understand leaded glass windows as stained glass, the methods utilized centuries ago. but only glass that has been treated with silver can truly be described as Before the glass can be treated, a Of the many shards from a damaged laylight, only two stained glass. To be an actual stained match in colour and texture must small pieces were intact enough to be included in the nal glass window, silver must be applied be found from old stock or new piece. Photo John Wilcox, 2016
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ACO Fall 2018.indd 14 2018-09-25 �� 9:03:31 production. This is proving more Original watercolour “vidimus” paint fuses permanently to the glass. di cult by the day. The craft of sheet designs are valuable in reconstructing glass manufacture for stained glass wholly and partially missing stained First to be applied are the trace lines. is not healthy. Each year it seems glass windows, where they exist; They are thick opaque brush lines another coloured glass maker closes however, most do not exist and a building out the form, blocking light shop — victims of digital print and reconstructive cartoon, or inked completely. The hand of artisan is plastic laminate hawkers selling working drawing, must be created. evident in the opaque trace lines in their foreign temporary wares as what I would like to believe is our rst the new deal, nearly declaring war During this particular replication “Canadian” painted leaded glass — a on Canadian stained glass craft. project, the cartoons for the laylight wonderfully lacey grisaille window Without the experimental eld of new recreation were developed from created by Elizabeth Posthuma stained glass commissions, it will be existing photographs and partial Simcoe and her seven daughters. di cult for next generations to hone reconstructions from a box of glass The three-lite east window arrived their craft well enough to be able to shards salvaged from site. Of the many from England in mid-1830s as tribute produce required replicas. shards, only two small pieces were to their dear friends back in Upper complete enough to be included in Canada — the Sibbald family. It was The Massey family were legendary the nal piece. eventually moved from the original stained glass patrons, acquiring various styles of stained glass from From the cartoon glass was cut. The a diverse group of studios. Massey coloured and textured glass industry Hall has hundreds of stained and is in a bit of a freefall due to a series leaded glass windows presently of circumstances, such as digitally under restoration. Massey Mausoleum printed enamels and lms, but a close contains many opalescent windows. match for the textured clear was Hart House has cheeky painted available from the Paul Wissmach portraits of scholars. When Lillian Glass Company of West Virginia. Massey was creating a women’s Rather simple cutting was required for studies institute at the University of this window because all the nesse Toronto, she commissioned a Henry came from the next transformative Holiday (1839-1927) stained glass treatment: paint and stain. window created from a watercolour design shipped from England. Painting a stained glass window is the reverse of painting on surfaces. Not too long ago, a very unfortunate Covering our glass with metallic incident resulted in the necessity for oxides to block the light, our paint a full replication of a large painted creates darknesses to model the light and stained glass laylight for a Massey into form. The oxides are mixed with heritage property. Portions of this nely ground “soft” glass and, after a Opaque trace lines of the Simcoe window, St. George’s Sibbald project will be described here. controlled ring of about 600°C, the Point built 1876-77. Photo John Wilcox, 2011
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ACO Fall 2018.indd 15 2018-09-25 �� 9:03:33 Testing silver stain. Photo John Wilcox, 2017
Megan Albinger of vitreous glassworks cleaning trace lines. Photo John Wilcox, 2016
wooden structure to the “new” St. has to be the most captivating and George’s Sibbald Point built in 1876- elusive. Legend says a member of 77. the clergy in the fourteenth century Stain replication. Photo John Wilcox, 2017 was loading a kiln to x the painted Next in the process, the same general enamel onto the glass. Unbeknownst paint ingredients are mixed into to him, a silver button had fallen a slurry and badgered smooth or from his garb and onto the glass as it stippled over the trace lines. With entered the ring chamber. Imagine needles and sticks the paint is the delight the following day when diapered out, remaining only where the cooled glass was removed from desired. This muddy wash can range the kiln and glowed with the warm from pale blur to deep shadows. transparency of golden honey! Matte holds back only some of the light and is therefore instrumental in Whether the account is true or not is dimensionally modeling the forms. still being debated; however, there is no question about the resultant Of all the techniques in the stained vigor with which the artisans of the glass artisan’s kit, painting/enamelling day responded to this extended — and especially silver staining — palette. Windows with yellow stain Pink and blue enamels prior to ring. Photo John Wilcox, 2017
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ACO Fall 2018.indd 16 2018-09-25 �� 9:03:48 The nal glass treatment for this not be our hope for maintaining particular laylight involved ring craft skills. Whether it is in the loss coloured enamels. Glass colour is of coloured glass manufacturers or created by melting particular metallic the loss of opportunity to practice oxides with sand before the melt and experiment hand skills, the next or batch. Gold creates pink; cobalt generation of glass artisans might not creates deep blue; and the ubiquitous exist. iron creates the green hue we are familiar with within our modern The one aspect that will always remain “clear” glass. Enamels are a bit of a true in my craft is, glass breaks. cheat. Glass enamels are pulverized “soft” coloured glass red onto the surface of sheet glass. Although they are not as lustrous, true and permanent as batch colour, they do allow the stained glass artisan to add colour within each piece.
