The City and the Spirit Garden: Prince Arthur's Landing, Thunder Bay

THE CITY AND THE SPIRIT GARDEN Prince Arthur’s Landing Thunder Bay

JOHN RALSTON SAUL / JOSEPH BOYDEN / JEAN PENDZIWOL / MICHAEL CHRISTIE Mark Bentz / Ryan Gorrie / Eduardo Aquino / Karen Shanski / Karen M. Lewis / Mark Smith / Kathy Ball Calvin Brook, Editor / David Whittaker, Photography

THE CITY AND THE SPIRIT GARDEN Prince Arthur’s Landing, Thunder Bay Edited by Calvin Brook Photography by David Whittaker

003 Preface

Mark Bentz 004 Foreword

Calvin Brook 009

The Manitou of Place Joseph Boyden

027

The Spirit Garden Ryan Gorrie

041

The Inclusive Circle John Ralston Saul

055

Jiigew (By the Water) Eduardo Aquino & Karen Shanski

063

The Gift of Everyday: No Place I’d Rather Be Michael Christie

080 Mistress

Jean Pendziwol 087

Creating Prince Arthur’s Landing Karen M. Lewis, Mark Smith & Kathy Ball

100 Contributors 104

Public Art

105 Awards 106 Acknowledgements 108 Credits

2

3

Preface

Mark Bentz

“There is something that happens, a magic time, forces come together and things happen.”

Ann Breen of the Waterfront Center on March 7, 2007

Dedicated to Katherine Dugmore

We all sensed the energy in the room that evening.

When more than a thousand interested residents gathered at the Thunder Bay Community Auditorium for the unveiling of the Master Plan for Prince Arthur’s Landing, Ann Breen reflected that this might be our magic time. There is a moment in the life of every major project when “all the stars align,” she noted.

We had no way of knowing then how very close we were to alignment but we had a strong feeling that the time was right for our community. We knew we had a brilliant and experienced waterfront architect in Calvin Brook. We had a visionary landscape architect and thoughtful project manager in Katherine Dugmore.

We had leadership through City Council and the Waterfront Development Committee. We had the dedicated citizens on the Committee who broadened the vision beyond a gathering place for the community, to a waterfront that is “Connected. Year-round. Ours to Celebrate.”

We had learned from past planning efforts and the dedicated people who had guided them. We had set our sights high and knew current and future generations of citizens would benefit greatly from a stunning, active waterfront hub in which and from which to enjoy Lake Superior and the iconic Sleeping Giant — a place to play and shop and dine, to relax and exercise and spend time with friends and family.

The final piece of the puzzle was the generous contributions we received from our funding partners. On behalf of the citizens of Thunder Bay, I would like to express our deepest gratitude to the Government of Canada and the Province of Ontario for their investment in Prince Arthur’s Landing. Their belief in the project completed the alignment and less than four years later, on December 16, 2011, we officially opened Prince Arthur’s Landing on a chilly December night that gave us our first real opportunity to experience the vision in action — a winter night of bright lights, fireworks, fire juggling, music, skating and gathering with old and new friends with a feeling of intense pride about all that Thunder Bay is and continues to become.

When Katherine later corresponded with Cal reflecting back on what had been accomplished at Prince Arthur’s Landing, she wrote, “Who knew when we started that it would be so amazing? I knew it would be good; but it is really beyond that. It is perfect.” That perfection is a result of countless individuals who believed in the vision and chose to make it a reality. On behalf of the Waterfront Development Committee, I would like to thank each and every one of them for their efforts. //

2

3

Preface

Mark Bentz

“There is something that happens, a magic time, forces come together and things happen.”

Ann Breen of the Waterfront Center on March 7, 2007

Dedicated to Katherine Dugmore

We all sensed the energy in the room that evening.

When more than a thousand interested residents gathered at the Thunder Bay Community Auditorium for the unveiling of the Master Plan for Prince Arthur’s Landing, Ann Breen reflected that this might be our magic time. There is a moment in the life of every major project when “all the stars align,” she noted.

We had no way of knowing then how very close we were to alignment but we had a strong feeling that the time was right for our community. We knew we had a brilliant and experienced waterfront architect in Calvin Brook. We had a visionary landscape architect and thoughtful project manager in Katherine Dugmore.

We had leadership through City Council and the Waterfront Development Committee. We had the dedicated citizens on the Committee who broadened the vision beyond a gathering place for the community, to a waterfront that is “Connected. Year-round. Ours to Celebrate.”

We had learned from past planning efforts and the dedicated people who had guided them. We had set our sights high and knew current and future generations of citizens would benefit greatly from a stunning, active waterfront hub in which and from which to enjoy Lake Superior and the iconic Sleeping Giant — a place to play and shop and dine, to relax and exercise and spend time with friends and family.

The final piece of the puzzle was the generous contributions we received from our funding partners. On behalf of the citizens of Thunder Bay, I would like to express our deepest gratitude to the Government of Canada and the Province of Ontario for their investment in Prince Arthur’s Landing. Their belief in the project completed the alignment and less than four years later, on December 16, 2011, we officially opened Prince Arthur’s Landing on a chilly December night that gave us our first real opportunity to experience the vision in action — a winter night of bright lights, fireworks, fire juggling, music, skating and gathering with old and new friends with a feeling of intense pride about all that Thunder Bay is and continues to become.

