Institutional

In September 2016, +VG Architects completed the 5 ½ year rehabilitation of the Nave of St. Michael’s Cathedral. The Nave of the Cathedral is the spiritual centre of the Archdiocese of Toronto, a place of beauty and significance for a thriving and diverse Roman Catholic community.

The project aims to re-establish the integrity of the original 1848 Gothic Revival design vision of architect William Thomas, while completing a complete upgrade of the facility in terms of building performance, accessibility and code requirements. +VG was the lead consultant in a collaborative team consisting of a Construction Manager, sub-consultants, sub-trades, artists and craftspeople who completed the work.

New washrooms, barrier-free accessibility (including new barrier-free elevator), environmental HVAC and lighting controls, fire and life safety, and audio/visual and broadcast capabilities have been integrated into the 165 year old Cathedral, ensuring the client’s changing needs are well served into the future.

Painting of the Cathedral ceiling, hand-carved Gothic Revival white oak millwork and statuary, in-situ historic plaster conservation, installation of intricately patterned stone flooring and wainscoting, conservation of existing stained glass windows, and introduction of new stained glass designs, and a hand built custom pipe organ (“Opus-3907”) are all examples of the work completed. The project was recognized with the William Greer Award for Craftsmanship at the Heritage Toronto awards in 2017.

Between 2010 and 2017, as part of the Masterplan for the rehabilitation of St. Michael’s Cathedral, +VG Architects undertook a comprehensive, phased building envelope conservation project on the landmark 1847 Gothic Revival building.

All exterior building elements and systems were addressed, including traditional slate roofing, brick and sandstone masonry, metalwork and wood windows and structural elements. Beginning in 2010 with the West Facade and Tower, the work continued around the exterior over the next 6 years. Initial surveying, testing and analysis was done to assess and define the scope of Conservation work required. Further and more extensive investigative work was done from scaffolding, before decisions were made on a case by case basis for the appropriate conservation and repair methodology for each building element. Detailed conservation work such as fine cleaning, consolidation, and detailed repairs to maintain and stabilize the intricate carved sandstone were carried out on all of the many decorative stone features.

Structural stabilization of the original wood structural members, and of high-level masonry elements such as Gothic pinnacles, Stone Crosses and Carved Cornice stones was required. Where appropriate, restoration of lost detail was carried out- for example at the Upper Tower where conditions were extremely deteriorated and major interventions were required to stabilize and make safe the masonry; and, on the roofing where a version of the original slate roofing pattern, previously removed- was restored on the replacement roof.

The ability to react to unforeseen conditions, and to work closely with Conservators, Structural Engineers and Tradespeople were essential to ensure that the needs of the Client were met, and the historic fabric of the building is preserved and maintained for future generations. The work has been carried out to the highest of international conservation standards, with the aim being to always meet or exceeded the Parks Canada Guidelines for the Repair of Historic Places in every aspect. The Work has received recognition with Heritage Toronto awards in 2013 and 2017, as well as having been shortlisted for the Best International project at the Brick Awards in London, England in 2013.

Originally designed by Arthur William Homes in 1914, the construction of St. Francis of Assisi was completed in 1915.

Located in the heart of Little Italy, the church accommodates 900 people. The Nave, composed of a sequence of vaulted ceilings, allows daylight to come in through the stained glass windows, generating an array of colours as you navigate the space.

As part of the intervention, a new slate roof was installed and the plaster ceiling was completely restored. The interior paint scheme was restored to a monochromatic paint scheme from 1945 to allow the colours from the stained glass windows to be magnified within the Nave. The decoration intensifies in the Transepts and into the Sanctuary to emphasize the importance of that sacred space and the beauty of the East stained glass window. The entire Sanctuary area was restored to its original design with the reconstruction of the wood reredos screen as the backdrop of the Altar and the removal of the mosaic wall installed in 1972 during a previous intervention that concealed the East wall. The East stained glass window was reinstated to its original glory and two Guido Nincheri frescos were unveiled and restored along with all the East wall artwork. The restoration of the coffered ceiling artwork over the Sanctuary was donated by a parishioner of the Italian community in memory of his late wife, proving this project to be essential to the community and possessing immense value to its parishioners.