Arts and Culture : Development News

Under Line? The Six Under? Bent Alley?
 
Waterfront Toronto’s collaborative campaign to come up with a permanent name for the project that will create welcoming public spaces under the Gardiner Expresseway between Strachan and Spadina avenues goes into phase two this week, as the long list of suggestions is handed off to a jury.
 
Temporarily called Project: Under Gardiner, the initiative would create 55 outdoor civic “rooms” formed by the Gardiner’s structure of columns and beams (also known as bents). Prompted by a $25-million donation from philanthropists Judy and Wil Matthews, the 1.75-kilometre space would connect adjacent neighbourhoods and provide amenities like children’s gardens and performance stages. Waterfront Toronto has been hosting brainstorming sessions and has created a DIY Naming Toolkit to encourage Torontonians to throw naming parties. A week before the April 1 deadline, Waterfront Toronto had received more than 500 submissions, though that number’s expected to double by month’s end.
 
“Some folks have said, ‘I like the name Under Gardiner name, we should keep it,’ but we think there’s a lot more to draw from and we want to engage Torontonians in that larger conversation,” says Christopher McKinnon, manager of digital and social media for Waterfront Toronto.
 
While there have some whimsical suggestions—one name that came up during a school workshop was Shark Park—the words “under” and “line” have come up a lot. “Partly it’s a descriptive thing and partly it’s the influence of other high-profile projects in North America, specifically the High Line [in New York],” says McKinnon. “We’re also seeing trends related to The Six, which is the nickname for the GTA amalgamation” of the six boroughs. (Drake’s affection for the nickname The Six might also have something to do with it.)
 
A panel of judges will trim the list down to between three and five names that will be then put to a public vote in May, then presented to council for approval in June. The project itself is expected to be complete in 2017.
 
Writer: Paul Gallant
Source: Christopher McKinnon

The Launchpad creative space, scheduled to open in 2018 in the Daniels building going up at Queens Quay and Jarvis, sounds like a quintessentially Artscape kind of project—but it’s not quite.
 
Known for creating affordable residential and studio spaces for artists and cultural organizations, Artscape is been the force behind Wychwood Barns, Young Place, Triangle Lofts and Daniels Spectrum, among other place-making projects. Launchpad, described as “part incubator, part co-working facility and part entrepreneurship centre,” builds on the success of those projects, but takes a more proactive approach in supporting artists, partnering with educational institutions to help creative types build sustainable businesses. The idea came out of a study Artscape did few years ago on how to help creative people thrive, which suggested that affordable spaces are only half the equation—boosting income is the other half.
 
“A lot of the [existing programs] were focused on short-term survival-oriented things, rather than growth and development from a business perspective,” says Artscape CEO Tim Jones. Though the space has yet to be built, Launchpad is already on the fourth cohort of the program’s various pilots.
 
So it makes sense that designing the Launchpad space has also been a different process for Artscape. It will inhabit, 30,000 square feet within the mixed-use Daniels Waterfront—City of the Arts complex on the former site of Guvernment nightclub. The organization has worked with Daniels twice before, and has also worked before with Quadrangle Architects, who designed the interior of the Corus Entertainment building across the street. But while many of Artscape’s previous spaces have been designed from the ground up to be site- and community-specific, based on intensive consultation with stakeholders, Launchpad will be shaped as a project built for export.
 
“For most of our projects, we’re trying to make them as unique as possible,” says Jones, “Launchpad is a different kettle of fish for us because, if this model works and is effective in serving the needs of a broader group of people and growing their entrepreneur skills, then this is the one project that we’ll start to replicate across the country and around the world. The issues we’re addressing here are faced by other major cities around the world.”
 
The look and feel of the space will be important to that success. “In some cases we’ve had a light touch, but here we’re looking to develop a stronger design sense,” says Jones.
 
And what will that sense be?
 