When Katherine later corresponded with Cal reflecting back on what had been accomplished at Prince Arthur’s Landing, she wrote, “Who knew when we started that it would be so amazing? I knew it would be good; but it is really beyond that. It is perfect.” That perfection is a result of countless individuals who believed in the vision and chose to make it a reality. On behalf of the Waterfront Development Committee, I would like to thank each and every one of them for their efforts. //

4

Foreword

5

Calvin Brook

The City This book documents the rebirth of a downtown waterfront overlooking the vast and hauntingly beautiful shores of Lake Superior. Historically this relationship between water and the City of Thunder Bay was a given — borne of economic necessity and unquestioned. It had the vitality that could only occur when almost every conceivable activity found in a city: working, traveling, living, buying, selling, trading, eating, socializing, sleeping, romancing and dancing — converged in a place overlooking a vast waterway to the world. But in the latter part of the 20th century, as the Great Lakes economies evolved, this connection began to fade. The following pages portray a project known as Prince Arthur’s Landing, which in its most simple conception, builds back that relationship. It reconnects the City and the downtown to its lake and its origins.

When our firm Brook McIlroy was first tasked with the design of Prince Arthur’s Landing we knew this was a rare opportunity to re-shape how people perceived their city. Today, most of the world’s population lives in cities, a trend that is exponentially increasing. It is sobering to reflect on the fact that the majority of human life is now experienced in an environment that is wholly of our own making. The quality of our lives and its meaning is inextricably tied to this self-made world. If many aspects of city life are uninspiring, isolating, or frustrating we have ourselves to blame. As builders of cities we asked ourselves: How can we do better?

This big question was distilled into yet more specific questions: How do we capture the essence of this beautiful place? Who are these people and what are their stories? How can we create new spaces where Thunder Bay can recognize itself and be proud of its identity? How can we make visceral the spirit of this unique landscape and the world’s largest inland sea? What kinds of experiences are missing in the life of the city? If there are barriers to people coming together, how can we create a place that links them back to one another?

One answer to these questions came in the form of inspiration derived from the writings of authors both from Thunder Bay and afar. We worked with poet Pier Giorgio diCicco and artist Noel Harding to unearth the stories of Thunder Bay found in historic and contemporary literature. We asked the people of the City for their compositions. These stories are integral to the conception of Prince Arthur’s Landing and many of them are visible as installations throughout the site. We were also profoundly influenced by the writings of great Canadian writers such as John Ralston Saul and Joseph Boyden who helped us to see who we really are as Canadians. Perhaps an unexpected product of their literary work is that the unique identity they have articulated to Canadians is now shaping the form of city spaces. It is therefore deeply meaningful that they are able to contribute to this book — thereby completing the circle of inspiration and creation.

The Spirit Garden When you stand at Prince Arthur’s Landing and gaze east over Lake Superior you are at the far end of the world’s largest fresh water sea. The Great Lakes extend the reach of the Atlantic Ocean deep inside the North American continent. Then, turn around, and look west up the Red River Road, and consider this ancient trail, formed from thousands of years of trade between Aboriginal communities, that eventually became the gateway to Canada’s western territories.

Where you stand will be precisely at the nexus of Canada’s geography and its deepest history. Thunder Bay reminds us of our place in time and who we are as Canadians.

We live in a geological period known as the Holocene, an epoch that commenced 11,700 years ago. The First Nations have inhabited this place we now call Thunder Bay for the vast majority of those years and remain as thriving and growing communities in the city and the region. Yet when we first began our work in Thunder Bay we noticed that there was very little if any expression of Aboriginal presence in the physical fabric of the city. This is a lost opportunity given the richness of this founding people’s culture, their stories and their fortitude. This loss is not unique to Thunder Bay for it can be said of most towns and cities in Ontario. Despite the highest Aboriginal population of any of Canada’s provinces we have not worked hard enough to embrace these cultures as fundamental to our self-identity and our common future. In John Ralston Saul’s seminal book “A Fair Country” he writes: “We are not a civilization of British, French or European inspiration — we never have been. We are a people of Aboriginal inspiration organized around a concept of peace, fairness and good government. We… praise ourselves for the great mix of cultures with which we so comfortably live. On the single issue of diversity, we seem unable to notice the obvious — that it is based on the idea of an inclusive circle...That expands and gradually adapts as new people join in. This is not a Western or European concept. It comes straight from Aboriginal culture.”

The City and the Spirit Garden This book “The City and the Spirit Garden” is presented in four sections. The first section The Manitou of Place documents the landscapes and buildings of Prince Arthur’s Landing that seek to capture the spirit of place that brings people in close with the power of Thunder Bay. The title of this section is taken from Joseph Boyden’s essay and is followed by a reflection on The Spirit Garden from the artist and architect Ryan Gorrie.

The Inclusive Circle portrays the many spaces that structure one’s experience of Prince Arthur’s Landing based on the idea of inclusivity and its representation through the form of the circle. The desire to create spaces that bring together people from all backgrounds evolved from meetings with the public, but was most powerfully advocated during the design workshops held with the Fort William First Nation, Red Sky Métis, Robinson Superior Treaty communities and the City of Thunder Bay’s Elders Council, facilitated by JP Gladu. Photographs of these spaces are accompanied by an essay by John Ralston Saul and a description of the public art installation Jiigew by Eduardo Aquino and Karen Shanski.

The Gift of Everyday celebrates the people of Thunder Bay and their embrace of the downtown waterfront as their own. The images in this section are accompanied by compositions from Michael Christie and Jean Pendziwol — two celebrated Thunder Bay authors.

The title of this book The City and the Spirit Garden is a metaphor for what we hope to achieve with this project — that a city — if designed with empathy and creativity — has the potential to capture the genius loci of a landscape and its confluence with the stories of its people in a manner that can be both affirmative and transformative. A city can be a spirit garden.