Finally, another set of skills is required, Present replication window created by vitreous and the panels are leaded up, glassworks. Photo John Wilcox, 2017 weatherproofed and installed.
t roughly into a timeline of the last The intangible knowledge required 500 years. Prior to this, artisans could for tangible glass conservation work only add browns and blacks or reveal is informed through experience. This underlayers of the coloured glass. experience is becoming harder for Trace, matte, stain and enamel techniques were combined to Silver stain could now be utilized to the nascent artisan to nd. The blind create this replica laylight. Photo John Wilcox, 2017 produce varying hues from pale straw acceptance of cheap digitally printed to golden orange. When applied frit and lms — more suitable for bus to blue glass the stain magically shelter ads — as a replacement for About the author transforms into green. traditional stained glass has created an oncoming catastrophe for stained John Wilcox combines over Painting and staining have long been glass craft. An increasing number twenty years of professional the penultimate technique for the of recent stained glass commission glass experience with extensive stained glass artisan’s craft. Around designs are transmitted electronically, training in art and architecture. these parts, all leaded glass windows created by computer and shipped He is the principal at vitreous are erroneously labelled “stained back to Ontario. The subsequent glassworks, an award-winning, glass” at present, even though many loss in opportunity will become a full-service stained glass and of them have never tasted the silver. crisis for the development of hand heritage glazing studio dedicated The silver stain I use most is called skills. The recent cancellation of the to sound design and quality Ancient Walpole. It is crafted by provincial GreenON program for craftsmanship that o ers custom master alchemist Cli Oster in New heritage window refurbishment art glass for all environments. He Hampshire who also happens to be also denies the next generation has been a member of ACO for the storied mixologist behind the access to developing these skills. almost 30 years. avours for Vitamin Water! Destructive revolution and war should
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ACO Fall 2018.indd 17 2018-09-25 �� 9:03:57 ARTISANS RESCUE TRINITY UNITED TREASURES By Susan M. Burke, photography by Karl Kessler
On June 10, 1906, the evening service stained glass artistry. The cost of windows, but specializes in cleaning, was cancelled at Berlin’s St. Andrew’s $31,227 included a new organ, repairing and restoring vintage Presbyterian Church “as a gesture of furnishings and decoration. stained glass, returning windows good will,” so the curious Presbyterians to their reconditioned mounts, or could worship with the Methodists Among the many donations made fashioning light boxes for them and experience for themselves the to the church at the time of its so they can be enjoyed in a non- impressive new church that had risen dedication were two stained glass traditional setting. the previous winter at one of the windows donated by the Ladies Aid, most prominent locations in town. Christ leading his ock and Simply to Sunrise’s $20,000 contract with Trinity (One year later, a few blocks away, the cross I cling. These were centred by those same Presbyterians would be a third, The Good Shepherd, dedicated dedicating a new church of their own by their family to the memory of Mr. by the same architect.) and Mrs. P. E. W. Moyer. These three windows would be among the last of Attending the morning dedication the sacred treasures to be removed service that day were more than 1,100 from the church before its demolition. proud Methodists who, although they had built one of Berlin’s rst churches This proud congregation had been in 1841, had actually been churchless beset with nancial struggles as for over two years. Forced to worship membership dwindled and costs to rst in the Berlin Opera House, maintain its century-old building rose. then the Salvation Army Barracks, As it celebrated its 175th anniversary eventually they purchased two lots, in 2016, the congregation’s dilemma A postcard documenting the as-built 1906 Trinity demolished the houses there, hired became reality, and the way forward Methodist Church, designed by architect Hubert McBride. a Methodist architect from London, into the next stage of its life, clear. In 1925, it joined the United Church of Canada. Courtesy and by August 1905 had laid the The most precious of its sacred art — of rych mills. cornerstone for their new church. thirty-four stained glass windows and a magni cent 1928 Woodstock pipe Architect Hubert Carroll McBride organ —would be preserved, and the (1860-1943) designed for them a building would be sold to a developer, handsome neo-Gothic church of “red with the balance of its contents pressed brick with stone facings.” dispersed by online auction. Twin entrances in its double towers led to a gracious auditorium, with a The work of removing, stabilizing gallery on all three sides and lit by and crating the windows for storage small lancet windows. The enormous was entrusted to Sunrise Stained window with elegant Gothic tracery Glass of London, a full-service that overlooked the street held the window company with close to forty promise of glorious light-play for years’ experience. A skilled team of The interior with its wrap-around gallery, seen from morning services once funds could dedicated professionals, Sunrise designs, executes and installs new the chancel looking toward the big 1994 Gothic window. be found to commission appropriate Photos Karl Kessler, 2018
