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.

Tag: design

  • Housing on the Line

    One of the fundamental truths about cities is that transportation and land-use planning are integral to one another. The most successful cities understand this and build density on top of transit, and build transit where density can and will go. See, once again, the Tokyo model. It’s for this reason that I think the Superkül-led conceptual project called Housing on the Line is an important one for Toronto. While the projects are speculative, they remind us that many of our transit stations are severely undeveloped, including ones we’ve only recently built. Why?

    Description:

    Housing on the Line, a conceptual project and architectural exhibition conceived and initiated by Superkül, will open to the public next Thursday, September 24th in Liberty Village. Developed in collaboration with six other firms – COMN Architects, Dubbeldam Architecture + Design, Gabriel Fain Architects, StudioAC, Studio VAARO, and Suulin – the project proposes speculative designs that integrate multi-unit residential buildings with smaller existing subway station sites along TTC Line 2 Bloor-Danforth. Each firm’s proposal treats a different subway station along Line 2 as a creative canvas for imagining innovative typologies and context-appropriate design that delivers human-scale character, enhanced amenities, and community connectivity.

    Details:

    Housing on the Line | Opening Reception
    Date: Thursday, September 24, 2026
    Time: 6:00–9:30 pm
    Location: The Bakery, 2 Fraser Ave, Toronto
    RSVP: adele@superkul.ca

    If you can’t make the opening reception next Thursday, you can also visit between September 25-27, during the hours of 10am-5pm.


    Project credits (in order): Superkül, Studio VAARO, Gabriel Fain Architects, Dubbeldam Architecture + Design

    Image credits: All renderings by Aron Lorincz Ateliers

  • Raw meets refined

    I love how Saint Laurent’s creative director, Anthony Vaccarello, has taken a form of brutalism — corduroy-imprinted concrete and generally raw and exposed materials — and elevated it to high fashion. It’s a perfect example of “raw meets refined.” And you’ll find this approach in its stores all around the world, including in Toronto on Bloor Street. For me, it’s also a great microcosm of Paris. This is a city with a deep, rich history, but one that isn’t afraid to disrupt that history and look forward when it makes sense to do so.

  • Window-to-wall ratios and density in Paris

    One of the reasons Paris’s built form works so well is that the buildings aren’t all glass. The window-to-wall ratios afford a degree of privacy, despite the high densities and minimal separation distances. Imagine how different the city would feel if this wasn’t the case.

  • How AI is transforming architectural workflows

    I recently came across an online post criticizing a Canadian Tire ad that was very clearly created by AI. The text was illegible (most AI models aren’t excellent at text). The model’s face was plasticky. And everyone was piling on, saying things along the lines of: “Shame on Canadian Tire. They should have hired a Canadian model, photographer, and graphic designer.”

    While I can appreciate where this is all coming from, the reality is that the cat is out of the bag. As I’ve said before: What is real anymore? It doesn’t matter. We all have to adapt. I have, for example, noticed a dramatic change in the architectural workflow on our projects. We are now seeing an infinite number of visualizations throughout the design process, and that is making it a lot easier to iterate and refine ideas. So much for the quick blue foam models.

    On some projects, where we have a collaborative working relationship with the design team, we now send AI renderings back and forth in group chats: “I’ve changed the material on these soffits and modified the brick coursing. What do you think?” None of it is perfect. But neither were the physical models and other tools that we used to rely on to test ideas.

    If anything, it’s overwhelming in the best possible way. The creative possibilities are endless.

  • Fast fashion is embracing luxury placemaking

    The future of physical retail continues to evolve.

    Recently, we spoke about LVMH’s approach of spending billions on some of the world’s most prime real estate. But the focus on human-centred destination experiences isn’t unique to the luxury segment. Case in point: Zara just opened a new flagship store in Shanghai designed by AIM Architecture (which appropriately stands for Authentic Immersive Matters).

    Located on a major commercial street, the store looks like this and can be generally described as follows:

    • Positioned on a prime open-air main street (versus an enclosed mall).
    • Large amphitheatre-style seating on the ground floor that connects the store to the street and encourages people to linger.
    • Beautiful interiors with not a lot of clothes on display — it has more of a gallery feel.

    It is a clear example of fast fashion adopting luxury placemaking and brand immersion. The point is not to bombard you with clothing options. The point is a human-centred space that gives you an opportunity to experience the Zara brand and then decide if its products might help you better define your sense of self. It’s a media channel, giving you something you can’t get online.

  • Does design and brand equity sell?

    It is a core belief of mine that design and brand equity create value in real estate. But to what extent is this true? And how much should a developer invest in these things? Is it worth spending a 3-5% licensing fee on a cool brand? Will the price premiums really be there? Here are some ways to think about it.