“That’s a good question. When I can communicate that, I’ll need to write it down,” laughs Jones. “We want it to be really welcoming. We’re dealing with a lot of interesting disciplines that will have to live side by side, making noise and dust, so it will have to accommodate that. Our offices will be located within the complex, so there are a lot of practical considerations along with the aesthetic ones.”
 
Writer: Paul Gallant
Source: Tim Jones

A new exhibition at Urbanspace Gallery will spotlight one of Toronto’s most significant architects of the early 20^th century.

Four of the buildings designed by Benjamin Brown—the Balfour and Tower buildings, the Hermant building, the Primrose Club and Beth Jacob Synagogue—have made indelible marks on the city with a a design that’s Art Deco and traditionally functional. The show, Benjamin Brown: Architect, curated by the Ontario Jewish Archives (OJA) and the Blankenstein Family Heritage Centre (OJA), features original drawings, blueprints, watercolour presentation boards, historical photographs and maps that will help Torontonians understand Brown’s approaches and his contributions to the urban landscape.

“The OJA is thrilled to showcase the life of this relatively unknown, yet brilliant, architect while providing a lens into the Jewish community during this time,” stated Dara Solomon, director of the OJA, in a news release.

A young immigrant from Eastern Europe, Benjamin Brown studied at the Ontario School of Art and Design and the University of Toronto architectural program to became one of the first practising Jewish architects in Toronto. Perhaps his best known building is the Balfour Building at 119 Spadina Avenue, which was something of the epicentre of the city’s garment district in the 1920s and ’30s. “Many Jewish-owned garment businesses such as furriers, cloak and coat makers, and tailors set up shop here,” states a note about the exhibition. “The floor plans revealed that large open spaces were incorporated into the design for rows of sewing machines and large fabric swaths to be unrolled and cut.”

The exhibition runs until April 23 at Urbanspace Gallery at 401 Richmond Street West.

Writer: Paul Gallant
Source: Urbanspace Gallery

When the architects at RAW Design launched Toronto’s Winter Stations competition last year, asking designers to come up with whimsical installations to liven up the waterfront east of Ashbridges Bay during the tough winter months, they were thinking locally: The Beach neighbourhood specifically and the City of Toronto more generally.

But the 380 entries in this year’s competition, themed Freeze/Thaw, came from designers from all over the world, with one of the four winning 2016 submissions hailing from the UK.

“We kind of went viral and once stuff went on the web, we attracted interest from all over the place,” says Aaron Hendershott, an architect at RAW. “There’s an interest in recreating some of these installations and bringing what we do here to other cities. Certainly there’s a lot of interest in design for the wintertime, something that gives people an excuse to go out and enjoy the city in the winter. The beach isn’t just a summertime environment.”

The UK winner, Sauna by Claire Furnley and James Fox at Leeds-based FFLO landscape architects, is an actual sauna, where passersby can see through the transparent exterior to bathers thawing out on tiered seating inside. “I’m interested in stations that are really going to provoke a new type of community space. The Sauna entry is calmer from a design perspective but I’m intrigued how this will work in a public space,” says Hendershott, who worked on the competition with the jury and fellow organizers at Ferris + Associates and Curio.

The station called In the Belly of a Bear, by Caitlind r.c Brown, Wayne Garrett and Lane Shordee of Calgary, has visitors climb up a wooden ladder into a domed interior lined with fur. Floating Ropes, by MUDO (Elodie Doukhan and Nicolas Mussche) of Montreal, offers a suspended cube of ropes in which visitors take shelter. Flow, by Team Secret (Calvin Fung and Victor Huynh) of Toronto, allows 3D star-shaped modules to be reconfigured into different structures with slot-fitting wooden connections.

The four winners, along with stations designed by students at OCAD, Ryerson and Laurentian universities, will be built from February 10 to 14 along Kew, Scarborough and Balmy beaches south of Queen Street East, between Woodbine and Victoria Park avenues. Installations will debut on February 15, and stay open to the public until March 20. Each station is required to cost less than $10,000 in materials and labour.

