Dave Leblanc ("The Architourist") just published this article in the Globe and Mail talking about the four Toronto building projects that he'll be watching in 2026. And number one on his list is none other than One Delisle (though maybe it's intended to be in no particular order):
Announced back in 2017, this 16-sided, 47-storey, circular tower was penned by Jeanne Gang, an award-winning Chicago-based architect and educator. Interestingly, while Ms. Gang holds the record of “tallest building in the world designed by a woman,” the 101-floor/363 metres-high St. Regis Chicago (hotel and residences), she is better known as a socially responsible designer sensitive to the pedestrian realm and for her love of biophilic design, which connects end-users to nature.
When I interviewed Ms. Gang back in 2021, I asked if One Delisle had been inspired by a pine cone or an artichoke. “Both an artichoke and a pine cone – and a sunflower for that matter – there’s a spiralling organization of the seeds, the petals,” she said. “It’s nature solving a packing problem.”
With the people-packing (occupancy) set for this year or next, I visited the site last week. And, unlike some projects, it holds true to Ms. Gang’s original sketch. And the way the base is organized to project west onto Delisle Avenue means Janet Rosenberg & Studio’s landscaping will make a real impact.
Dave is right to point out the lag between sales and shovels. All four of the projects on his list were (zoning) approved, designed, sold, and financed during a very different real estate market. And so it is that market that is right now bestowing this level of architecture on Toronto.
2026 is going to be an exciting year for One Delisle. The tower will be topped out shortly, with the curtain wall cladding following closely behind. And drywall is already going up in the suites on the lower floors. This is the year where things really come together. I can't wait.
We all know what value engineering is when it comes to buildings. Generally speaking, it is the process of trying to identify high-cost items with relatively low perceived value. Once you identify these items, you then remove them (if you can), replace them with alternatives, or find other creative solutions. All projects have to do this at one point or another because, well, money doesn't grow on trees.
One way to think about this is in terms of the following four-quadrant chart:
Low-value and low-cost items aren't expensive, so you will probably just leave them alone. But if you can move them up to the next quadrant, that's even better.
High-value and low-cost items are the ideal place to be. One example might be a low-cost material that gets applied in a creative way so as to create high perceived value. This is where design really becomes alpha.
Low-value and high-cost items are the fertile ground for value engineering exercises. If the perceived value is low, why spend the money on it? Surely there must be other options.
High-value and high-cost items, on the other hand, require the most thought and debate. How high value is it? Do we really need or want to spend the money on it? One example of this would be the architectural facade lighting at
CoStar recently published an article titled “Architectural stars appear on the skyline of Canada's largest city — Toronto reaches a new level of global reach and ambition.”
What the article is talking about is a slew of iconic, under-construction projects designed by some of the world's most celebrated living architects. Namely, Forma by Frank Gehry (Los Angeles), One Delisle by Jeanne Gang (Chicago), KING Toronto by Bjarke Ingels (Copenhagen), as well as a handful of other noteworthy projects by some of the best local firms in Toronto.
It is no doubt an exciting moment. These are projects that, I think, the world will come to associate with our great city. They will strengthen the global brand of Toronto.
But let me also state the obvious: These projects are the result of a particular moment in time and a particular point in the last real estate cycle. They wouldn't exist today, irrespective of our level of ambition.
This is not to say that this calibre of project won't exist again in the future — it will. But for right now, these are special and differentiated architectural treasures that truly stand alone, showing us what is possible when we bet on the unknowable future.
Dave Leblanc ("The Architourist") just published this article in the Globe and Mail talking about the four Toronto building projects that he'll be watching in 2026. And number one on his list is none other than One Delisle (though maybe it's intended to be in no particular order):
Announced back in 2017, this 16-sided, 47-storey, circular tower was penned by Jeanne Gang, an award-winning Chicago-based architect and educator. Interestingly, while Ms. Gang holds the record of “tallest building in the world designed by a woman,” the 101-floor/363 metres-high St. Regis Chicago (hotel and residences), she is better known as a socially responsible designer sensitive to the pedestrian realm and for her love of biophilic design, which connects end-users to nature.
When I interviewed Ms. Gang back in 2021, I asked if One Delisle had been inspired by a pine cone or an artichoke. “Both an artichoke and a pine cone – and a sunflower for that matter – there’s a spiralling organization of the seeds, the petals,” she said. “It’s nature solving a packing problem.”
With the people-packing (occupancy) set for this year or next, I visited the site last week. And, unlike some projects, it holds true to Ms. Gang’s original sketch. And the way the base is organized to project west onto Delisle Avenue means Janet Rosenberg & Studio’s landscaping will make a real impact.
Dave is right to point out the lag between sales and shovels. All four of the projects on his list were (zoning) approved, designed, sold, and financed during a very different real estate market. And so it is that market that is right now bestowing this level of architecture on Toronto.
2026 is going to be an exciting year for One Delisle. The tower will be topped out shortly, with the curtain wall cladding following closely behind. And drywall is already going up in the suites on the lower floors. This is the year where things really come together. I can't wait.
We all know what value engineering is when it comes to buildings. Generally speaking, it is the process of trying to identify high-cost items with relatively low perceived value. Once you identify these items, you then remove them (if you can), replace them with alternatives, or find other creative solutions. All projects have to do this at one point or another because, well, money doesn't grow on trees.
One way to think about this is in terms of the following four-quadrant chart:
Low-value and low-cost items aren't expensive, so you will probably just leave them alone. But if you can move them up to the next quadrant, that's even better.
High-value and low-cost items are the ideal place to be. One example might be a low-cost material that gets applied in a creative way so as to create high perceived value. This is where design really becomes alpha.
Low-value and high-cost items are the fertile ground for value engineering exercises. If the perceived value is low, why spend the money on it? Surely there must be other options.
High-value and high-cost items, on the other hand, require the most thought and debate. How high value is it? Do we really need or want to spend the money on it? One example of this would be the architectural facade lighting at
CoStar recently published an article titled “Architectural stars appear on the skyline of Canada's largest city — Toronto reaches a new level of global reach and ambition.”
What the article is talking about is a slew of iconic, under-construction projects designed by some of the world's most celebrated living architects. Namely, Forma by Frank Gehry (Los Angeles), One Delisle by Jeanne Gang (Chicago), KING Toronto by Bjarke Ingels (Copenhagen), as well as a handful of other noteworthy projects by some of the best local firms in Toronto.
It is no doubt an exciting moment. These are projects that, I think, the world will come to associate with our great city. They will strengthen the global brand of Toronto.
But let me also state the obvious: These projects are the result of a particular moment in time and a particular point in the last real estate cycle. They wouldn't exist today, irrespective of our level of ambition.
This is not to say that this calibre of project won't exist again in the future — it will. But for right now, these are special and differentiated architectural treasures that truly stand alone, showing us what is possible when we bet on the unknowable future.
Years ago, the team presented it as a possible value-engineering option. But ultimately, we viewed it as being fundamental to the overall design. Its perceived value was off the charts. I mean, why invest so much in the architecture only to cut the very thing that helps prominently display it? So a decision was made to keep it and, boy, am I glad we did.
There's nothing else going up in Toronto like it.
Years ago, the team presented it as a possible value-engineering option. But ultimately, we viewed it as being fundamental to the overall design. Its perceived value was off the charts. I mean, why invest so much in the architecture only to cut the very thing that helps prominently display it? So a decision was made to keep it and, boy, am I glad we did.
There's nothing else going up in Toronto like it.
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