This ambition was nurtured by Katherine Dugmore — the urban planner and landscape architect who led Prince Arthur’s Landing as the City’s project manager. Katherine not only understood these things, in her patient and determined way she embodied them. Katherine made it possible for Thunder Bay to embrace a broader vision. This book is dedicated to her. //

4

Foreword

5

Calvin Brook

The City This book documents the rebirth of a downtown waterfront overlooking the vast and hauntingly beautiful shores of Lake Superior. Historically this relationship between water and the City of Thunder Bay was a given — borne of economic necessity and unquestioned. It had the vitality that could only occur when almost every conceivable activity found in a city: working, traveling, living, buying, selling, trading, eating, socializing, sleeping, romancing and dancing — converged in a place overlooking a vast waterway to the world. But in the latter part of the 20th century, as the Great Lakes economies evolved, this connection began to fade. The following pages portray a project known as Prince Arthur’s Landing, which in its most simple conception, builds back that relationship. It reconnects the City and the downtown to its lake and its origins.

When our firm Brook McIlroy was first tasked with the design of Prince Arthur’s Landing we knew this was a rare opportunity to re-shape how people perceived their city. Today, most of the world’s population lives in cities, a trend that is exponentially increasing. It is sobering to reflect on the fact that the majority of human life is now experienced in an environment that is wholly of our own making. The quality of our lives and its meaning is inextricably tied to this self-made world. If many aspects of city life are uninspiring, isolating, or frustrating we have ourselves to blame. As builders of cities we asked ourselves: How can we do better?

This big question was distilled into yet more specific questions: How do we capture the essence of this beautiful place? Who are these people and what are their stories? How can we create new spaces where Thunder Bay can recognize itself and be proud of its identity? How can we make visceral the spirit of this unique landscape and the world’s largest inland sea? What kinds of experiences are missing in the life of the city? If there are barriers to people coming together, how can we create a place that links them back to one another?

One answer to these questions came in the form of inspiration derived from the writings of authors both from Thunder Bay and afar. We worked with poet Pier Giorgio diCicco and artist Noel Harding to unearth the stories of Thunder Bay found in historic and contemporary literature. We asked the people of the City for their compositions. These stories are integral to the conception of Prince Arthur’s Landing and many of them are visible as installations throughout the site. We were also profoundly influenced by the writings of great Canadian writers such as John Ralston Saul and Joseph Boyden who helped us to see who we really are as Canadians. Perhaps an unexpected product of their literary work is that the unique identity they have articulated to Canadians is now shaping the form of city spaces. It is therefore deeply meaningful that they are able to contribute to this book — thereby completing the circle of inspiration and creation.

The Spirit Garden When you stand at Prince Arthur’s Landing and gaze east over Lake Superior you are at the far end of the world’s largest fresh water sea. The Great Lakes extend the reach of the Atlantic Ocean deep inside the North American continent. Then, turn around, and look west up the Red River Road, and consider this ancient trail, formed from thousands of years of trade between Aboriginal communities, that eventually became the gateway to Canada’s western territories.

Where you stand will be precisely at the nexus of Canada’s geography and its deepest history. Thunder Bay reminds us of our place in time and who we are as Canadians.

We live in a geological period known as the Holocene, an epoch that commenced 11,700 years ago. The First Nations have inhabited this place we now call Thunder Bay for the vast majority of those years and remain as thriving and growing communities in the city and the region. Yet when we first began our work in Thunder Bay we noticed that there was very little if any expression of Aboriginal presence in the physical fabric of the city. This is a lost opportunity given the richness of this founding people’s culture, their stories and their fortitude. This loss is not unique to Thunder Bay for it can be said of most towns and cities in Ontario. Despite the highest Aboriginal population of any of Canada’s provinces we have not worked hard enough to embrace these cultures as fundamental to our self-identity and our common future. In John Ralston Saul’s seminal book “A Fair Country” he writes: “We are not a civilization of British, French or European inspiration — we never have been. We are a people of Aboriginal inspiration organized around a concept of peace, fairness and good government. We… praise ourselves for the great mix of cultures with which we so comfortably live. On the single issue of diversity, we seem unable to notice the obvious — that it is based on the idea of an inclusive circle...That expands and gradually adapts as new people join in. This is not a Western or European concept. It comes straight from Aboriginal culture.”

The City and the Spirit Garden This book “The City and the Spirit Garden” is presented in four sections. The first section The Manitou of Place documents the landscapes and buildings of Prince Arthur’s Landing that seek to capture the spirit of place that brings people in close with the power of Thunder Bay. The title of this section is taken from Joseph Boyden’s essay and is followed by a reflection on The Spirit Garden from the artist and architect Ryan Gorrie.

The Inclusive Circle portrays the many spaces that structure one’s experience of Prince Arthur’s Landing based on the idea of inclusivity and its representation through the form of the circle. The desire to create spaces that bring together people from all backgrounds evolved from meetings with the public, but was most powerfully advocated during the design workshops held with the Fort William First Nation, Red Sky Métis, Robinson Superior Treaty communities and the City of Thunder Bay’s Elders Council, facilitated by JP Gladu. Photographs of these spaces are accompanied by an essay by John Ralston Saul and a description of the public art installation Jiigew by Eduardo Aquino and Karen Shanski.

The Gift of Everyday celebrates the people of Thunder Bay and their embrace of the downtown waterfront as their own. The images in this section are accompanied by compositions from Michael Christie and Jean Pendziwol — two celebrated Thunder Bay authors.

The title of this book The City and the Spirit Garden is a metaphor for what we hope to achieve with this project — that a city — if designed with empathy and creativity — has the potential to capture the genius loci of a landscape and its confluence with the stories of its people in a manner that can be both affirmative and transformative. A city can be a spirit garden.

This ambition was nurtured by Katherine Dugmore — the urban planner and landscape architect who led Prince Arthur’s Landing as the City’s project manager. Katherine not only understood these things, in her patient and determined way she embodied them. Katherine made it possible for Thunder Bay to embrace a broader vision. This book is dedicated to her. //

6

7

The Manitou of Place 01

Looking east along Pier 2 with Nanabijou (The Sleeping Giant) on the horizon.

