Thank you for choosing to peruse Masonry InPrint. In this quarterly newsletter, we feature one our recent projects as it relates specifically to an In Print architectural resource.
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The needs of contemporary residents continue to evolve. Parking, recreation, privacy, and outdoor living space have become increasingly valuable in a city defined by density and limited land. What was once understood as a productive tension between old and new is now more clearly understood as the defining principle behind our work.
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Where Venturi uses the term “vestigial element,” to describe the association with the past that a building can evoke, Peter Zumthor refers to a “tension between tradition and innovation,” that helps him create the atmosphere of melancholic nostalgia that his buildings are known for.
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One of the most striking aspects of the Coach House is the design’s paradoxical balance. Despite having no identical and some asymmetrical elevations, the structure exudes a calm, cohesive harmony. The front and rear arches, supporting Juliet balconies and connected by a central port cochère, are intricate yet restrained—perfectly reflecting the overall design philosophy of the estate.
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Throughout the progress of this build, the response from the neighbourhood ranged from indignant to exhilarated. For myself, it wasn’t until I started working through some of the more challenging details on the job that I began to appreciate the impact of such bold concrete forms and patterns within a dense residential context.
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I’ve chosen to feature for our first instalment a series of facades we rebuilt in the Riverside Heritage District in Toronto’s East End. In the 1970s and 80s, many of these Victorian cottages were covered with paint and angel stone. Wherever possible, we matched the original detailing. In cases where the original designs were too badly obscured, we were able to work with clients, customizing examples from the neighbourhood to their preference.