Modern Surprises
Superb Examples of Modern Architecture in Our Midst
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Two of Edmonton's first highrise
apartment buildings, Bristol Towers and Jasper House,
grace the area where Jasper Avenue turns into 124th
Street. Built in 1962 and designed by John A. MacDonald,
both these buildings use yellow brick and are decorated
with prominent exterior artworks. A "brooch" sculpture
is attached high on the exterior of Jasper House, and
the entrance to Bristol Towers is enhanced by a carved
mural on the outside of the building, near the entrance.
Interestingly, another good example
of modern architecture in the city is the Salvation Army Men's Hostel at 9611
102nd Avenue. It's constructed of red and yellow brick
in various patterns and has a freestanding column at the
entrance. In an unpublished report funded by the Alberta
Historical Resources Foundation on the modern movement
in Edmonton, Fedori, Murray, and historic resource
consultant Ken Tingley conclude that this city has "a
significantly large collection of well-conceived and
—executed post-war buildings."
Edmonton is a northern city, located
well off the beaten path. In 1941 it ranked tenth in
Canada in terms of size. So how did this happen here? It
happened because of a whole host of economic, social,
and aesthetic factors that came together at the time.
First, after the Japanese attack on
Pearl Harbor, the U.S. government became concerned about
America's ability to defend Alaska and, consequently,
launched several large defence projects that were based
in Edmonton. There was the Alaska Highway, of course,
but also a series of airstrips and a pipeline that
carried petroleum from a refinery in Fort Norman to
Alaska. During the final years of the war, American
capital and workers poured into Edmonton.
Then, in 1947 Leduc Oil Well No. 1
came in, and Edmonton became the supply centre for the
developing oil industry. The city would never be the
same again. The metropolitan area population was 98,000
in 1941 and shot up to 176,000 by 1951 and then to
338,000 in 1961. That translates as a 90 percent
population increase in the first decade and a 92 percent
increase in the second.
With these demographic and economic
changes, a tremendous building boom occurred. A strong
local base of architectural skill and talent happened to
be on hand. Cecil Burgess had established an
architecture program at the University of Alberta in
1914 that operated until his retirement in 1940.
Graduates of this school included John Rule, Peter Rule,
and Gordon Wynn, who formed the Edmonton firm Rule Wynn
Rule, along with numerous others who remained in the
city and took an interest in modern design. As well,
says Fedori, several Edmonton architects of the time
were graduates of the large and forward-looking
University of Manitoba architectural program. Architects
also moved to Edmonton from other parts of Canada and
even Europe, because of the high potential for
involvement in large and challenging projects.
Many citizens were forward-looking as
well, and receptive to new artistic directions. Some
were immigrants from Europe and the United States who
had sophisticated cultural sensibilities.
"Modern architecture in Edmonton
reflects a relationship to the broader world," Murray comments. "The architecture of
the time is bigger than our little world. Nobody in
Alberta invented this."
Post-war Alberta, like the rest of
the world, was characterized by an interest in embracing
new ideas and new ways of living. The automobile was a
huge part of the mid-20th century lifestyle. It's not
surprising, therefore, that several notable modern
buildings in Edmonton are automobile showrooms. People
were also enthusiastic about the construction of large
and elaborate movie theatres, a new style of suburban
housing, and shopping malls. Most had a strong desire to
forget about the difficulties of the Depression and the
Second World War. The prevailing mood was one of
optimism about the future; there was a lessened interest
in maintaining the traditions of the past.
Clearly, the post-Second World War
period is just as much a part of our Alberta heritage as
the earlier years. "We need to keep these buildings for
the same reason we preserve buildings from before World
War II," says Murray. In his view, keeping such sites
serves as a reminder to future generations of
"culturally significant events, institutions, and
people."
Why, then, have I—despite my abiding
interest in local history and the preservation of
heritage sites—paid little attention to the structures
of this era until now? Tingley identifies one of the
most common reasons. "We're used to looking for beauty
in more ornate forms," he says, "even though the simple
forms are more in accord with our times." Another
factor, Tingley believes, is the tendency to take for
granted the buildings that have gone up within living
memory. However, he says, "Things are starting to
change. As we get into the 21st century, some things in
the 20th century are assuming a little more distance."
The cut-off point for the Edmonton
Historical Resources Inventory is currently 1947. Tingley
says this is typical of most cities. Nonetheless, the
city's Planning and Development department is reviewing
the idea of establishing a modern inventory, says Robert
Geldart, Heritage Planner, City of Edmonton. And at
least three modern buildings have already been added to
the inventory, including the Canadian Imperial Bank
(1951-1954) on Jasper Avenue.
An international movement known as
DOCOMO (www.DOCOMOMO.com [INACTIVE])
has groups in 40 countries that are actively pressing
for the documentation and conservation of the best
examples of modern architecture and promoting awareness
of the ideas behind it. Right here in Alberta, thanks to
people like Murray, Tingley, and Fedori, more of us now
know about the modern treasures in our midst.
Anita Jenkins is a freelance writer and editor in Edmonton.
This article has been reprinted with permission from Legacy, Alberta's Cultural Heritage Magazine, and the author.
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