Writer: Paul Gallant
Source: Aaron Hendershott

The public art component of the six new stations of the Toronto-York Spadina Subway Extension aims to go beyond decorative subway tiles, integrating an artistic experience into the architecture itself.
 
At a seminar at IIDEXCanada National Design + Architecture Exposition & Conference this week, two of the project leads on the Finch West subway station design will discuss how bringing the artist on board early in the planning process radically changed the look and feel of the station.
 
“The extension stations will be destination-worthy,” Brad Golden, principal of Brad Golden + Co., told Yonge Street Media in advance of the presentation. Golden worked on the public art component of all six of the new stations on the $2.6-billion extension, expected to open at the end of 2017. “We really pushed the limits. It’s immersive and spatial, with technology involved. The TTC was phenomenal in allowing latitude of the art expression.” The transit commission invested about $3 million into the extension’s public art program.
 
Communications technology helped bridge the geographic distance between UK artist Bruce McLean—best known for his cheeky works across a variety of media, including sculpture, painting and film—and the project’s architects and engineers. “The artist was given direct input into the model, which was very efficient and helpful. So we knew right away how it would look. He designed the columns in the public space and the bus canopy,” said Ana-Francisca de la Mora C., project architect at IBI Group Architects.
 
Golden compared the process to jazz, where collaborators take cues from each other as they bounce ideas back and forth.
 
“In real, successful collaborations those boundaries between the disciplines really break down in a wonderful way, especially if you have the different design disciplines at the table early enough,” he said. “You can look at that station as a piece of art, as a piece of architecture and urban design. A true collaboration is a crossover.”
 
IIDEXCanada, which this year takes place at the Metro Toronto Convention Centre, attracts about 30,000 attendees with 1,600 exhibitors, 500 speakers and 350 seminars and tours.
 
Writer: Paul Gallant
Sources: Ana-Francisca de la Mora C., Brad Golden

As the city frets about what exactly to do with the eastern end of the Gardiner Expressway, a generous donation from philanthropists aims to transform a western stretch of the expressway from an eyesore into an urban gem worth visiting.
 
Judy Matthews (herself a professional planner) and her husband Wil Matthews are contributing $25 million toward creating more than four hectares of new public space and 1.7 kilometres of multi-use trails beneath the Gardiner from Strachan Avenue to Spadina Avenue. The project will knit together seven communities with parks, trails and programmable space featuring music, food, the arts, sports and recreation, all sheltered by the ceiling of the five-storey expressway. The spaces will be designed as “rooms” defined by the concrete post-and-beam structures that hold up the Gardiner.
 
With construction starting next year and the first stage from Strachan to Bathurst slated for completion by July 2017, the project is exceptional not only in scale and imagination but in its ambitious timeframe. Public consultations to hear what locals and Torontonians want to see in the new public space and what it should be called will happen very quickly, marshalled by Waterfront Toronto, which is leading the project on behalf of the city.
 
“We had been looking for an interesting project, a neglected vacant space that had the power to be a new kind of public space,” said Matthews at the announcement Tuesday. She and Wil were driving forces behind the Toronto Music Garden on the waterfront and the revitalization of St. George Street where it runs through the University of Toronto. “Imagine in winter if you come down to find a skating rink with hot chocolate there.”
 
More than 70,000 Torontonians live in neighbourhoods adjacent to the project, from Liberty Village to CityPlace, most of them high-rise dwellers dependent on public space to give them some room to move. The project will serve them, but also aspires to be a tourist destination comparable to New York’s High Line, linking attractions like the Molson Amphitheatre, Historic Fort York, Queens Quay and The CN Tower. The donation will be entirely devoted to the design and creation of the spaces; discussion about how to fund the maintenance and programming will take place while construction is underway.
 
“Toronto is an amazing path now where we’re going to find ways to say yes to things like this,” said Mayor John Tory at the unveiling. Restoration work worth $150 million is currently underway on the structure of the Gardiner itself.
 