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ACO Fall 2018.indd 18 2018-09-25 �� 9:04:01 involved removing all thirty-four We’ll never know why they were not when he designed his rst stained stained glass windows, stabilizing awarded the commission. The family glass window at age 16. By 1980, them for transport to their workshops certainly developed strong ties to as full partner in the company, Joe in London, building crates for the congregation; memorial panels completed the narthex series at Trinity potentially long-term storage and in several of Trinity’s windows honor by designing two bracketing windows returning them to a storage unit all three generations involved in the to complement the three traditional in Kitchener. The condition of each Bullas business. gurals donated in 1906 at the window had to be carefully assessed dedication service. before its removal. In the early 1950s the lovely lancet windows of the nave were But the largest window in the church, The congregation had good reason transformed by a major commission the enormous east-facing window to treasure its stained glass art; not for memorial stained glass by Luxfer with its original wooden Gothic only did the windows, installed 1906- Studios, Toronto. The more than tracery, was still a blank canvas 1994, chronicle its occupancy of the two dozen colourful, jewel-like awaiting some talented stained-glass McBride church, they marked major windows both delighted and inspired, artist. Joe Bullas undertook this last steps forward in the growth of Trinity’s depicting New Testament stories on commission in 1994, naming it I am ministry. Of equal importance to local the ground oor, Old Testament in the the beginning and the end, and he historians, the windows also helped to gallery. J. Humphrey Bullas, who had and his brother Thomas dedicated trace the trajectory of one of Berlin’s joined the family company in 1933, this major work to their parents, (now Kitchener’s) longest continually chose this moment to memorialize his Humphrey and Marie Bullas, and to a operating family businesses, Bullas grandmother Mary, and his parents partner in the business, Viola M. Yanke. Glass Ltd. Joseph and Polly Bullas with the Window of Baptism. Figural windows are composed of The three 1906 windows that center many pieces held in place with strips the ve panels in the narthex were Humphrey’s son Joe Jr. had already of grooved lead called cames which the work of a little-known Toronto lived up to the family’s artistic legacy are soldered at the joints. Although glass house, Crown Art Stained Glass a window’s mount keeps the glass Co. Ltd. Meanwhile, almost in Trinity’s composition rigid, over time the lead backyard, a team of glass artists led cames degrade and fatigue, putting by brothers Joseph and Jack Bullas stress on the joints, weakening the – newcomers to Berlin – had just window. Happily, the 1950s Luxfer completed a commission for twelve windows were mostly in good shape. full-sized liturgical windows for the Their removal consisted of prying out Lutheran church. Joseph and Jack the wooden window stops, removing had apprenticed in London, England, the tie wires, carefully chiseling out emigrated to Canada in 1904, and the putty in which the windows chosen the thriving industrial town of were set, gently tilting the window Berlin as home for their new business. panels in and lifting them out. The As Methodists themselves, the Trinity earlier windows in the narthex posed commission would have been an Three of ve side-by-side stained glass windows in di erent problems and had to be important one for the new rm. the narthex. These, by Toronto’s Crown Art Stained Glass stabilized with tape before they Co. Ltd., were in place when the church was dedicated in 1906. ACORN Fall 2018 19
ACO Fall 2018.indd 19 2018-09-25 �� 9:04:05 could be transported. Set nails had with 300 other instruments across other two team members worked weakened the putty, causing warping Ontario. The rm sourced out a together, lifting out pipes one at and deformation. The large window in congregation in Guelph willing to a time, carefully placing them in the gallery, the most recent to receive purchase the ‘Woodstock’, lock, stock custom-made carrying/storage its decorative stained glass, should and console, for a price that would boxes. Pipes are made in sets called have been the most stable. However, include the rebuilding of the organ in ranks which share a common timbre the glass panels had been designed its new environment. The complete and volume. The team boxed these and installed to t the original 1906 instrument with its 2,500 pipes would together to facilitate re-installation. Gothic wooden tracery that was likely be a bargain compared with a new in questionable condition at the time. organ of similar size, which could cost The pipes are a study in beauty all to It was further weakened by set screws upward of $750,000. themselves. Each hand-made in metal that passed through the lead cames or wood, the pipes in the ‘Woodstock’ directly into the wood. Trinity was satis ed knowing their ranged in size from just over an inch prized organ would live on to delight to 16 feet in length. The largest, The June 1906 dedication service a new audience, and that the deal activated not by the keyboard but was covered in minute detail by the struck with the Dodingtons would by foot pedals, produced the lowest local press. The Berlin Daily Telegraph swell the co ers. Meanwhile, Jim pitched notes and extended down a reported that “the music by the Dodington and son Dylan, assisted by half storey below the chancel. A full choir was excellent … the anthems, Mark James, began the painstaking storey down was the original hand- perfectly rendered … and Miss job of dismantling the ‘Woodstock’ stenciled Woodstock blower, powered Zoellner acquitted herself in a very piece by piece. By April 24, 2018, the by an electric motor. pleasing manner … on the beautiful online auction had run its course new organ.” and within days the 1,000-plus items At the end of day ve of dismantling, sold had disappeared from the with the biggest pipes still standing, The organ was a Breckles and auditorium, leaving a strange echoing among them the 16-foot Trombone Matthews instrument, built by the space around the chancel where the rank and some big, beautiful woods, D.W. Karn Co. in Woodstock, among Dodingtons would work. word came that the recipient the largest and most prestigious congregation had pulled out of the organ manufacturers in Canada. They began by testing the pipes and arrangement. Work ceased, and the Some twenty years later in 1928, to checking wind pressure, then Mark update their organ the church elders started stripping the console. The commissioned the Woodstock Pipe Organ Builders Co. (1922-1948). Further signi cant upgrades followed: additional pipes acquired from Casavant Frères Ltée in 1957, and in 1963 a reconditioned 1924 Casavant console from Christ Church Cathedral in Hamilton was acquired. In 2003, a major fundraiser paid for renovations to the instrument, assuring the congregation that the organ would “lead worship for another 50+ years.” Clearly Trinity throughout its history had made major investments in its musical future. Although psychologically ready in 2018 to sacri ce the church building to progress, the congregation was simply not prepared to abandon its beloved organ.