    One, good design can just mean good taste and, as we talked about yesterday, giving a shit. This doesn’t need to cost any more than bad design; you just have to put in the effort. This is the low-hanging fruit to be seized.

    Two, good design solves problems. And if you’re solving problems that increase returns and development yield, promote sales or leasing velocity, and/or lower operating expenses, then you have tangible value. You can start to figure out the return on your investment, and that helps with decision-making.

    Three, good design can also just mean cool and luxurious materials and details. Here, you’ve got the highest cost of our three options, but it may be important in order to differentiate your offering, drive scarcity value, and create prestige. This one can be harder to evaluate quantitatively.

    All of these approaches ultimately intertwine with the overall brand of a project and of the developer, and that’s the next piece for us to discuss.

    The concept of brand equity has always been fascinating to me because on some level, it’s simply the premium people are willing to pay “for a name” because of the perception they have of that name. It is, by one definition, the “sum of consumers’ thoughts, feelings, and attitudes about your brand that influences their willingness to pay for your product.”

    The challenge with brand equity is that it takes a long time to build, which is one of the reasons developers often borrow it (i.e., license it) from established consumer-facing brands to use on their projects. The other reason is that real estate tends to be local and slow-moving, so it’s objectively difficult to build a global brand.

    Design and brand work together. If you’re developing an Aman Residence, the brand will dictate its standards so you don’t negatively impact the equity it has built up over time. But now we get back to our original question: To what extent does it make sense to invest in design and brand?

    In economics, the definition of a luxury good or superior good is that demand increases more than proportionally as incomes rise. What this effectively means is that when times are good and people are feeling wealthy, they tend to overspend on luxury goods. And when times are not so good, they will often underspend on luxury goods and focus on normal or necessary goods.

    What this means for real estate is that there is an opportunity to capture additional value through investments in design and brand when the overall market supports it. But during downturns, this pricing premium may feel like it disappears. Still, prudent investments in design and brand can lead to selling or leasing when the rest of the market isn’t. Your investments bought liquidity.

    When Steve Jobs launched the original NeXT computer, he overshot the market by a wide margin, and it was a commercial failure. And when he launched the iPhone, critics similarly said it was too expensive. Apple ended up having to lower its initial pricing slightly, but the product turned out to be exactly what consumers wanted.

    Finding the right sweet spot depends on local market conditions and the point you’re at in the development cycle. This involves as much art as it does science. But perhaps the above framework can start to help you think through the options.

  • How Tokyo fits 11 homes on 1,600 square feet

    Last week, Globizen shared this 11-unit condominium project in Tokyo on Instagram. Some of you may like the design by Ryuichi Sasaki Architecture, and some of you may not. But regardless, it’s an interesting case study in that the site area is only 152.27 square metres (or 1,639 square feet). The building footprint is 84.86 square metres and the total floor area is 416.68 square metres. If we divide the total area by 11 units, we get an average area per home of only 37.88 square metres, and so these are certainly on the compact side. Here are the floor plans:

    The unit composition is as follows:

    • Ground and basement: 2 x 2-storey homes
    • Levels 2-3: 6 x single-storey homes
    • Levels 4-5: 3 homes, 2 of which are 2-storey homes

    The other thing you’ll notice is that there’s a single access stair in the middle of the building. As compact as the homes may be, it is this point-access-block design that unlocks the site. To put the site area into perspective, it is almost certainly smaller than the average single-family lot in the central parts of Toronto. A 20′ x 100′ lot is 2,000 square feet, versus the 1,639 square feet we have here (though the proportions are different).

    I’m not suggesting that 37.88-square-metre homes are the objective; rather, I’m suggesting that reducing the barriers to developing small infill sites will unlock new housing opportunities that can then be tailored to the needs of the market. Had two egress stairs been required for this building, it would look very different, and may not have ever been built.


    Floor plans from Ryuichi Sasaki Architecture

  • The 2026 Governor General Medals in Architecture

    I was in Montréal at the start of this year for work and I stayed at the Moxy Downtown. (I will, by the way, use any excuse to find my way to Montréal.) As I walked over to the hotel from the train station, I remember thinking to myself, “Wow, this is a beautiful tower.” It has a nice slenderness ratio and the entire precast facade has been designed to look like an intricate woven pattern.

    Well, it turns out, I’m not alone in my appreciation of 900 Saint-Jacques. The Royal Architectural Institute of Canada and the Canada Council for the Arts have just revealed the winners of the 2026 Governor General’s Medals in Architecture (which are given to exceptional projects recently completed by Canadian architects) and it’s on the list.

    Designed by Chevalier Morales architectes and Brian Elsden Burrows Architecte – Le Groupe Architex, the project is worth checking out if you aren’t familiar. Not just because of its beautiful facade, but because of its urban contributions to the Quartier des Gares. The jury called the site “prominent but hostile.”