Writer: Paul Gallant
Source: Judy Matthews, John Tory, Waterfront Toronto

Toronto’s jet-setting design duo George Yabu and Glenn Pushelberg will be recognized for their award-winning design portfolio as DXI 2015 award winners on November 7.

DX Intersection, a fundraiser for Toronto’s Design Exchange now in its fourth year, spotlights excellence in the field. As honorees, interior design firm Yabu Pushelberg joins Frank Toskan, co-founder of MAC Cosmetics, who took home the prize last year.

Here in their home town, Yabu Pushelberg are known for projects like the Avenue Road furniture showrooms, The Room at Hudson’s Bay and the Four Seasons Hotel. But they’ve probably been busiest beyond our borders, working most recently on interiors for Ian Schrager’s Miami Beach Edition Hotel, unveiled during last year’s Art Basel, Lane Crawford flagship women’s fashion store in Hong Kong (and before that Shanghai) and Siwilai retail boutique in Bangkok. Upcoming projects where Yabu Pushelberg will be doing interiors for Four Seasons include in a 185-room hotel in Tribeca, New York, and a 263-room hotel in Kuwait, the first Four Seasons offering in that country.

“With offices around the planet but still residing in the six, George Yabu and Glenn Pushelberg oversee one of the most recognized design firms in the world,” states the Design Exchange news release.

The duo are also curating “interactive installations and ethereal interventions” at this year’s DX Intersection, which is themed “Kismet.”

Source: Design Exchange
Writer: Paul Gallant

When rental apartment developer Oben Flats filed its application to redevelop the property at 307 Sherbourne, kitty-corner from Allan Gardens, the site had been vacant for more than a decade after its last occupant, a gas station, closed up shop.
 
So a couple of years for city approval and construction of a 13-storey residential rental apartment building with 94 dwelling units didn’t seem so long to wait. Yet Oben Flats decided it would animate the site in the meantime in order to forge connections with their future neighbours. Last week, working the PATCH public art project, the developer unveiled a mural that signals that the space will soon be put to better use. Danny Brown, an urban planner at Urban Strategies and a local resident, helped spearheaded the initiative after an earlier guerilla beautification of the site.
 
“We think of ourselves as a different developer. We didn’t want to just leave it empty like that,” says Max Koerner, project coordinator at Oben Flats. Partnering with the David Suzuki Foundation and Sustainable TO, the company is planning to have host facilities and activities as varied as a skating rink, pollinator garden or temporary market. Following feedback from the community, Koerner expects that a Halloween gathering and other small events could take place over the fall and winter before the space is greened up in the spring.
 
In condo-obsessed Toronto, new downtown rental buildings have been few and far between. Many high-rises apartment buildings built in the 1960s and ’70s are often seen as outdated and rundown. Oben Flats, which originated in Germany in 2007, is launching into the Toronto market with three rental projects, the first of which, in Leslieville, will open in 2016. (The company has already built six for-sale townhouses on Harbord Street.) The company has focused on eye-catching design and the demands of young Torontonians who may not be able to afford to buy, but still want modern digs.
 
“These so-called Millennials appear to be more interested in design and style,” says Koerner.
 
Writer: Paul Gallant
Source: Max Koerner

While Toronto’s HOV traffic lanes have attracted the most attention (and ire), they’re not the only temporary infrastructure the Pan/Parapan American Games are bring to Toronto this summer.

There’s the Athlete’s Village, which isn’t all that temporary since those units will eventually be condos and student residences, and CIBC Pan Am Park, which will scatter tents and other structures across Exhibition Place. But other venues not directly related to the Games are also springing up all over the city.

The Aboriginal Pavillion at Fort York’s Garrison Common will feature an Indigenous music and arts festival hosted by the 14 member ALP (Aboriginal Leadership Partners). One of the largest footprints of any Pan Am arts festival, the pavillion will also host sports events and food vendors.

