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From the beginning, Ontario Place was about the future

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It was meant to be a place for the people.

But Ontario Place was also conceived with a bit of hubris in mind.

John Robarts, right, was the Ontario premier who first pitched Ontario Place, which he said would reflect a “mood of gaiety and openness.”
John Robarts, right, was the Ontario premier who first pitched Ontario Place, which he said would reflect a “mood of gaiety and openness.”  (David Cooper / Toronto Star file photo)

It also was built without building permits.

The idea was first pitched by then Progressive Conservative premier John Robarts in August 1968 as a new exhibition space for the province — an expanded Canadian National Exhibition — in response to Expo 67, which had just concluded to great acclaim for Montreal, which was rivalling Toronto as a cultural jewel.

Robarts, who was opening the Ex that day, the Star reported, called the province’s vision in part a “major new recreational complex for the use of the people of Ontario.” The project would see the CNE open longer; it would include water elements like those at Expo and replicate the success of Ontario’s pavilion at the recently concluded world fair, he said. It would reflect the same “mood of gaiety and openness.”

It was architect Eberhard Zeidler, now 93, who was called on to dream up the design.

At first Zeidler was asked to look at building a new exhibition inside the existing Ontario Government Building at Exhibition Place, he described in his book Buildings Cities Life. Zeidler and the senior government officials he was working with had other ideas.

Lead architect Eb Zeidler — pictured with his wife Jane, right, and their four children — was called on to dream up the design for the park.
Lead architect Eb Zeidler — pictured with his wife Jane, right, and their four children — was called on to dream up the design for the park.  (Zeidler Partnership)

“We felt that if the new project was going to be a showplace for Ontario, it should be on neutral ground. It could not truly represent all of Ontario in Toronto’s Exhibition Place, and so the idea grew to put the building into Lake Ontario,” he wrote.

The first sketch of Zeidler’s vision looks uncannily like what Torontonians would come to know and love as they crossed the bridges over Lake Shore Blvd.

The idea was born out of an initial need to combat Mother Nature. In order to protect the exhibition spaces of five floating pavilion “pods” and a state-of-the-art theatre from sometimes mighty waves and winds coming off the lake, landfill would be used as a protective barrier. That, Zeidler realized, could be used to create several man-made islands that he thought could host performances, restaurants, shops and other play areas. It would be much more, he thought, than a refurbished exhibition space.

At the heart of the site were the “pods,” which are essentially three-storey boxes suspended over the lake and used for both rotating exhibit spaces and restaurants. Most iconic is the 800-seat domed Cinesphere made of aluminum alloy tubes — “the big golf ball,” as one kid in an early commercial coined it. It was the first permanent IMAX theatre in the world. For decades, the Cinesphere housed the first IMAX projector that was used at Expo 70 in Osaka, Japan, according to a 2012 exhibit called Your Ontario Place, held at the Urbanspace Gallery and curated by Nathan Storring. The first screening was Canadian filmmaker Graeme Ferguson’s mesmerizing North of Superior. Later, Hollywood blockbusters like Indiana Jones were played.

It took a lot of experimentation to get it right. Zeidler talks in his book of building a “mock dome” in the basement of their Madison Ave. office and trying to project slides onto it to see if they could make a curved screen work.

There was also the 2,500-seat Forum open-air theatre, with its grass lawn. It drew crowds to see the likes of Ella Fitzgerald and Johnny Cash.

A Children’s Village, opened later, was for the time a novel playground full of atypical climbing structures and curiosities that encouraged climbing, splashing and jumping. The water slides and bumper boats came after.

“It kind of somehow happened the way I thought it should happen,” Zeidler told the Star in a recent interview about how his original drawing came to life.

Lead architect Eb Zeidler's original sketch of the concept for Ontario Place is very close to what was built and still exists there today.
Lead architect Eb Zeidler’s original sketch of the concept for Ontario Place is very close to what was built and still exists there today.  (Zeidler Partnership)

Not everything went exactly to plan with construction, though.

One day, government officials suggested they start work on the landfill for the islands, Zeidler wrote in his book. The next day, trucks arrived on site to move the earth around, with that provincial go-ahead.