Dodington & Dodington of Aylmer, Ontario, the trusted family rm, had Wearing a respirator and protective gloves, Adam Adam Frazee lifting out one of the many panels that for many years been tuning and Frazee of Sunrise Stained Glass is using a hammer and compose the 1994 window I am the beginning and the end maintaining Trinity’s organ, along chisel to free a section of one of the larger 1950s Luxfer by Joe Bullas of Bullas Glass, Kitchener. windows.
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ACO Fall 2018.indd 20 2018-09-25 �� 9:04:12 Dodingtons determined to cut their losses. The console would certainly nd a new home. As for the pipes, they would go into storage and in time nd use as replacement parts in a variety of instruments.
Mark James stripping the organ console. Four of the dozens of Luxfer Studios lancet windows can be seen on the left. Behind Mark on the right is the grille fronting the organ chamber.
Rank upon rank of pipes – both ues and reeds, metal and wood – were among the hundreds of pipes in the Swell division, one of four pipe divisions in the Trinity organ.
About the authors
Susan M. Burke’s expertise includes built heritage, material culture, and folk and decorative art, developed over four decades as a curator, manager, and researcher at living history museums. Much of her career has been dedicated to the restoration and programming of Joseph Schneider Haus National Historic Site (Kitchener). She is the education coordinator for ACO North Waterloo Region.
Father and son Jim and Dylan Dodington stacking boxed ranks of metal ue pipes, the type most commonly associated Karl Kessler is the coordinator of with pipe organs, and sometimes displayed decoratively outside the organ chamber. Doors Open Waterloo Region, a heritage researcher and writer, and a member of ACO North Waterloo Region. ACORN Fall 2018 21
ACO Fall 2018.indd 21 2018-09-25 �� 9:04:28 ADDISON’S TEMPLE OF TREASURES Article and photography by Richard Longley
Where did the Canary sign go, when way west of its original home but o passion for the last 50 years was the Canary Restaurant at Front and I went. Addison’s Inc. He worked hard day Cherry Street closed in 2007 and the in and day out to service the needs spi y new Canary District began to When I arrived at the old factory of his valued customers and built grow up north of it, with nothing to building, south of where College friendships and relationships along explain why there’s a yellow bird on its Street merges with Dundas West, the way. logo? Katherine Taylor, maker of her there was a notice taped to its door: But the door still opened. marvelous blog “One Gal’s Toronto,” It is with deep sorrow that we knew the answer: “It’s at Addison’s at inform you that on Sunday, June Jim Addison emigrated to Canada 41 Wabash. When you go there you 11, 2017 Jim Addison passed away from Scotland in 1965. He was might have a hard time nding it but peacefully in his sleep. Jim was a plumber with a passion for you’ll have fun looking and you’ll be 74 years old and still doing what collecting. Starting with the rads, in for a treat.” The Canary had own he loved 6 days a week. Jim’s life bathtubs, toilets, basins, faucets and showerheads he removed as he worked on his renovations, he evolved into an accumulator of antique everything, with a determination that was a boon to movie set designers and restorers of heritage buildings. When Jim died his four daughters, Teresa, Pamela, Cora and Beckie, inherited Addison’s Inc. They are determined to keep the business
Pamela, Cora, Beckie, and Teresa, daughters of the late Jim Addison, founder of Addison’s Inc., 2017 Canary Restaurant sign, 2017
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ACO Fall 2018.indd 22 2018-09-25 �� 9:04:34 the Tower Automotive Building is and bathtubs, stacks of old plumbing being transformed into the new ttings, a cell from the Don Jail, the Museum of Canadian Contemporary ponies of a fairground carousel and Art. The Drake Commissary has all you need to set up as a dentist. already moved into the building The only thing you won’t nd is the south of it that housed T. A. Lytle, Canary. It’s complicated and it’s taking manufacturer of Pickles, Catsups, a long time but, if all goes well, the Sauces and Fountain Goods before it yellow bird will soon be on its way was taken over by Scythes & Company back to the Canary District where it Ltd., manufacturer of oiled clothing, belongs. tents, tarpaulins, canvas, banners and ags. There’s also a craft brewery and the House of Anansi Press. This is a changing post-industrial world with soaring rents and too little accommodation for businesses like Addison’s Inc.