A sequence of picnic docks and lanterns cantilever over the water providing gathering places along the path to the Viewing Circle overlooking Lake Superior.

6

7

The Manitou of Place 01

Looking east along Pier 2 with Nanabijou (The Sleeping Giant) on the horizon.

A sequence of picnic docks and lanterns cantilever over the water providing gathering places along the path to the Viewing Circle overlooking Lake Superior.

8

9

The Manitou of Place

The view from Prince Arthur’s Landing to Lake Superior in the 1880s.

The piers were formerly used as shipping terminals where maritime vessels from around the world and the western railways met.

Joseph Boyden

Thunder Bay is a special place, a magical place. And I don’t say this lightly. It is a confluence of many races for more generations than I can count. If you’ve ever walked out and sat on the shore near where the Kaministiquia River runs out to Lake Superior, if you’ve ever stared out at North America’s — the world’s — greatest inland sea, then you will know exactly what I mean. Thunder Bay, in Anishnaabe called Animikie, or Thunder Water, is indeed a confluence of people and of waters and of cultures and of history and of geography. But I wonder if it wouldn’t be just as concise to call it a gateway.

For thousands of years this magical place has indeed been the gateway that marks the exodus for hunters and traders and travelers from east to west and vice versa. The Anishnaabe have always recognized the geographic and cultural importance of this area that marks the boundary between the woodlands and what to the west become the prairies. Thunder Bay, for the original people, is a doorway between two worlds. It is a place that cradles the manitous, the spirits that breathe life into everything around us.

The settlers quickly recognized its geographic importance, as well, this idea of a gateway between east and west. This was the place where Fort William was built, becoming the centre, the ground zero, of the fur trade upon whose back Canada was born. This was the place where General Wolseley and his troops gathered on their march to Red River in an attempt to deal with Louis Riel and the uprising of 1870. How many newly arrived immigrants passed through here on their way to new lives? This is the place where road and rail birthed the expansion west and where grain that would feed a hungry new nation was shipped from the prairies before making its way to the gristmills and eventually the mouths of easterners. >>

8

9

The Manitou of Place

The view from Prince Arthur’s Landing to Lake Superior in the 1880s.

The piers were formerly used as shipping terminals where maritime vessels from around the world and the western railways met.

Joseph Boyden

Thunder Bay is a special place, a magical place. And I don’t say this lightly. It is a confluence of many races for more generations than I can count. If you’ve ever walked out and sat on the shore near where the Kaministiquia River runs out to Lake Superior, if you’ve ever stared out at North America’s — the world’s — greatest inland sea, then you will know exactly what I mean. Thunder Bay, in Anishnaabe called Animikie, or Thunder Water, is indeed a confluence of people and of waters and of cultures and of history and of geography. But I wonder if it wouldn’t be just as concise to call it a gateway.

For thousands of years this magical place has indeed been the gateway that marks the exodus for hunters and traders and travelers from east to west and vice versa. The Anishnaabe have always recognized the geographic and cultural importance of this area that marks the boundary between the woodlands and what to the west become the prairies. Thunder Bay, for the original people, is a doorway between two worlds. It is a place that cradles the manitous, the spirits that breathe life into everything around us.

The settlers quickly recognized its geographic importance, as well, this idea of a gateway between east and west. This was the place where Fort William was built, becoming the centre, the ground zero, of the fur trade upon whose back Canada was born. This was the place where General Wolseley and his troops gathered on their march to Red River in an attempt to deal with Louis Riel and the uprising of 1870. How many newly arrived immigrants passed through here on their way to new lives? This is the place where road and rail birthed the expansion west and where grain that would feed a hungry new nation was shipped from the prairies before making its way to the gristmills and eventually the mouths of easterners. >>

10

The Celebration Circle was designed as a collaboration between Aboriginal artist and architect Ryan Gorrie of Thunder Bay and Brook McIlroy Architects. Its form and fabrication are inspired by ancient Aboriginal building techniques using bentwood.

11

10

The Celebration Circle was designed as a collaboration between Aboriginal artist and architect Ryan Gorrie of Thunder Bay and Brook McIlroy Architects. Its form and fabrication are inspired by ancient Aboriginal building techniques using bentwood.

11

12

13

The Honouring Circle at sunrise.

So is this not the perfect place from which springs some of the most inventive and healing architecture that we’ve seen in years? Again, I don’t offer this compliment lightly. To date, the Spirit Garden has won 17 national and international design awards and continues to receive overwhelming acclaim by industry, residents, and visitors. I’m transfixed wandering through the Spirit Garden, where I come across the Celebration Circle, a traditional Aboriginal bentwood building technique and a collaboration between architects Brook McIlroy and the young Native artist and architect Ryan Gorrie. Upon closer examination, I can’t help but notice the brilliant contemporary flair meeting the traditional woodland art of 10 steel laser cut panels circling the drum based on the drawings of local Anishinaabe artist Randy Thomas and his famous father Roy. Sitting and staring, I am forced to ask myself the same thing I’ve been questioning as a novelist for many years now: Is our country really this wonderful mosaic of races and cultures and religions living harmoniously with one another in one of the world’s richest countries?

We want to believe this, don’t we? We want to believe that we are a nation of fairness and of inclusivity and of generosity. This is one of the stories I was told growing up. But sitting here in this beautiful place on the shore of the world’s largest and most wondrous lake, staring

at art made by some of our most talented individuals, something forces me to question all that I’ve been told to believe about my country. But that’s not a bad thing.

It is never a bad thing to question that which you’ve been taught, to test your theories and your beliefs. This can only help you navigate the world in a more informed way, yes?

