Modern Surprises
Superb Examples of Modern Architecture in Our Midst
by Anita Jenkins
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Architectural historian Trevor Boddy
has written rather dramatically: "Alberta is marked more
by the functionalist forms and philosophies of modernism
than any other place in the world" (Modern Architecture
in Alberta, 1987). A year ago, I would have had no idea
what this statement meant or why anyone might say such a
thing.
But that all began to change last
summer, when I signed up for an Edmonton Historical Week
tour. Architect David Murray and historian Marianne
Fedori promised to show us buildings that represent the
"design influences during the building boom of the 1940s
and 1950s," and to give us an "appreciation for the
architectural accomplishments of the post-war period."
Our tour bus made its first stop
across the street from the Milner Building (10030 104th
Street), designed by a major Edmonton architectural firm
of the era, Rule Wynn Rule. I had been inside the Milner
building several times. But, as Murray began describing
the aesthetic features of what is one of Edmonton's
earliest "high-rise" towers (1958), I realized that I
had never really looked at it before. Murray drew our
attention to the use of horizontal lines in the design.
He pointed out the asymmetrical podium with black marble
columns on the ground floor, the vertical sunshade
louvres and the street arcade with plaza landscaping.
This structure is beautiful, I thought. It's not at all
just another boring, box-shaped structure, as I had
always assumed.
Since then I have learned that
"modern" buildings in Alberta are often a blend of many
styles and influences coming out of Europe (like
Corbusier) and the United States (such as the prairie
style of Frank Lloyd Wright and others). The typical
elements include an asymmetrical balance of parts in
combination with strong horizontal elements such as
ribbon windows and thinly proportioned canopies. Flat
roofs, large expanses of glass, and windows that turn a
corner are common in these buildings. Exterior stucco
with minimal texture was frequently used, but the stucco
was often combined with much more expensive exterior
materials such as limestone, granite, and marble—sometimes all on the same building. When brick was used,
it tended to be yellow rather than the more traditional
red. Glass block panels were also very popular.
Describing Alberta's fine collection
of modern architecture, Fedori says, "It's remarkable
how pure the forms are and how the styles are so
directly translated." Murray notes as well how luxurious
the finishes often are. The designs are deliberately
simple, he says, but "they aren't as bare-bones as many
people think."
How well many of the buildings on our
tour illustrated their words.
The building that is now a Boston
Pizza at 10620 Jasper Avenue was constructed in 1947 as
the Burrows Motors automobile showroom. Designed by Rule
Wynn Rule in the International Bauhaus style, it
incorporates horizontal windows and several other
horizontal features, along with an upper corner window
and a large expanse of glass on the ground floor.
The Massey-Harris Ferguson farm
implement showroom, 10616 103rd Avenue, now a Healy Ford
dealership, was constructed in 1947, and William G.
Blakey was the architect. Its International style
includes horizontal framed windows with horizontal stone
window bands, large expanses of glass and open columns.
A flagpole is attached to the building at one end, as an
asymmetrical component of the building's structure.
The 1952 Paramount Theatre at 10233
Jasper Avenue is one of Murray’s favourites. The architects, Stanley and Stanley,
used expensive materials, including Tyndall limestone,
marble, and granite. The asymmetrical design includes a
strong vertical sign element that is contrasted with the
horizontal, projecting roof. The entrance has an angled
canopy, exposed columns, and a hint of a zigzag design.
The yellow brick Ellis Building,
10123 112th Street, built in 1954, is a good example of
Bauhaus-inspired design, with its industrial windows
wrapping around the wall corners and an asymmetrical
entrance with vertical elements.
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