But for now, it still stands; it’s still open and Cora and Beckie are running it. Visit Jim Addison’s treasure house; Pony rescued from by Jim Addison from a fairground it’s not a junkyard; it’s a reliquary of Among the treasures at Addison’s is an antique dentist’s chair carousel, 2017 bygone craft. Explore it, get lost in it and don’t dream of leaving it empty- and tools, 2017 going but it won’t be easy in its handed. You’ll nd a gallery of toilets present location. Like everywhere in downtown and near-downtown About the author Toronto, this neighbourhood is gentrifying fast. Richard Longley has been a member of ACO since 2005 and Where there was once a sock factory served as president from 2013 to a condo is going up next door. Across 2015. He photographs and writes Wabash, the Canadian Linseed Oil Mill, about Ontario heritage regularly the last industrial building — standing and is a frequent contributor to on what is now a park that teems ACORN. with dog walkers — will become a community centre. North of Dundas, A gallery of toilets and ceiling lights, 2017
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ACO Fall 2018.indd 23 2018-09-25 �� 9:04:40 ANCASTER OLD TOWN HALL: A PLACE TO CELEBRATE By Em Cheng
During the Paleozoic Era, in the during the same geological period, a witness to the important cultural geological period Silurian, a stone stone known as Eramosa Dolomite — activities of Ancaster’s townsfolk. The we now call Whirlpool Sandstone a massive, brownish-gray carbonate hall was erected around the time it came into being. It is a light greyish- mineral with a tendency for cavities became clear that Ancaster would white, grained sandstone with thin, lined with crystals and fossils — also not expand nor ourish to the same dark-greenish-gray shale clasts. Later, formed. For over 400 million years, extent as its neighbouring town, both stone formations remained Hamilton, which had access to the embedded in the landscape, primarily new railway system. This arrested in the region spanning from Hamilton, urban development accounted for the Ontario to Medina, New York. Growing modest scale of the town hall, but also in the same area, in the past half- had a positive impact on how it was millennium or so, are eastern pine used. Ancaster depended on its town trees, the kind immortalized in the hall to be the primary social centre paintings of the Group of Seven. precisely because there were not a lot of other assembly spaces for its close- In 1871, the sandstone, dolomite, and knit population. pine were given an anthropogenic purpose. That is to say they were Paul Grimwood’s 1973 chronicle, culled and formed by masons and Ancaster’s Heritage, describes the town millworkers to serve as materials in hall as being a place for “meetings, the construction of a Georgian-style elections, church entertainments, town hall for a southern Ontario Christmas celebrations, harvest village called Ancaster. The town hall suppers, Agricultural Society’s oyster still stands today and features the suppers, travelling shows, and dolomite as its primary exterior wall other public occasions.” Some of material, while the sandstone is used the more notable events included a for its window sills and voussoirs. demonstration of the famed Edison Fabricated from the pine trees are a “magic phonograph” in 1878, and a dozen double-hung arched windows performance of a Gilbert and Sullivan whose surprisingly slender muntins production in 1887. When a new and stiles easily span the height of town hall was built in 1966, the old two men. A three-foot-diameter rose town hall was restored thanks to window of the same pine adorns the the initiative of a volunteer citizen front façade above the porch. group. It continued to be used in Ancaster Town Hall at 310 Wilson Street East remains several community capacities and was a desirable location for important celebrations. Photo From raw material to a built form, eventually designated under Part IV of Richard Seck, 2017 the stone and pine have since borne the Ontario Heritage Act.
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ACO Fall 2018.indd 24 2018-09-25 �� 9:04:44 In 2015, George Robb Architect was event space. Weddings, community location for important celebrations for retained by the hall’s owner, the City gatherings, and holiday activities are over a century speaks to the value of of Hamilton, to oversee the restoration some of the popular hall functions. maintaining heritage buildings. of the windows and re-point the The ability of the old town hall adjacent stone walls. Maintaining the of Ancaster to remain a desirable value of the building — speci cally Sources the cultural and material heritage Arthur Bowes, Ancaster: a pictorial history. Ancaster Township — was a critical consideration. With Historical Society, 1999. Cli ord Restoration as the general contractors, the existing dolomite C. E. Brett, D. H. Tepper, W. M. Goodman, S. T. LoDuca, and and sandstone were entirely reused, Bea-Yeh Eckert, “Revised stratigraphy and correlations of Niagaran Provincial Series (Medina, Clinton, and Lockport with only the replacement of the Groups) in the type of western New York.” 1995. U. S. mortar. For the windows, as much Geological Survey Bulletin. Prepared in cooperation with EPA as possible of the old-growth pine and University Rochester, Department Earth Environmental wood was salvaged and, as needed, Science. spliced together with new wood using Gerard V. Middleton, “Notes on Stone Buildings.” Doors Open Dutchman repairs. Custom moulds Hamilton, 2012. were created for steam-bending The oldest layer of paint dated to the 1800s. Photo the arched window sash members. Em Cheng, 2016 Damaged glass was replaced with salvaged heritage glass, and damaged window and door hardware was replaced with both salvaged and new About the author operable hardware. The windows and doors were painted with a linseed- Em Cheng is an architect and artist oil-based paint with colours based based in Toronto. Her writing and on laboratory tests that revealed the illustrations have appeared in oldest existing paint layer to be from publications about architecture, the 1800s. This project of subtle yet including Log, The Site Magazine, critical improvements to the building and The Princeton School of received an Honourable Mention Architecture Journal, PIDGIN. Her award from the Canadian Association Old growth wood was salvaged and spliced together artwork has been exhibited in of Heritage Professionals in 2016. with new wood using Dutchman repairs. Photo Em Cheng, Toronto, Calgary, and Melbourne, 2016 among others. She is a member of The town hall is said to have cost Architectural Conservancy Ontario. $2,700 to build in 1871. The cultural heritage value has accrued over time. Today, the hall serves as multipurpose ACORN Fall 2018 25
ACO Fall 2018.indd 25 2018-09-25 �� 9:04:47 SANDSTONE STEWARDSHIP by Guy Burry and Liz Lundell
Standing at a busy Toronto intersection, a property of national historic importance has been screened by imposing red brick walls from the view of passersby for decades. Pedestrians — many of them students at the University of Toronto — have bustled to and from the TTC’s St. George Station largely unaware of the e orts of a private club to preserve this important heritage resource; however, hoarding and equipment visible from the sidewalks have drawn attention recently to a signi cant restoration project.