Meanwhile, up in The Village, PrideHouse’s activities at The 519 and Barbara Hall Park will overflow onto the street during two weekends of the Games, with space for sporting activities and drinking (nice combination!) on Church Street.

But the brashest and most playful temporary structure will likely be the Ontario Tourism Marketing Partnership Corporation’s Celebration Zone at Toronto’s Harbourfront Centre. Designed by Hariri Pontarini and built by Tektoniks, a UK company founded by a Canadian, the two huge white inflatable arches on Queen’s Quay will host 38 days of arts and cultural programming. The larger of the two structures, about 50 feet high, can hold 1,400 people, while the smaller one, open on the front and looking out over the waterfront, can hold about 300 people. They’re made of a recyclable PVC textile and filled with Ontario air.

“It’s really going to dominate the landscape,” says Ronald Holgerson, president and CEO of OTMPC. “We’re really excited about it. We knew we wanted to create something that was complementary to the 2015 Games and also showcase artists early in their careers.

Holgerson describes the space as “a sponsorship free zone,” though it will showcase different regions of Ontario hoping to attract Pan Am visitors this summer—and beyond.

Writer: Paul Gallant
Source: Ronald Holgerson

John Street’s pedestrian zone opened for the summer this week.
 
Planters and seating areas will take up a lane of traffic on the east side of John between Queen and Adelaide streets until October 19, allowing passersby and the neighbourhood resto-bar patrons to hang out more comfortably along the strip. The one big difference from last year’s pilot project is that the zone now stops short of the corners of Richmond and Queen.
 
“One observation we had last year was to make it easier for cars to make the turn,” says Janice Solomon, executive director of the Entertainment District BIA, which is operating the zone at a cost of about $80,000.
 
Two students from OCAD University will work art magic on two Muskoka chairs, which will eventually be available for sitting on, while a third student will make art on the street’s surface. Although the main goal is to make for a pleasant pedestrian passage, the BIA is open to the idea of hosting events in the space. “We’d welcome conversations with cultural organizations that are interested in doing something, but we wouldn’t want people to feel squeezed,” says Solomon.
 
The temporary zone also warms people up for the long-term plan for John Street as a cultural corridor linking institutions like the Art Gallery of Ontario, north of Grange Park, TIFF Bell Lightbox on King and the Rogers Centre south of Wellington. The street would eventually get widened sidewalks and boulevards, a gentler curb from the sidewalk to the street, more greenery and more public art. One of the reasons the summer closure covers the two blocks it does, says Solomon, is that the sidewalk is particularly narrow there.
 
Writer: Paul Gallant
Source: Janice Solomon

Sometimes you have to go indoors to radically reimagine what can be done with the outdoors.
 
The Gladstone Hotel’s Grow Op, which opens Thursday for a four-day run, invites landscapers, gardeners, students, artists and place-makers of all sorts to explore how design can enhance the sustainability and the enjoyability of our outdoor urban spaces.
 
Certainly there’s increasing pressure to push the limits. Yards in newer urban developments are smaller, if they exist at all. Parks and other exterior spaces are getting squeezed amidst more and more intensive downtown development. So using the confines of hotels-sized lobbies and corridors to propose landscaping solutions and experiments is not such a farfetched idea.
 
“It’s an important challenge for designers of outdoor spaces,” says Victoria Taylor, who has curated this year’s exhibitions with Graham Teeple and the help of Britt Welter-Nolan. Principal at VTLA, Taylor one of the event’s cofounders. “Especially in Canada, we think we have so much outdoor space, we don’t do anything with it. But we should still consider the aesthetics, the ecology and even the economy of our outdoor spaces.”
 
Many artists who have shown during Grow Op’s three-year history have spread their wings beyond the confines of the hotel. The group Play the Walk, which advocate for exploring neighbourhoods with childlike delight, has hosted expeditions through different city spaces since Grow Op 2013. “They’re an alternative to Jane’s Walk that’s more ad hoc,” says Taylor.
 
