Daily insights for city builders, delivered every morning at 6 AM ET. I’m Brandon Donnelly — a Toronto-based real estate developer and founder of Globizen. I’ve been writing here since 2013.
We spent yesterday and today at the Venice Biennale (both the Giardini and the Arsenale). I really enjoyed it and I’m glad that I was finally able to attend. One of my favorite exhibits was Bahrain’s. It is called “Sweating Assets”, and it’s a demonstration of how air conditioning condensate might be harnessed from the country’s significant cooling infrastructure.
Here’s a video of it in action:
In the middle of the exhibit is a big glass box. This is meant to represent a ubiquitous conditioned space. And as the humid Venice air hits this glass box, condensation is created. This water is then channeled to various soil deposits, where greenery is already starting to grow. And presumably it will continue to grow over the life of the exhibit.
They were careful not to come across as encouraging excessive air conditioning. This was not the point. Instead, the message was: Air conditioning is already an omnipresent necessity in the country, and here is how something that is mostly ignored today — AC condensate — could be turned into a meaningful asset.
I thought it was clever. And they also gave out a nice book for free.
We often talk about the challenges associated with smaller scale developments on this blog. They are difficult to underwrite, there are diseconomies of scale and, after a certain point, developers typically start to require a certain minimum size. In other words, if you have a big development machine with a lot of fixed costs, you probably don’t want to build even 100-150 homes at a time. You want something like 250-300 homes as a starting point.
But there is something so great about small infill projects, which is another topic that we like to talk about on this blog. Take, for example, the above 10,940 square foot project at 6001-6009 Rue St-Hubert in Montréal. Designed by L. McComber, the project includes 2 commercial spaces and 8 homes (specifically, 2 studios and 4 multi-level “townhouses”).
Using rough measurement approximations from Google Maps, the lot looks to be about 15m wide x 26m deep. So the lot itself is somewhere around 4,200 sf, which is effectively a double lot based on the prevailing frontages in the area. According to this rough math, I’m guessing the FSI (floor space index) of this development is somewhere around 2.5x.
It is certainly a beautiful project, but in my mind the two most noteworthy aspects of this development — at least for this audience — are the following:
The architect essentially acted as the developer. They wanted to build and then own their own office space, and so they now occupy the ground floor of this project. As a partial end-user of the development, this likely means that they underwrote it slightly differently compared to if they were a pure developer.
The project’s circulation space is outside and is largely housed in a central open-air courtyard.
Here’s what #2 looks like:
This second point about circulation is an important one because it’s an effective way to reduce hard costs, improve overall efficiency (rentable/saleable divided by gross construction area), and lower long-term operating costs. Of course, exterior stairs/circulation are quite common across Montréal’s walkups. So maybe this isn’t all that novel for them.
But I still think it’s a perfect reminder that we shouldn’t use climate as an excuse. Montréal is both colder and snowier than Toronto. And just look how they’re building. I would happily live here. Would you?
One of the things that I have wanted to do since I was in architecture school was visit the Venice Biennale. Partially because I would hear people say, ” so and so exhibited at the Biennale this year”, and that made it sound cool. But mostly because it’s the oldest cultural exhibition of its kind in the world — it was inaugurated in 1895 — and because there’s an entire section of it dedicated to architecture. So I’m excited to say that it looks like this month is going to be the month.
The way I am told the Venice Biennale of Architecture works is that there are two main components. There are the national pavilions in the Biennale Gardens, and there is the Arsenale, which is where lots of different nations exhibit under one roof. Canada is one of the 29 countries that has its own pavilion and, if you aren’t familiar with its history, it’s worth watching this short video:
At the time of writing this post, it only had 277 views, so I’m guessing that most of you have not seen it. I felt patriotic when I watched it, because the purpose of these pavilions is that they host each country’s official representation during the Biennale. It’s Canada to the world and that makes me proud. This year, Canada is being represented by Architects Against Housing Alienation (AAHA) with an exhibit called “Not for Sale!”
Here’s an excerpt from the project description:
Real estate speculation is a form of extortion. It converts homes into spatio-financial assets, changing the form, function, and aesthetics of housing to better serve the logics of wealth storage and speculation. The process is violent, resulting in an urban environment that is racist, sexist, and classist at a systemic level. This global phenomenon is nowhere more visible than in Canada, a country whose economy is now dominated by real estate.