And so I sit and take in the wonderment of Prince Arthur’s Landing and the Spirit Garden and I remember that there was another story that I watched emerge as I grew up. This one isn’t as promising as this tale of our country as the wondrous mosaic. I also remember hearing as a young person that Canada was a nation of two solitudes, the English and the French. Here we were a country divided into two in so many ways, two halves to a whole that didn’t necessarily see eye-to-eye so much as restlessly existed beside one another, putting up with one another until tensions would get too much and the expected squabbling ensued. And as a teenager, I absorbed that and came to believe it, in my twenties nervously witnessing a referendum in which the vote for or against one part of us wanting to remain with the rest of us was so razor thin that if it had been a marriage, the couple might never have survived the no confidence vote of it all.

But as I explored the world more and learned how to become a writer, I was forced to look at myself as much

as I looked outward. I had to find ways to make what I saw out there and what I felt inside come to some kind of terms. And I became frustrated, then angry. My being a mixed blood person of European and Anishnaabe heritage made me ask, “What do you all mean, only two solitudes? This is a country of not two but three distinct and often overlooked partners; it’s not just the English and the French, but the First Nations as well.”

Certainly we can’t leave our First Nations out of the equation of what Canada consists of. And so, long story short, I found my calling as an artist in trying to build that bridge between the different islands that make up this country, the different sometimes lonely and sometimes angry and sometimes indifferent pillars of what contemporary Canada is.

And so, you ask, what does this have to do with the magic of what has been achieved on Thunder Bay’s waterfront, or of architecture, for that matter?

Everything, I argue. An architect, like any artist, dreams up the ways to bring dimension to something that hadn’t existed before. How does one person, or even more exponentially complicated, a group of people, imagine something that hasn’t existed before, and then attempt to graft it onto some of the most stunning landscape in the country? And most importantly, how do these artists not just transform a place but marry their creations to what already exists in such a way that we are drawn

to it, want to gather in it, want to play and socialize and celebrate in it? This is the dream of the artist, to create such a place. And this is what Prince Arthur’s Landing and the Spirit Garden is.

Great art has the ability for reconciliation, and great architects and artists have the vision to create places, whether they are physical or in the mind, that allow us to come together and to simply exist in the moment. I think that this is what this place ultimately is. It is a place that marries so beautifully the stunning physical landscape around it with the dreams of so many of the different peoples who make up Canada to a meeting place where we can come and wander through and sit in and just be.

To stand on the shores of the greatest lake in the world and admire the handiwork of some wonderful Canadian minds is something that I find both humbling and calming. All of this just fits so well together, and it makes me realize as I take in this place on the edge of the vast Lake Superior that it makes no sense to try and dominate our landscape here. Leave that to other communities. Here in Animikie, in Thunder Bay, we can’t possibly dominate our physical surroundings. But we all certainly can be small but vitally important parts of it. This place, this City and the Spirit Garden, this place is one upon which the manitous smile. // Joseph Boyden

Thunder Bay, for the original people, is a doorway between two worlds.

It is a place that cradles the manitous, the spirits that breathe life into everything around us. // Joseph Boyden

12

13

The Honouring Circle at sunrise.

So is this not the perfect place from which springs some of the most inventive and healing architecture that we’ve seen in years? Again, I don’t offer this compliment lightly. To date, the Spirit Garden has won 17 national and international design awards and continues to receive overwhelming acclaim by industry, residents, and visitors. I’m transfixed wandering through the Spirit Garden, where I come across the Celebration Circle, a traditional Aboriginal bentwood building technique and a collaboration between architects Brook McIlroy and the young Native artist and architect Ryan Gorrie. Upon closer examination, I can’t help but notice the brilliant contemporary flair meeting the traditional woodland art of 10 steel laser cut panels circling the drum based on the drawings of local Anishinaabe artist Randy Thomas and his famous father Roy. Sitting and staring, I am forced to ask myself the same thing I’ve been questioning as a novelist for many years now: Is our country really this wonderful mosaic of races and cultures and religions living harmoniously with one another in one of the world’s richest countries?

We want to believe this, don’t we? We want to believe that we are a nation of fairness and of inclusivity and of generosity. This is one of the stories I was told growing up. But sitting here in this beautiful place on the shore of the world’s largest and most wondrous lake, staring

at art made by some of our most talented individuals, something forces me to question all that I’ve been told to believe about my country. But that’s not a bad thing.

It is never a bad thing to question that which you’ve been taught, to test your theories and your beliefs. This can only help you navigate the world in a more informed way, yes?

And so I sit and take in the wonderment of Prince Arthur’s Landing and the Spirit Garden and I remember that there was another story that I watched emerge as I grew up. This one isn’t as promising as this tale of our country as the wondrous mosaic. I also remember hearing as a young person that Canada was a nation of two solitudes, the English and the French. Here we were a country divided into two in so many ways, two halves to a whole that didn’t necessarily see eye-to-eye so much as restlessly existed beside one another, putting up with one another until tensions would get too much and the expected squabbling ensued. And as a teenager, I absorbed that and came to believe it, in my twenties nervously witnessing a referendum in which the vote for or against one part of us wanting to remain with the rest of us was so razor thin that if it had been a marriage, the couple might never have survived the no confidence vote of it all.

But as I explored the world more and learned how to become a writer, I was forced to look at myself as much

as I looked outward. I had to find ways to make what I saw out there and what I felt inside come to some kind of terms. And I became frustrated, then angry. My being a mixed blood person of European and Anishnaabe heritage made me ask, “What do you all mean, only two solitudes? This is a country of not two but three distinct and often overlooked partners; it’s not just the English and the French, but the First Nations as well.”

Certainly we can’t leave our First Nations out of the equation of what Canada consists of. And so, long story short, I found my calling as an artist in trying to build that bridge between the different islands that make up this country, the different sometimes lonely and sometimes angry and sometimes indifferent pillars of what contemporary Canada is.