Designated by the City of Toronto for its architectural value in 1980, the former George Gooderham House at 135 St. George Street at Bloor has Originally the George Gooderham House, 135 St. George Street in Toronto has been home to The York Club since 1909. The been under the stewardship of The porte cochère prior to restoration. Photo The York Club, 2017 York Club since 1909.
The 1980 designating bylaw stated the reasons for designation were architectural, outlining that the building “is an outstanding architectural landmark in Toronto designed in 1890 by David Roberts Jr..” George Gooderham’s home re ected the Romanesque style made fashionable by American architect H. H. Richardson in the 1870s and ‘80s. Richardson died in 1886 at age 47, but the appeal of the architectural style associated with his name continued well into the 1900s. Gooderham named his home “Waveney” after the river close to his birthplace in Norfolk, England. Gooderham died in 1905 and The York Club purchased the property from Harriet (nee Dean) Gooderham The parapets showing signs of weathering and damage before restoration. Photo Spencer Higgins Architect, 2017 within a few years.
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ACO Fall 2018.indd 26 2018-09-25 �� 9:04:52 The exemplary architecture and conservation work urgently. craftsmanship were the primary Replacement of deteriorated stone reasons for heritage designation in in the east chimney and south gable Designation Bylaw No. 355-80: wing were completed in early 2018. The imposing exterior skillfully The time-worn stone elements were executed in red brick and Portage replicated by Traditional Cut Stone sandstone is enriched by the Limited in Mississauga and installed decorative stone carving of by Roof Tile Management. Holbrook and Mollington, ne metal-work embellishments and The next priority became the slate roo ng. The panelling and restoration of the stone pillars magni cent craftmanship in and parapets, and installation of the replaces, light xtures and a replacement roof over the porte plaster work of the main rooms, cochère with new lead ashings. The and especially in the wood carving porte cochère stone is, once again, of the front hall and stairway, being crafted by Traditional Cut Stone are unique. The attention to the and will be installed by Colonial re nement of detail on the exterior Building Restoration Limited of as well as the interior identi es Scarborough. this splendid house as an excellent example of the period. The original stone for the Gooderham residence was Portage Entry Red At The York Club’s request, Spencer Sandstone quarried near Jacobsville Careful removal of damaged stonework. Photo The R. Higgins, architect and consultant on the south shore of Lake Superior. York Club, 2018 in conservation of historic buildings, Michigan’s Upper Peninsula near the undertook an extensive analysis of town of Jacobsville possessed cli The craftsmen whose names the building’s condition in 2017. shorelines composed of desirable appear most prominently in the Higgins’ “Historic Structure Report” sandstone layers that could be history of the Gooderham house identi ed that that the property quarried and easily transported by are Toronto’s William Holbrook was “rapidly developing age-related ship. (1842-1925) and his partner, issues” evidenced “in some of the William Mollington (c. 1846 -1887). stonework, which is beginning As a result, Jacobsville-area sandstone Their wood-carving decorates the to crumble, and the roof which was used extensively in hundreds bookshelves and walls of the Library although well maintained and not of important projects in America of Parliament in Ottawa, where leaking, will require some fairly major between 1880 and 1920 when their preferred carving medium rehabilitation in the next decade in the quarries closed. These include — clear, white pine — showed o order to continue to shelter the club. prominent buildings in Chicago, their skill to great advantage. The There are also signi cant issues with Cleveland, St. Louis and New York City. rm of Holbrook & Mollington was the garden wall related to aging of the formed about 1874. The Ottawa ironwork and damage to the bricks Spencer Higgins’ report noted the Library job in 1876 led to other from road salt and water.” high-quality nish and materials used prestigious work, including the for the Gooderham residence and stone carving on the Western Block Higgins assessed that elements described the craftsmen who carried extension of Parliament (1877), of the sandstone exterior needed out the work: the new Post O ce in Hamilton
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ACO Fall 2018.indd 27 2018-09-25 �� 9:04:56 (1882-87), the Manning Arcade in Toronto (1884-85) and the Bank of Montreal (Yonge and Front streets) in Toronto, to mention projects completed before Mollington’s death in 1887. The Gooderham House was constructed in 1889-92 so it can be inferred that the stone carving work was carried out under the supervision of Holbrook.