In other words, it looks like the pavilion is going to be turned into a scathing criticism of what I do for a living: real estate development. How neat! The other neat thing about the Venice Biennale is that One Delisle is going to be featured in an exhibition called, “Reconceptualizing Urban Housing.” Our team has been working on this project with Studio Gang since 2016, and so it’s a great honor to have it recognized on such a global stage.
It also means that the Venice Biennale is going to simultaneously tell me that my work is doing some amount of good for Toronto, and that I’m also contributing to racism, sexism, and classism at a systemic level. I can’t wait.
In the morning, we gave a hard hat tour to Toronto’s City Planning Division. They are currently revisiting the Mid-Rise Building Performance Standards, and so this was an opportunity to see what these standards translate to when you’re on site trying to actually build a mid-rise building.
It was great to see the group so highly engaged and looking for ways to improve the delivery of this housing typology. Thanks for taking the time to visit Junction House.
Then we had the “official lighting ceremony” for the placemaking art. And by official lighting ceremony, I mean that there were a handful of us playing around with a drone and trying to get cool pictures on our phones. However, did we have one actual videographer, so stay tuned for some proper video footage of the installation.
Finally, in the evening after sunset, we got to see it illuminated for the very first time. And it was everything we had hoped for! An idea turned into reality, many years later. Shout out to the Urban Toronto community for spotting one of our earlier prototypes online and then encouraging us to make some design changes. We are happy we listened.
But what do you all think? I’d love to hear your thoughts in the comment section below.
I am so impressed by The Well. I walked through it this afternoon after a meeting at BDP Quadrangle’s office, and I think that once it’s fully open and stabilized, it’s going to become an instant icon and destination in the city of Toronto. So much so that when people visit Toronto, they’re going to come to The Well to take a photo under its glass canopy. Just watch.
Right now, only a portion of it is accessible to the public and it’s because there’s a BMO bank branch on the lower level that is open and operating. It’s all by itself right now, though, so if you bank with BMO, maybe pop by and say hello.
Now, if you’re a naysayer, I would imagine you’re probably thinking at least two things. You’re thinking of the office space that Shopify left behind. And you’re thinking that open-air malls maybe aren’t well suited towards the Toronto climate. When our group walked through it today, Matt Young (of Republic Developments) immediately said that it felt like something from California.
I don’t really get this climate argument though. Mainly for two reasons: (1) because winter clothes exist and (2) because we have lots of other open-air malls throughout the city that are doing just fine. Except we don’t call them open-air malls, we just call them streets. And the way they work is that people walk outside, and then go into various retail establishments.
Congratulations to everyone involved in The Well. It is an accomplishment that you should all be very proud of, and our city is better for it. I look forward to seeing it continue to take shape.
I was in the mood for some light reading before bed earlier this week, and so I pulled out this comparative critique of Euclidean zoning. Many of you are probably familiar with how single-use zoning works. It is the dominant form of zoning in North America and it is predicated on the idea of “everything in its place.” Meaning, land uses are best off when they are segregated and put into distinct zones: commercial here, industrial over there, residential in these areas, and so on.
But there are a whole host of arguments for why this is bad cities. Among other things, it makes them less sustainable, because typically you need to drive between zones when you want to do things. It makes them less resilient, because you’ve now created monocultures. And it also encourages segregation, because if this zone is only for 2-acre single-family lots, then only people who can afford a 2-acre lot get to live there.
I’m sure that many of you are already aware of these arguments. So what I found most interesting from this light bedtime reading was the comparison to the French model of urbanism. One of the key differences in cities such as Paris is that the French have historically preferred to zone for structures over uses. In other words, aesthetics and how buildings look have long been a priority, but what happens inside of them has been less of one.
The result is an incredible mix of uses that makes the city what it is today. And this is perhaps the great irony of Paris. Its visual harmony might make you believe that “everything is in its place.” But really things are often all over the place — as they should be in a city. Adding to this irony is the fact that many single-use cities do not actually appear very orderly, even though they’re kind of supposed to by design.
I thought this was an interesting way of looking at these two different models of urbanism. It makes the case that not everything needs to be in its place; maybe it just needs to look that way and the rest will figure itself out.
If you happen to find yourself in the area, check it out at 2720 Dundas Street West. And if you’d like to know a little bit about how this placemaking art came to be, click here.