This year, a group of students with the University of Toronto Master’s of Landscape program will exhibit bee-nest boxes they’ve designed for several specific species of bees. After the show, the boxes will go into community gardens across the city. “Then the science will start and the students will see if their designs will attract the bees they’ve designed it for,” says Taylor.
 
Writer: Paul Gallant
Source: Victoria Taylor

In the two months since he started his job as the executive director of Heritage Toronto, Francisco Alvarez has realized that the organization is a little misunderstood. Created in 1998 as a successor to the Toronto Historical Board, the arms-length city agency isn’t actually responsible for preserving and protecting historic properties. That’s the job of the city planning department.
 
“But a lot of people call here and ask how they prevent the demolition of this building or that building, or how they can have their home listed as a heritage property–and we have to constantly refer them back to the city planning department,” says Alvarez, who replaced Karen Carter, who is now ED at Museum of Toronto. “They have a huge backlog there, so people don’t get the answer they’re looking for very quickly.”
 
Instead, Heritage Toronto focuses on public programming, education and the promotion of heritage, particularly through its heritage walks program, heritage plaques and markers, and the Toronto Heritage Awards. Although Toronto is relatively young and lost many of its fine historic buildings in the careless 1960s and ’70s, Alvarez would like heritage to play a bigger part in the city’s tourism promotion. And it’s not just about beautiful buildings.
 
“Of course, a lot of the history that happened here before Toronto was established can be better told to visitors,” says Alvarez, who was most recently managing director of the Royal Ontario Museum’s Institute for Contemporary Culture. “For example, many of the roads that don’t fit into the grid like Dundas and Davenport were actually Aboriginal trails. The whole network of creeks, rivers and ravines are interesting forces in shaping the city that visitors would find interesting.”
 
Alvarez would also like to better showcase Toronto’s cultural heritage—the stories of the people who live and work here but often come from elsewhere. If the agency is able to raise more funds from sponsors, foundations and other funders (less than half its budget is covered by the city), technology will play a bigger part in drawing people’s attention to Toronto’s architectural, archaeological, cultural and natural history.
 
“Plaques are great, but they’re very static. I’d love to look at things like virtual reality to tell a heritage story with new tools.”
 
Writer: Paul Gallant
Source: Francisco Alvarez

About 50 people turned up on March 5 for the latest in a seemingly endless procession of consultations, amendments, rule changes and other perambulations regarding the city’s policy in street food.

According to Carlton Grant, director of policy and strategic support with municipal licensing, the main sources of concern included the cost of running an operation and the rule that disallows a vendor from being within 50 metres of an open restaurant or on any side street.

The latter restriction means that spots where people gather for food are the precise places new, untested vendors are not allowed to sell, and the former means that the very reason for street food’s success in cities that are known for their street food — that it’s cheap and home-made — is unlikely to become a reality in Toronto.

Unless these consultations end up carrying more weight than the Business Improvement Areas (BIAs), whose members include those restaurants and their buffer zones.

According to Grant, a permit to sell food on the street costs $5,066 for a year, or $13.88 a day, plus the cost of hourly metered parking.

“We'll take the information that we heard from the various industries, food trucks, food carts, restaurants, BIAs and the public and continue to refine the city's street food program,” Grant says. “We're considering potential improvements to the program to create further opportunities for vendors including a 6 month or a 9 month permit, increasing the time a food truck can vend to 5 hours, adding Green P parking lots over and above the 58 commercial parking lots we made available last year and including pay and display parking spaces on collector streets.”

Currently, there are just 17 food truck operating in the city, in addition to 39 ice cream trucks, a number that may rise if the public’s concerns make it into the recommendations.

Writer: Bert Archer
Source: Carlton Grant
Photo: Richie Diesterheft
 

The key to the way Toronto handles its graffiti is co-option. Instead of anathematizing vandals, Toronto works with street artists. The result: We will have no Banksy to call our own, but Vogue does seem to like Queen West an awful lot.