And so, you ask, what does this have to do with the magic of what has been achieved on Thunder Bay’s waterfront, or of architecture, for that matter?

Everything, I argue. An architect, like any artist, dreams up the ways to bring dimension to something that hadn’t existed before. How does one person, or even more exponentially complicated, a group of people, imagine something that hasn’t existed before, and then attempt to graft it onto some of the most stunning landscape in the country? And most importantly, how do these artists not just transform a place but marry their creations to what already exists in such a way that we are drawn

to it, want to gather in it, want to play and socialize and celebrate in it? This is the dream of the artist, to create such a place. And this is what Prince Arthur’s Landing and the Spirit Garden is.

Great art has the ability for reconciliation, and great architects and artists have the vision to create places, whether they are physical or in the mind, that allow us to come together and to simply exist in the moment. I think that this is what this place ultimately is. It is a place that marries so beautifully the stunning physical landscape around it with the dreams of so many of the different peoples who make up Canada to a meeting place where we can come and wander through and sit in and just be.

To stand on the shores of the greatest lake in the world and admire the handiwork of some wonderful Canadian minds is something that I find both humbling and calming. All of this just fits so well together, and it makes me realize as I take in this place on the edge of the vast Lake Superior that it makes no sense to try and dominate our landscape here. Leave that to other communities. Here in Animikie, in Thunder Bay, we can’t possibly dominate our physical surroundings. But we all certainly can be small but vitally important parts of it. This place, this City and the Spirit Garden, this place is one upon which the manitous smile. // Joseph Boyden

Thunder Bay, for the original people, is a doorway between two worlds.

It is a place that cradles the manitous, the spirits that breathe life into everything around us. // Joseph Boyden

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The Viewing Circle at the end of Pier 2.

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The Viewing Circle at the end of Pier 2.

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The WaterGarden Pavilion: Brook McIlroy architects Cal Brook and Rajko Jakovic were inspired by the image of a clearing in a forest. The WaterGarden Pavilion is wrapped in a shroud of randomly spaced wood columns

on three sides of the building. The restaurant inside expands onto the terrace in the summer months. The WaterGarden Pavilion incorporates green-building features and is a certified LEED Gold building.

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The WaterGarden Pavilion: Brook McIlroy architects Cal Brook and Rajko Jakovic were inspired by the image of a clearing in a forest. The WaterGarden Pavilion is wrapped in a shroud of randomly spaced wood columns

on three sides of the building. The restaurant inside expands onto the terrace in the summer months. The WaterGarden Pavilion incorporates green-building features and is a certified LEED Gold building.

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The WaterGarden is a magnet for children and families in the summer months. The centre island fountain is choreographed to provide alternating patterns of display and is lit at night.

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The WaterGarden is a magnet for children and families in the summer months. The centre island fountain is choreographed to provide alternating patterns of display and is lit at night.

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In the winter the WaterGarden transforms into a skating rink. The centre island and its outdoor fireplace provide a warming area for skaters.

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In the winter the WaterGarden transforms into a skating rink. The centre island and its outdoor fireplace provide a warming area for skaters.

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Mariner’s Hall is located on the north side of the WaterGarden Pavilion and overlooks the Naval Monument.

The Hall serves as both an exhibition centre and a place

for community gatherings. Its design is inspired by the simple, heroic form of Lake Superior’s ‘Laker’ ships and the massive grain elevators that line the Thunder Bay

waterfront. An installation by Andy Davies called Traveller’s Return anchors the east side of Mariner’s Hall.

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Mariner’s Hall is located on the north side of the WaterGarden Pavilion and overlooks the Naval Monument.

The Hall serves as both an exhibition centre and a place

for community gatherings. Its design is inspired by the simple, heroic form of Lake Superior’s ‘Laker’ ships and the massive grain elevators that line the Thunder Bay

waterfront. An installation by Andy Davies called Traveller’s Return anchors the east side of Mariner’s Hall.

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Mariner’s Hall interior view. Brook McIlroy architect Rajko Jakovic and structural engineer Blackwell Bowick designed the roof structure using a curving truss system that supports

clerestory windows running the full length of the building.

The curved spine shape is reminiscent of both naval architecture and the skelton of an aquatic beast. Over the bay win-

dow an extract from a story written by Thunder Bay author Jean Pendziwol reads: “It was my job to watch for ships and lights and land and logs floating lost on the great inland sea.”

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Top: Waterfront Promenade: Segments of the shoreline have been reconstructed to get close to the water. Locally sourced granite blocks are tiered as informal seating areas.

Bottom: Waterfront Plaza: Landscaped tiers provide an informal outdoor amphitheatre overlooking the lake.

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Mariner’s Hall interior view. Brook McIlroy architect Rajko Jakovic and structural engineer Blackwell Bowick designed the roof structure using a curving truss system that supports

clerestory windows running the full length of the building.

The curved spine shape is reminiscent of both naval architecture and the skelton of an aquatic beast. Over the bay win-

dow an extract from a story written by Thunder Bay author Jean Pendziwol reads: “It was my job to watch for ships and lights and land and logs floating lost on the great inland sea.”

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Top: Waterfront Promenade: Segments of the shoreline have been reconstructed to get close to the water. Locally sourced granite blocks are tiered as informal seating areas.

Bottom: Waterfront Plaza: Landscaped tiers provide an informal outdoor amphitheatre overlooking the lake.

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The Spirit Garden

Ryan Gorrie

Everything happens for a reason — I believe it now.

The journey to the realization of the Spirit Garden has been inspiring. What strikes me most when I think about the experience of creating this place are the people. Making those connections with the communities through workshops — all of us designers and stakeholders — I found has enriched my life. I met elders and community members who share the same histories as me, something I could connect with, we were together.