The replacement stone selected for the 2018 restoration, Corsehill Red Sandstone, comes from the Annan Quarry in Dumfriesshire, UK. It is a nely grained, Triassic sandstone of medium strength. Corsehill was quarried extensively in the 1800s, closed in the1940s, but reopened in 1982 to again supply stone for prestigious projects across Great Britain and abroad. The stone’s hard- wearing and consistent texture makes Traditional Cut Stone has been recreating the damaged architectural features, including highly detailed chimney pots. Photo The York Club, 2018 it ideal for masonry work, cladding and walls. It is also a very close match for the Portage Entry Red Sandstone of the original Gooderham work.
Traditional Cut Stone’s master carvers have been entrusted with the replacement stonework. David Tyrrell, Managing Director, co-founded Traditional Cut Stone with Richard Carbino and master stone carver and artist Lawrence Voaides in 1998 at a time when stone carvers were becoming increasingly scarce in North America. Over the past 20 years, their restoration projects have spanned the United States and Canada and, in Toronto alone, they include projects of high complexity and signi cance such as the Ontario Legislative Building, St. James Cathedral, St. Michael’s Cathedral and Toronto’s Old City Hall. The rm’s projects have won many awards for excellence in craftsmanship and construction, and aiding architects in achieving their vision.
The porte cochère restoration will be completed in 2018. Photo The York Club, 2018
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ACO Fall 2018.indd 28 2018-09-25 �� 9:05:03 About the authors
The York Club’s General Manager, importance to the membership to Guy Burry is a member of ACO Cyril Duport, has followed and maintain the exquisite craftsmanship, Muskoka and the photography photographed the work as it has both interior and exterior.” It is editor for ACORN. Liz Lundell, progressed. M. Duport observes a tribute to the organization’s managing editor of ACORN, is that the membership has been very stewardship that the work is being a historian and author of seven supportive of the large-scale project. carried out so carefully to preserve books on aspects of Ontario He says, “The York Club is extremely this important resource for future heritage. She is past president of fortunate to possess a clubhouse of generations. ACO Muskoka and is the branch historic signi cance, so it is of utmost representative on Provincial Council.
CALL FOR SUBMISSIONS PLACES OF PLAY – ACORN SPRING 2018
Gerry Dunn built his rst dance hall in Bala with a slogan of “Where All of Muskoka Dances.” This larger pavilion opened in 1942 and is now The Kee to Bala. Source Explorer’s Edge, accessed 2016
Leisure, amusement, sport, dance and entertainment. Author Edward Bellamy (1850 - 1898) once wrote, “If bread is the rst necessity of life, recreation is a close second.”
The Spring 2019 ACORN will look at the places where past generations found pleasure, respite and relaxation after work. Articles should be a maximum of either 500 or 1000 words in length and “encourage the conservation and reuse of structures, districts and landscapes of architectural, historic and cultural signi cance to inspire and bene t Ontarians.”
Before commencing work on an article, please send your proposal or questions to [email protected] to avoid duplication and ensure photo guidelines are received. Deadline for submissions is January 29, 2018. Submitters are encouraged to look at past issues available on the ACO website: www.acontario.ca.