“A dam began to grow into the lake,” Zeidler remembered. “One day, an army of Metro police cruisers arrived and delivered a stop-work order, because we had no building permit. All hell broke loose.”

There was concern, he wrote, that the government would look silly for stopping work on a project it had talked up for months. In the end, the officers were told to get lost or they’d be fined and that the province didn’t need permission from the city.

And that was how the construction of Ontario Place was “officially sanctioned,” said Zeidler.

In February 1970, legendary Star photographer Boris Spremo was on scene when Robarts himself was expected to officially open a bridge to the islands from the CNE. When workers went to lift in the final piece, they discovered the bolts to secure it didn’t fit. Warm weather was blamed for expanding the bridge structure. The bridge, Zeidler remembered in his book, was fixed only half an hour later, but by then the cameras had gone.

To make a long breakwater on the southern part of the site, they decided to sink three freighters.

Zeidler and those working on the project thought they’d make a big party out of it, gathering on another ship to watch them sink and having, Zeidler noted in his book, “a lot to drink.” As the engineers had carefully calculated, however, the boats sank only a few inches into prepared sandbanks, so those waiting with anticipation didn’t get much of a spectacle.

The new space opened on time and at a cost of under $30 million — well below the earlier blue-sky budget.

When the turnstiles started letting in people on May 22, 1971, the Star reported a much smaller crowd than the crush expected — perhaps foreshadowing attendance concerns in decades to come. For an admission price of $1 for adults, 50 cents for students and 25 cents for children over the age of 6, tens of thousands would show up that opening weekend to see the exhibition space.

“The vision and scope of Ontario Place gives promise of our vast potential,” then premier Bill Davis reportedly said the year it opened.

In its heyday, around three million people were showing up annually.

For Zeidler, Ontario Place was first and foremost meant to be an accessible recreational space for all people in a growing city, not simply an exhibition space. Writing in the Star after the opening, Zeidler said an exhibition “should not be forced into a fixed form.” Such a space, he said, could give “new life” to the waterfront in a city whose design cut off access with expressways and railway tracks.

The idea of Ontario Place also always had one eye on the future.

Zeidler at the time spoke of the design of the pods over the water, saying they purposely use as little material as possible to achieve the effect of the pods effortlessly floating above the lake. He hoped it would provide a “glimpse into a future in which with the full use of technology, our cities will once again become human habitations.”

A promotional brochure in 1969, according to the Urbanspace Gallery exhibit, mused: “Ontario Place is a mirror to show you yourself. Your heritage. Your land. Your work. Your creativity. And your tomorrow.”

It wasn’t just in Zeidler’s head.

“When I first came to Canada in 1974, I visited Ontario Place and saw Toronto as the city of the future,” wrote one visitor for a display of memories at the Urbanspace Gallery exhibit in 2012.

The space was also pitched to Ontarians as an inclusive place — “Happy Together” and “It’s all yours,” early advertisements boasted.

The earliest master plan for Ontario Place from the architects who designed it.
The earliest master plan for Ontario Place from the architects who designed it.  (Craig, Zeidler and Strong)

“It was an exciting time,” remembers Zeidler’s daughter Margie Zeidler, who herself was trained as an architect and is the creator of 401 Richmond, a collective of artists and entrepreneurs in a creative downtown hub. “It was a time of people having visions for the future.”

The first signs of trouble came when those overseeing Ontario Place announced plans for a corporate takeover that would see the Forum torn down and replaced with the larger Molson Amphitheatre (what is today Budweiser Stage) in the mid-1990s.

Zeidler and his architecture firm joined residents opposing the plan, but those in charge, Zeidler wrote, were tone deaf to the way in which Forum was integrated into the greater purpose for the space. In the end, he believed the decision to build the new amphitheatre “decimated” Ontario Place, noting a decline in attendance that followed.

Ontario Place’s attendance dropped to just over 560,000 guests in 2011. Though it marked an improvement over previous years as a result of offering free admission, expenses still far outweighed annual revenues, creating a $12.8-million operating deficit partly offset by a provincial subsidy of $6.2 million, according to the annual report from that year.

In February 2012, the Liberal government announced Ontario Place’s main attractions, including the Cinesphere, would close. They asked then chair of CivicAction, now Mayor John Tory to lead a review of how to redevelop the site. There has been no overall redevelopment of the site since then.