At the completion of that first meeting, saying our goodbyes, an elder, whom I’d just met, hugged me, she told me she was so proud of me; that moment will be with me forever. I knew it was my responsibility to make sure the peoples’ vision was realized. There was no room for self doubt.

Anishinaabemowin (Ojibwe) language is not genderbased. Things are animate or inanimate. We are animate beings, our environment is dynamic; and architecture is animate. It does not mean that the structure physically moves but that it creates ‘place’, an environment where the interactions (human or other) imbue the architecture with life. It is important that the structure shows evidence of its making, the human hand, the tension in the wood members.

It’s surreal to see it now, instilled with the power of people, the ones who designed it, the ones who inhabit the place once a day, once a year or once in a life time.

I find myself appreciating its life more and more. It reminds me of things I feel I have forgotten and links me to the city in a way that I was looking for. That connection.

I hope that it speaks loud, that it tells of the richness of vision, the power of place, the perpetuation of indigenous culture.

To see a vision realized is powerful.

Miigwech //

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The Spirit Garden

Ryan Gorrie

Everything happens for a reason — I believe it now.

The journey to the realization of the Spirit Garden has been inspiring. What strikes me most when I think about the experience of creating this place are the people. Making those connections with the communities through workshops — all of us designers and stakeholders — I found has enriched my life. I met elders and community members who share the same histories as me, something I could connect with, we were together.

At the completion of that first meeting, saying our goodbyes, an elder, whom I’d just met, hugged me, she told me she was so proud of me; that moment will be with me forever. I knew it was my responsibility to make sure the peoples’ vision was realized. There was no room for self doubt.

Anishinaabemowin (Ojibwe) language is not genderbased. Things are animate or inanimate. We are animate beings, our environment is dynamic; and architecture is animate. It does not mean that the structure physically moves but that it creates ‘place’, an environment where the interactions (human or other) imbue the architecture with life. It is important that the structure shows evidence of its making, the human hand, the tension in the wood members.

It’s surreal to see it now, instilled with the power of people, the ones who designed it, the ones who inhabit the place once a day, once a year or once in a life time.

I find myself appreciating its life more and more. It reminds me of things I feel I have forgotten and links me to the city in a way that I was looking for. That connection.

I hope that it speaks loud, that it tells of the richness of vision, the power of place, the perpetuation of indigenous culture.

To see a vision realized is powerful.

Miigwech //

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The bentwood building technique used for the Celebration Circle is a contemporary adaptation of an ancient Anishinaabe building technology.

Brook McIlroy architect Sean Serino worked with engineer Cory Zurel to develop the design conceived by Ryan Gorrie.

Aboriginal artist George Price (on the left) harvested young spruce trees in the spring and brought them to a site at the Fort William First Nation where they were bent and strapped to create a series of trusses.

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The bentwood building technique used for the Celebration Circle is a contemporary adaptation of an ancient Anishinaabe building technology.

Brook McIlroy architect Sean Serino worked with engineer Cory Zurel to develop the design conceived by Ryan Gorrie.

Aboriginal artist George Price (on the left) harvested young spruce trees in the spring and brought them to a site at the Fort William First Nation where they were bent and strapped to create a series of trusses.

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A series of 10 laser-cut weathering steel panels wrap the circumference of the Celebration Circle. They depict drawings by celebrated Anishinaabe artists Randy Thomas and Roy Thomas.

The slope side seating area overlooking the Celebration Circle utilizes ash trees that had to be removed from Vickers Park, a city park over a century old.

The opportunity to give these trees a useful purpose reflects the environmentally sustainable ambitions of the Prince Arthur’s Landing project.

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A series of 10 laser-cut weathering steel panels wrap the circumference of the Celebration Circle. They depict drawings by celebrated Anishinaabe artists Randy Thomas and Roy Thomas.

The slope side seating area overlooking the Celebration Circle utilizes ash trees that had to be removed from Vickers Park, a city park over a century old.

The opportunity to give these trees a useful purpose reflects the environmentally sustainable ambitions of the Prince Arthur’s Landing project.

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The form of the Celebration Circle is inspired by Roy Thomas’s concept for this site to pay homage to Turtle Island based on the ancient Aboriginal creation story.

These places are being embraced by the Thunder Bay community as teaching spaces where the history of Canada can be told from the perspective of the First Nations who have lived on this shoreline for millennia.

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The form of the Celebration Circle is inspired by Roy Thomas’s concept for this site to pay homage to Turtle Island based on the ancient Aboriginal creation story.

These places are being embraced by the Thunder Bay community as teaching spaces where the history of Canada can be told from the perspective of the First Nations who have lived on this shoreline for millennia.

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The Living Shoreline: Brook McIlroy landscape architects Jana Joyce, Victoria Taylor and Colin Berman transformed what was once a lacklustre man-made cinder beach into a lush, naturalized wetland landscape using native plant materials.

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The Living Shoreline: Brook McIlroy landscape architects Jana Joyce, Victoria Taylor and Colin Berman transformed what was once a lacklustre man-made cinder beach into a lush, naturalized wetland landscape using native plant materials.

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This is a story shaped by you as big as your words or as long as your sentences this is your story even though you haven’t told it all or don’t know how to tell parts of it yet. By starting the story the story tells you, tells you how to go on and how to look back. // The Dimness of Mothers and Daughters by Marilyn Dumont

At the Jardin Elliptique a poetry installation links the viewer to the profound importance of this site to the Red Sky Métis. This is precisely the location where General Wolseley on instructions from John A. MacDonald

(Canada’s first Prime Minister) made landfall en route to the Red River Colony to quell the Métis rebellion in 1870.