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ACO Fall 2018.indd 29 2018-09-25 �� 9:05:03 IT TAKES A (BIG) VILLAGE By Devorah Miller
This issue of ACORN delves into to save buildings at imminent risk of heritage as you do, please encourage the physical and artistic work of being lost, but small groups standing them to become members of ACO, preserving heritage structures. Skilled up for individual buildings in their and to donate to help us strengthen tradespeople are at the heart of our communities is a band-aid solution. and grow. Let’s work to shift the story community, and it is through their of heritage in Ontario from one of hard work and collaboration that Better legislation tied to enforcement small community groups ghting historic buildings are preserved, would be a big win. Just imagine individual battles with expansionist restored or transformed. When how much would be accomplished developers and some careless it comes to advocacy, we could if we could focus all of our attention property openers, to one of stronger learn a thing or two from glaziers, on restoring, reusing and celebrating legislation, better upkeep, and an stonemasons, carpenters and other heritage buildings, rather than embracing of our heritage structures artisans. constantly trying to protect them as integral to our communities, from demolition. reminding us of the past while looking An individual’s power to ght for to the future. heritage can drain really quickly; For now, we will keep our eye on the this is a tough battle and it’s much bigger picture while ghting for every Don’t let our children grow up more e ective when approached building worth saving. ACO has built a ignorant of our history, and of those in a strategic, collaborative way. virtual village of heritage lovers across whose labour and ambitions built Mentoring and collaboration create the province. Together, we advocate our communities and our province. strong teams and get things done. for better legislation, we support each The building blocks of Ontario should When we stand together, we send other in our e orts to save individual remain visible for all to see, know, and a powerful message that heritage buildings from destruction, and we celebrate. There’s strength in numbers, matters to many people. celebrate hard-fought successes when so please share, please give, and let’s buildings are saved, repurposed, and grow stronger together. So let’s step up. Heritage protection brought back to life. Let’s grow that in Canada is far behind where it village. Devorah Miller should be. While historic places can be Development Manager, ACO designated at the federal, provincial, From the grassroots to the national territorial or local level, statutory level, nothing has been accomplished To become a member, renew your protection is weak. Most heritage in the world of heritage without the membership, or make a donation, go advocates expend their energy trying clear voices of concerned citizens to www.acontario.ca speaking up, together. So if you have friends, neighbours, colleagues or family members who care about
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ACO Fall 2018.indd 30 2018-09-25 �� 9:05:06 Heritage Classifieds Professionals across Ontario in a variety of disciplines, working to preserve Ontario’s heritage
Archaeology & Heritage Consulting Builders Machinery Conservation Archaeological Research Build Pragmata Historic Machinery Associates (ARA) Stratford - Design/Build company Conservation Kitchener - Provides a holistic approach focused on heritage restoration, Hamilton – Machinery conservation to cultural heritage. Archaeological renovation, additions. Understanding of and millwrighting services to custodians (Stage 1-4) and heritage assessments. architectural history. Serving Stratford, of the industrial past. Services include Specializes in engaging Indigenous St. Marys, London, and surrounding research, assessments, documentation, communities in assessments. areas. assembly/disassembly and more, carried www.arch-research.com www.build4u.ca out by a team of highly skilled and experienced professionals. Ultimate Construction Inc. www.pragmata.ca Barrie - Our management and extensive Architects craft and trade teams have decades of Catherine Nasmith Architect experience in the exterior and interior Plaster Conservation Toronto - Heritage rehabilitation, conservation and restoration of historic planning, advocacy and research. Private buildings across Canada. Historic Plaster Conservation Services residences and other small scale projects, www.ultimateconstruction.ca Ottawa - Specialized consulting and with offices in Toronto and Muskoka. contracting firm with unparalleled Writer, guest speaker & urban advocate. experience in the field of plaster www.cnarchitect.ca Consulting assessment and conservation in historic buildings. John Rutledge Architect NPC Services [email protected] 613-889-1974 Blyth - Historically sympathetic Port Hope - Neal Pope builds on 30 www.historicplaster.com restorations, renovations, additions to years of tradition, superior service and designated and old public buildings, craftsmanship in new and heritage churches, homes, cottages. Barrier-free construction and traditional wood Stained & Leaded Glass upgrades & feasibility studies. Est. 1990 window and door manufacturing by John Rutledge 519-523-9000 consulting for the heritage community. Northern Art Glass www.johnrutledgearchitect.ca www.npcservices.ca Ottawa - heritage glass restoration, major restoration projects in Eastern Ontario and West Quebec since 1978. Leaded/stained glass repair, estimates, Architectural Woodwork Legal assessments, conservation reports. Heritage Mill Wood Bull LLP www.northernartglass.com Historic building restoration, design and Provides clients with strategic advice exact replication of all historical and representation on the land use Vitreous Glassworks architectural woodwork including doors, planning processes, including properties Toronto - Award winning artisanal windows, porches & storm windows. of cultural heritage value/interest and stained glass/heritage glazing studio Highly skilled team of historic building implications of Ontario Heritage Act dedicated to quality craftsmanship. conservation specialists. Canada-wide designations. Check out our free on-line Custom art glass, 30+ years experience. delivery. Alan Stacey 905-628-3052 resource on the Ontario Heritage Act: John Wilcox 416-737-4527 [email protected] www.woodbull.ca/heritage www.vitreous.ca
The listings on this page are paid advertising; ACO bears no legal or financial responsibility for any relationships arising from this information.
If you would like to advertise in the next issue, contact [email protected]
Drawings (right and opposite page) by architect Alan Seymour, longtime ACO member and volunteer for ACO’s PreservationWorks! program
ACO Fall 2018.indd 31 2018-09-25 �� 9:05:06 SUMMER 2019 LEARN NEW OLD WORLD SKILLS BLACKSMITHING LEATHER WORKING & TANNING TIMBER FRAMING LOG CABIN CONSTRUCTION SPLIT-RAIL FENCING STONECUTTING & CARVING CANOE BUILDING HERITAGE WET FELTING WOOD WINDOW RESTORATION TRADITIONAL STAINED GLASS STONE LETTERING
www.algonquincollege.com/perth-ce
ACO Fall 2018.indd 32 2018-09-25 �� 9:05:06