    Also on the list are two projects by Toronto-based gh3*, who some of you might recall are the architects behind our Project Bench. One is Windermere Fire Station and the other is O’Day-Min Pavilion, both of which are in Edmonton and are exceptional.

    I could keep talking about more of the projects, but I’ll end by saying that this is the first time I’m learning about Kìwekì Point in Ottawa (designed by Patkau Architects and Janet Rosenberg & Studio — the landscape firm behind One Delisle). This is reason enough to book a trip to Ottawa.

    Congratulations to all of the winners. For the full list of projects, click here.


    Photography: 900 Saint-Jacques by Maxime Brouillet; O’Day-Min Pavilion by Raymond Chow

  • Opinionated design

    This is a longstanding joke / criticism among nerds:

    Namely, it is the fact that the charging port for Apple’s Magic Mouse is on its bottom, meaning, when it’s being charged, you can’t use it. This would be annoying if you ignored the low battery warnings and let it die in the middle of working on something critically important. And so lots of people think it’s a ridiculous design. But is it? Here’s an excerpt from a recent post by John Gruber of Daring Fireball:

    Yes, with the charging port on the mouse’s belly, you cannot use it while it charges. There are obvious downsides to that. But those positing the Magic Mouse as absurd act as though Apple doesn’t know this. Of course Apple knows this. Apple obviously just sees this as a trade-off worth making. Apple wants the mouse to be visually symmetric, and they want the top surface to slope all the way down to the desk or table top it rests upon. You can’t achieve that with an exposed port.

    This is an argument that feels right. Apple is not the kind of company that makes arbitrary design decisions. And the deliberate decision they have made is that a more perfect design is more important than solving for the few instances where a user was negligent and forgot to charge their mouse. Gruber goes on to say, the “charging port placement is an opinionated design, not an absurd design.”

    But this then raises another question: Is opinionated design the right approach?

    For well over a century, one of the maxims of good design has been that form should follow function. In other words, the shape and design of an object should relate to its intended use. And so, in this instance, if “function” involves using the mouse while it’s being charged then maybe, by this criteria, it isn’t a good design. Then again, it is a wireless mouse. Maybe Apple doesn’t want you to use it while it’s charging.

    Let’s consider another design object that you touch with your hand: Walter Gropius’ famous door handle.

    Originally designed in 1922, the simple design consisted of a square bar and a cylinder. And its job was to communicate to you that, in order to use it, you should grab the cylindrical part, and not anywhere else. So on this level, the design was responding to its intended use, to our hands. Grab here. But is this truly an example of form following function? It’s debatable.

    Architect and professor Witold Rybczynski, who I would say generally isn’t a fan of modernism, has argued that it’s not. His critique of the overall Bauhaus movement — of which Gropius was the founder — was that it was actually a design school dedicated to “form follows predetermined aesthetics rather than form follows function.”

    In some ways, he’s right. You can tell when something came out of the Bauhaus, just as you can tell when something is from Apple. There’s a particular aesthetic and stubbornness to maintaining it. That’s why the Magic Mouse can’t be charged while in use and why Apple, equally famously, clung to the simplicity of a single-button mouse. Two just didn’t look as nice.

    But I see this as an honorable quality. Having an opinion is better than not having one. And there are lots of objects out there without one.

  • Massive transfer slabs

    Sometime next month we’re going to be pouring a large concrete transfer slab at the second floor of One Delisle. Its function is to take the loads coming down from the entire tower above it and “transfer” them onto new structural elements, before being brought down to our mat foundation at the bottom of the parking garage.

    Put differently — and, as always, I should warn you that I’m not a structural engineer — a transfer is used whenever you have a change in your structural grid and the loads don’t have a straight path down to your foundations. Because whenever this happens, you’re now introducing moment forces and those need to be dealt with structurally.

    Transfer slabs are relatively common here in Toronto (which isn’t the case in every market), but they are expensive and they consume a lot of depth. In the case of One Delisle, our level two transfer slab is 1.8 meters deep and it’s going to contain about 1,200 m3 of concrete. (Some of you might also recall that One Delisle’s mat foundation is over 4m deep.)

    We were reviewing this with the team today and we think that we’ll be able to pour about 100 m3 of concrete per hour. That means that this slab will take about 12 hours to pour! This requires a lot of coordination. Neighbors need to be notified, pumps need to be on standby in case of a breakdown, and so on.

    Another major consideration is heat. When concrete cures it generates a lot of it. And with a thick slab like this one, I am told that we run the risk of the middle starting to overheat (especially with the hot weather that we’ve been having lately). The guideline limit is 60 degrees Celsius, so we’ll be monitoring it for probably about 1-2 weeks following the pour.

    I find these details fascinating. Maybe some of you do too. So once it’s poured, I’ll share a few photos.