An innovative music and arts festival called in/future animated the abandoned west island in 2016 to much acclaim, including a write-up in the New York Times.

In 2017, the new Trillium Park and Davis trail opened on the east island under the Kathleen Wynne government, followed by screenings resuming at the Cinesphere, including a reprise of North of Superior (and also, upcoming, Indiana Jones). There were plans to renovate the interior of two of the pavilion pods as multi-purpose space, with a provincial tender that went out in 2018. A spokesperson for the province says the contract to renovate the pods was never awarded but didn’t explain why.

According to a statement on the province’s website, the Ontario Place site and its modernist architecture celebrated by many Canadian and international awards was found to be a “cultural heritage landscape of provincial significance.” However, it is unclear what requirements that places on the province for future development. Questions about the site’s heritage status were not returned Friday by the ministry responsible.

Those who experienced Ontario Place in its prime have kept distinct memories of an adventurous summer, a dazzling movie-going experience, or a concert under the stars.

“Perhaps it was Utopian,” wrote one visitor on a card describing their experience with Ontario Place during the 2012 Urbanspace Gallery exhibit.

“But it was what true public space is about. We should learn from its successes and reinvent it for the future.”

Jennifer Pagliaro is a Toronto-based reporter covering city politics. Follow her on Twitter: @jpags

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Nostalgia and much more with Starburst XXXtreme

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Get a taste of adventure with Starburst XXXtreme based on the legendary NetEnt Game. The nostalgic themes are sure to capture fans of the classic version as they get treated to higher intensity, better visuals, and features. The most significant element of the game is its volatility. Patience will not be an essential virtue considering the insane gameplay, and there is a lot of win potential involved. It retains the original makeup of the previous game while adding a healthy dose of adrenaline. 

Starburst Visuals and Symbols

The game is definitely more conspicuous than before. The setting happens over a 5-reel, 3-row game grid with nine fixed win lines, which function if a succession from the left to the right reel is present. Only those players that that attain the highest win per bet line are paid. From a visual standpoint, the Starburst XXXtreme slots illustrates lightning effects behind the reels, which is not surprising as it is inherited from the original version. Available themes include Classic, Jewels, and Space. The game is also available in both desktop and mobile versions, which is advantageous for players considering the global pandemic. According to Techguide, American gamers are increasingly having more engaging gaming experiences to socialize to fill the gap of in-person interaction. Starburst XXXtreme allows them to fill the social void at a time when there is so much time to be had indoors. 

Starburst XXXTreme Features

Players get to alternate on three features which are Starburst Wilds, XXXtreme Spins, and Random Wilds. The first appears on reels 2,3, or 4. When these land, they expand to cover all positions while also calculating the wins. They are also locked for a respin. If a new one hits, it also becomes locked while awarding another respin. Starburst XXXtreme offers a choice between two scenarios for a higher stake. In one scenario with a ten times stake, the Starburst Wild is set on random on reels 2,3, or 4, and a multiplier starts the respin. The second scenario, which has a 95 times stake, starts with two guaranteed starburst wilds on reels 2,3, or 4. it also plays out using respin game sequence and features. The game also increases the potential with the Random Wilds feature to add Starburst Wilds to a vacant reel at the end of a spin. Every Starburst Wild gives a random multiplier with potential wins of x2, x3, x5, x10, x25, x50, x100, or even x150.

The new feature is sure to be a big hit with the gaming market as online gambling has shown significant growth during the lockdown. AdAge indicates the current casino customer base is an estimated one in five Americans, so Starburst XXXtreme’s additional features will achieve considerable popularity. 

What We Think About The Game

The gambling market has continued to diversify post-pandemic, so it is one of the most opportune times to release an online casino-based game. Thankfully Starburst XXXtreme features eye-catching visuals, including the jewels and space themes. These attract audience participation and make the gameplay inviting. The game also has a nostalgic edge. The previous NetEnt iteration featured similar visuals and gameplay, so the audience has some familiarity with it. The producers have revamped this version by tweaking the features to improve the volatility and engagement. 

That is characterized by the potential win cap of 200,000 times the bet. Starburst XXXtreme does not just give betting alternatives for players that want to go big. The increase of multipliers also provides a great experience. If the respins in the previous version were great, knowing that multipliers can go hundreds of times overtakes the game to a new level. 