“We recognized from the outset that we would not be able to eliminate graffiti vandalism,” says Elyse Parker, a director in the city’s transportation services, but that they would be able to achieve goals in enforcement and support for victims of vandalism and for street artists. “What is unique to Toronto and the graffiti management program is it was recognized that what look like mutually exclusive approaches to graffiti can exist simultaneously. Our new by-law recognizes that graffiti art is permitted, provided there is agreement from the property owner, the graffiti is created for purposes of enhancement, and consistent with the local neighbourhood character.

“The city now has an excellent relationship with the graffiti and street art community. We have a street art directory which lists about 90 artists, who the public can access and engage with. We continue to develop programs, projects and services that will meet our four areas of direction. For example, in year two, we started our ‘outside the box’ program where we engage artists to paint or wrap traffic signal boxes, which are unattractive and magnets for tagging.”

The by-law, which was passed by council in 2011, has resulted in mass erasures of graffiti determined to be vandalism, over 200,000 square feet of the stuff in 2014 alone, with more, Parker says, if you count the independent efforts of individual business improvement areas (BIAs), school boards and homeowners.

The definition if vandalism is simple: Does the painter have the permission of the owner of the property she is painting on? If not, she’s a vandal. It might be argued that the very nature of graffiti and other forms of street are is transgressive, that it draws much of its energy from the unilateral commandeering of public or private property for its own ends.

But then again there is something to be said for painted traffic signal boxes over tagged ones.

And it seems the Institute of Public Administration of Canada and Deloitte agree. They've awarded the city a silver-level Public Sector Leadership Award for its program. (The gold went to a similarly successful effort in co-option, the Quebec city of Repentigny’s Skate Plaza.)

As far as the Queen West BIA is concerned, the graffiti program has helped them enormously.

“They believe that one of the reasons that Vogue magazine named them last July as the second coolest neighbourhood in the world is because of the street art in their neighbourhood and the relationship they have with street artists,” Parker says. “They claim that their costs to remove graffiti vandalism have been reduced by 40 per cent since the inception of the program.”

Writer: Bert Archer
Source: Elyse Parker

Among the several serious concerns born of our condo boom, the most vexing is class. Even though most towers offer lower-priced units, they’re usually tiny, unsuitable for anyone but singletons who will eventually buy more expensive digs.

One of Toronto’s strengths has long been its class mixture. The Annex is an excellent example, where $5-million homes but up against houses split into six apartments that go for under $1,000 a month. But even in Forest Hill and Rosedale, there are apartment buildings that ensure people with a wide range of incomes can live there.

Artscape, among others, saw the danger to this equilibrium the explosion of downtown development posed, and has begun doing something about it.

Pace and 210 Simcoe are two below-market condo complexes, subsidized in the form of perpetual second mortgages that give buyers their down payment. Though similar to Options for Homes, about which we’ve written here in the past, the Artscape plan differs in two significant ways. First, the second mortgage plan applies not only to the first buyer, but to all subsequent buyers of the units in question. “We’re interested in permanently retaining affordable space,” says Artscape’s executive vice president Celia Smith.

The other is that these homes are only available to artists, as defined by the Canadian Artist Code.

The reason for this, Smith says, is to transform communities.

“You’re buying into the concept of community. You’re participating in that community, but you’re also contributing to it,” she says.

This isn’t the first time they’ve done it, though the scheme has changed slightly. Five years ago, they sold 48 units in the Triangle Lofts. What these two new projects — which are mostly built — represent is Artscape’s ambition to expand the project city-wide.

“We’d love to do this in every ward in the city,” she says, recognizing that art is not just a downtown phenomenon.

The deadline for applications is January 30 — that’s this week — for occupancy between late summer and the first part of 2016.

You can apply here.

Writer: Bert Archer
Source: Celia Smith