I came across this apartment on ArchDaily this morning and I immediately thought to myself, “this looks like the Lagoa neighborhood of Rio de Janeiro.” (Rio is one of my favorite cities and we nearly spent a few weeks of winter 2021 in this particular area.) So I opened it up and it turns out I was right. It’s a recent apartment renovation, in this building, by Rio de Janeiro-based architects MZNO.
I then got onto the floor plan:
Circular building floor plates invariably create fan-shaped suite layouts like this one here. From my experience, these can create some really beautiful spaces up near the face of the building, but they tend to work better when you have a bit more space to play around with. You’re also going to end up with diagonal walls and probably a radial structural system. In this case, the suite is just under 1,000 sf.
I wondered if this might have been two suites that were joined together, with the previous demising being the radial shear wall behind the couch (see above). There seems to be two entrances to the suite on this plan. But then I looked at active listings in the building and this seems to be a typical layout. So I think they just stripped things down to the existing structure in order to open up the plan.
The other item that stood out to me on the plan was the long corridor off the primary bedroom. But again, looking at other plans in the building, I can see that it was initially designed as a walk-in closet. This makes more sense, but it’s also a compromise brought about by this being a relatively deep plan.
The bedrooms are “tetrised” together to make efficient use of a limited amount of linear glazing. An alternative trade-off (in this second plan) would have been to give it more frontage, and then bury the office (escritório). But I suppose there’s a good argument to be made that it’s better to have more light in your office than in your bedroom.
MZNO was probably thinking along these same lines when they designed the linear kitchen in the way that they did in the first plan. By aligning it perpendicular to the suite’s exterior glass, you’re able to gain access to a view and some light even when you’re toward the back of the suite.
Finally, the other thing about circular buildings is that they allow you to do cool circulation spaces like the above. In this case, all of the common area corridors are single-loaded, and wrapped around a huge lightwell in the middle of the building. This maybe isn’t so good if you suffer from vertigo, but it’s obvious that these corridors are serving as an extension of people’s living areas.
And since this is Brazil, they’re naturally filled with greenery.
Earlier this week, I shared this image of Corktown Condos on my Instagram. It represents the first phase of Slate’s two-phase project in Hamilton, and I’m excited to announce that we’ll be launching sales this spring (both in Hamilton and in Toronto).
We love Hamilton. It has walkability, transit, a wonderful stock of old buildings, and a dynamic and growing cultural scene. In other words, it has all of the characteristics that we look for when it comes to new projects. And here, our approach to city building is exactly analogous to what we did in Toronto at Yonge & St. Clair.
Those of you who are familiar with our work will know that Slate owns 8 office buildings in midtown, including all four corners of the Yonge & St. Clair intersection. And that we have spent the last decade investing in these buildings, investing in the public realm, investing in public art, and working to support businesses in the area. Then in 2021, we launched sales on a landmark condominium tower called One Delisle that is now under construction.
Here in Hamilton, we are similarly investing in economic development and in housing. Last year, it was announced that we acquired approximately 800 acres of industrial land and buildings on Hamilton’s waterfront. This site alone has the potential to create up to 23,000 new jobs across the region and inject up to $3.8 billion into Ontario’s economy. It will likely also take some time and be measured in decades.
We prefer to think of ourselves as city builders. And that means taking a long-term view and thinking about the broader city — not just about our individual projects. So for us, Corktown is part of a much larger and longer-term commitment to the City of Hamilton. And we couldn’t be more excited to share it with all of you in the coming weeks.
Stay tuned. And if you’d like to register for Corktown, you can do that over here.
Rapid and high-volume decision making are fundamental to real estate development.
In fact, it’s hard to think of anything being more important when it comes to executing on a project. This is not to say that being thoughtful and doing remarkable work aren’t important. You, of course, need to do those things as well. But it is to say that the benefits of moving as fast as you possibly can usually outweigh all else.
What this means is that any decision is often far better than no decision. Because no decision can grind everything to a halt. You need to maintain momentum and the way to do that is to make a lot of high-quality decisions.
As someone who was originally trained as an architect, this is something that I had to learn in the workplace. Because in architecture school, you’re basically taught to work on your projects for as long as humanly possible and then, when you’re done, you work on them some more. They’ll never be good enough and you certainly haven’t spent enough time “working in studio”.
But in practice, you need to go. I would like to once again reiterate that this is not a license to do crappy work. I think the way to think about this is that speed and excellence reinforce each other. Our team always strives to do exceptional and remarkable work. And one of the ways to actually do that is by focusing on speed.
