Changing the Face of Calgary
Heritage Architecture of the Past and for the Future

Pages 1 | 2 | 3

The last two years have seen an explosion of activity along Stephen Avenue. Neil Watson believes more awareness and a "broader sensibility" of heritage issues are shown not only by the general public but also by owners and developers. There is also the potential for commercial success. "People want to be there, in a lovely space. There is a slower pace, that evokes a [simpler] time." They appreciate the chance to slow down. The buildings draw them to open doors and window displays at street level, inviting them inside to shop or linger over a good meal.

Eye Opener Bob would probably not be impressed with our nostalgic reply. We would have to show him. Just down Stephen Avenue from the Alberta Hotel, 117 and 119 have been transformed into the Art Gallery of Calgary and the Good Earth Cafe, under the direction of architect Gerald Forseth. Originally Patrick Burn's Pioneer Meat Market, 117 has had the sign at the back of the building and the facade preserved, and 119 (built by the Calgary Milling Company in 1902 as a grocery store and retail outlet), has been restored. The two buildings share a common sandstone wall, portions of which are visible in the exhibition galleries. Response by the public and local advocacy groups such as the Alberta Historical Preservation and Rebuilding Society has been very positive. Across the street, the Tribune Block was briefly home of the Calgary Tribune. The building was rescued from a Moderne Style facade that covered the original rough-faced sandstone in the 1950s, and now houses Abelia Floral Gallery.

In fact, all the way down the Walk, the revitalization and rebirth of the "Sandstone City" are in evidence. The Glanville/Ward Block, once the dry goods store of John Glanville is now the Belvedere dining room. The sleek elegance of the Merchants Bank with its large segmental arch surrounding a central window and distinctive oculi has been transformed into Martins on Eighth. The moulded terracotta tiles and exquisite details of the Hollinsworth Building have been incorporated into the thoroughly modern award winning Bankers Hall office complex. Lorne Simpson says the first principle guiding him in restoring the gold leaf ceiling in the lobby, and the interiors of the Bank of Montreal (now A&B Sound), the Payne Building, and his other Stephen Avenue buildings is "to absolutely maximize the remaining historic materials and, where necessary, to reconstruct missing elements in order to achieve integrity." The seemingly minor details—original doorknobs people handled, single-glazed windows they peered through, the bold paint colours of the period—add up, Simpson stresses. "They're a direct connection between the building and the people who gave it life every day."

But as we make our way east along the Walk, Bob would probably be startled by the extent of the transformation at this end of the Avenue. No doubt he would have enjoyed wading into the controversy surrounding the construction of the Hyatt Hotel and the Telus Convention Centre. Hopefully, he would listen objectively to all sides before assessing the success of the project and its attempt to marry the sandstone of the 19th century with the glass and steel of the 21st.

Barry Graham led the architectural team on the Convention Centre. It faced the difficult task of trying to incorporate the Neilson Block, built in 1903, into a facility with 50,000 sq. ft. of exhibition space combined with the technology and meeting space required to support it. The Neilson Block was designated as an "A" building on the Heritage Advisory Board's Inventory of Potential Heritage Sites, meaning it was considered a notable, unique, or rare heritage structure and no replacement building on the site could contribute more to Calgary.

Controversy arose over the incorporation of the rubble wall (composed of loose irregular aggregate material) on the eastern side of the structure. As Watson explains, the Board "felt there was something special from an architectural perspective. It was part of the original fabric of the building and they were reluctant to see it disturbed" In the end, the wall was rebuilt to accommodate the minimum space requirements of the Centre with about 20% of the original material incorporated into the final structure. Watson feels, "there was more compromise than desirable." They had hoped to maintain more of the "historical integrity of the old building, but there is really only the facade left." The rebuilt rubble wall will be featured in the grand entrance.

Pages 1 | 2 | 3

[Top] [Back] [Previous] [Next]