Players should get excited about this offering. All of the features can be triggered within a single spin. Whether one plays the standard game or takes the XXXtreme spin route, it is possible to activate all of the features. Of course, the potential 200,000 times potential is a huge carrot. However, the bet size is probably going to be restricted and vary depending on the casino. It is also worth pointing out that a malfunction during the gameplay will void all of the payouts and progress. Overall, the game itself has been designed to provide a capped win of 200,000 times the original bet. 

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‘We’re back’: Montreal festival promoters happy to return but looking to next year

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In downtown Montreal, it’s festival season.

In the city’s entertainment district, a musical act was conducting a sound check on stage Friday evening — the second day of the French-language version of the renowned Just For Laughs comedy festival. Tickets for many of the festival’s free outdoor shows — limited by COVID-19 regulations — were sold out.

Two blocks away, more than 100 people were watching an acoustic performance by the Isaac Neto Trio — part of the last weekend of the Festival International Nuits d’Afrique, a celebration of music from the African continent and the African diaspora.

With COVID-19 restrictions continuing to limit capacity, festival organizers say they’re glad to be back but looking forward to next year when they hope border restrictions and capacity limits won’t affect their plans.

Charles Décarie, Just For Laughs’ CEO and president, said this is a “transition year.”

“Even though we have major constraints from the public health group in Montreal, we’ve managed to design a festival that can navigate through those constraints,” Décarie said.

The French-language Juste pour rire festival began on July 15 and is followed by the English-language festival until July 31.

When planning began in February and March, Décarie said, organizers came up with a variety of scenarios for different crowd sizes, ranging from no spectators to 50 per cent of usual capacity.

“You’ve got to build scenarios,” he said. “You do have to plan a little bit more than usual because you have to have alternatives.”

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MELS new major movie studio to be built in Montreal

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MONTREAL — MELS Studios will build a new film studio in Montreal, filling some of the gap in supply to meet the demand of Hollywood productions.

MELS president Martin Carrier said on Friday that MELS 4 studio construction will begin « as soon as possible », either in the fall or winter of next year. The studio could host productions as early as spring 2023.

The total investment for the project is $76 million, with the Quebec government contributing a $25 million loan. The project will create 110 jobs, according to the company.

The TVA Group subsidiary’s project will enable it to stand out « even more » internationally, according to Quebecor president and CEO Pierre Karl Péladeau. In the past, MELS Studios has hosted several major productions, including chapters of the X-Men franchise. The next Transformers movie is shooting this summer in Montreal.

Péladeau insisted that local cultural productions would also benefit from the new facility, adding that the studio ensures foreign revenues and to showcase talent and maintain an industry of Quebec producers.

STUDIO SHORTAGE

The film industry is cramped in Montreal.

According to a report published last May by the Bureau du cinéma et de la télévision du Québec (BCTQ), there is a shortage of nearly 400,000 square feet of studio space.

With the addition of MELS 4, which will be 160,000 square feet, the company is filling part of the gap.

Carrier admitted that he has had to turn down contracts because of the lack of space, representing missed opportunities of « tens of millions of dollars, not only for MELS, but also for the Quebec economy. »

« Montreal’s expertise is in high demand, » said Montreal Mayor Valérie Plante, who was present at the announcement.

She said she received great testimonials from « Netflix, Disney, HBO and company » during an economic mission to Los Angeles in 2019.

« What stands out is that they love Montreal because of its expertise, knowledge and beauty. We need more space, like MELS 4, » she said.

There is still not enough capacity in Quebec, acknowledged Minister of Finance, the Economy and Innovation Eric Girard.

« It is certain that the government is concerned about fairness and balance, so if other requests come in, we will study them with the same seriousness as we have studied this one, » he said.

Grandé Studios is the second-largest player in the industry. Last May, the company said it had expansion plans that should begin in 2022. Investissement Québec and Bell are minority shareholders in the company.

For its part, MELS will have 400,000 square feet of production space once MELS 4 is completed. The company employs 450 people in Quebec and offers a range of services including studio and equipment rentals, image and sound postproduction, visual effects and a virtual production platform.

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