Riel and Dumont, leaders of the rebellion, are Métis folk heroes. Louis Riel was hanged for treason in 1885 and

Gabriel Dumont was exiled to the United States. An extract from a poem written by Marilyn Dumont — a descendent of Gabriel Dumont — i s located at this hinge point in history.

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This is a story shaped by you as big as your words or as long as your sentences this is your story even though you haven’t told it all or don’t know how to tell parts of it yet. By starting the story the story tells you, tells you how to go on and how to look back. // The Dimness of Mothers and Daughters by Marilyn Dumont

At the Jardin Elliptique a poetry installation links the viewer to the profound importance of this site to the Red Sky Métis. This is precisely the location where General Wolseley on instructions from John A. MacDonald

(Canada’s first Prime Minister) made landfall en route to the Red River Colony to quell the Métis rebellion in 1870.

Riel and Dumont, leaders of the rebellion, are Métis folk heroes. Louis Riel was hanged for treason in 1885 and

Gabriel Dumont was exiled to the United States. An extract from a poem written by Marilyn Dumont — a descendent of Gabriel Dumont — i s located at this hinge point in history.

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The Inclusive Circle 02

The Honouring Circle at the Spirit Garden is a place of contemplation, ceremony and moments of reverie.

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The Inclusive Circle 02

The Honouring Circle at the Spirit Garden is a place of contemplation, ceremony and moments of reverie.

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The Inclusive Circle

The bentwood construction of the Celebration Circle follows traditional Anishinaabe building practices using young saplings harvested at springtime. Larger trees are bent and strapped to create trusses that form the circular structure. The trusses are wrapped in a veil of cedar planking.

Sit down in these circles and think about what they mean.

How do we imagine ourselves?

Part of the answer is another question. How do we imagine where we are, sitting here on the edge of the world’s greatest inland sea? And how do we imagine that we belong where we are? That is more than a physical question. And it is not a bit of emotional rhetoric.

How do we relate to the place in which we are? How do we imagine this place?

Being and belonging. Everyone needs to find a way to be and to belong. A lot of that turns on how we imagine ourselves, others and the world around us.

It’s all about relationships, bouncing back and forth within the circle — imagine an all inclusive circle — tying everything together. If we can accept the complexity of these relationships, well then we will imagine that we can belong here. Not just pass through.

People brought up deep within the Western idea of progress, of past and present, of passing on, often have trouble with this circular view which Aboriginal peoples find so natural. So here is an easy way to make sense of it. A circular view of civilization lives quite naturally with complexity. It binds things together. It helps humans find a way to belong which is not about nationalism or race. It turns around the idea that everything is interrelated.

And so humans are not simply placed here to dominate one another or indeed the land. We are also part of the place. We belong because we see ourselves within the circle. And our humanism comes from the limitations that all of these relationships impose.

A few decades ago, Grand Chief John Kelly tried to make it easy for all of us to imagine how we could exist where we are: “As the years go by, the circle of the

John Ralston Saul

Ojibwe gets bigger and bigger. Canadians of all colours and religion are entering the circle. You might feel that you have roots somewhere else, but in reality, you are right here with us”.

This is not a static idea. Yes, the inland sea we call Superior is here beside us and will be there for a long time, long after each of us, stronger than all of us. Yes, the bay has thundered across the centuries. Yes, for thousands of years indigenous peoples have been here at the Lakehead. Are here today. Why? Because this is a place for people to gather. A gathering place. And it is also a place of movement. Ojibwe, Chippewa, Métis, French, Finns, new comers from everywhere are all tied to patterns of life that stretch east and west over lakes and rivers, great liquid highways flowing thousands of kilometres each way; thousands of years of peoples, separate yet woven into alliances and relationships, moving up and down these patterns of place and people.

For more than four centuries now indigenous peoples have been explaining this reality to new comers.

At first there was a real conversation. It lasted several centuries. The new comers listened, learned, became part of the circle. From this conversation the Métis people emerged and played an important role. They were and are central to the reality of how complex belonging must be.

Then came a second phase, lasting a century to a century and a half, during which new comers didn’t listen.

They used raw power to impose a very different view.

Linear. Domineering. More about exploiting and passing through than belonging.

And now we seem to be slowly, painfully making our way into a third era. The original Canadian conversation is re-emerging in a new shape. The belligerence >>

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The Inclusive Circle

The bentwood construction of the Celebration Circle follows traditional Anishinaabe building practices using young saplings harvested at springtime. Larger trees are bent and strapped to create trusses that form the circular structure. The trusses are wrapped in a veil of cedar planking.

Sit down in these circles and think about what they mean.

How do we imagine ourselves?

Part of the answer is another question. How do we imagine where we are, sitting here on the edge of the world’s greatest inland sea? And how do we imagine that we belong where we are? That is more than a physical question. And it is not a bit of emotional rhetoric.

How do we relate to the place in which we are? How do we imagine this place?

Being and belonging. Everyone needs to find a way to be and to belong. A lot of that turns on how we imagine ourselves, others and the world around us.

It’s all about relationships, bouncing back and forth within the circle — imagine an all inclusive circle — tying everything together. If we can accept the complexity of these relationships, well then we will imagine that we can belong here. Not just pass through.

People brought up deep within the Western idea of progress, of past and present, of passing on, often have trouble with this circular view which Aboriginal peoples find so natural. So here is an easy way to make sense of it. A circular view of civilization lives quite naturally with complexity. It binds things together. It helps humans find a way to belong which is not about nationalism or race. It turns around the idea that everything is interrelated.

And so humans are not simply placed here to dominate one another or indeed the land. We are also part of the place. We belong because we see ourselves within the circle. And our humanism comes from the limitations that all of these relationships impose.

A few decades ago, Grand Chief John Kelly tried to make it easy for all of us to imagine how we could exist where we are: “As the years go by, the circle of the

John Ralston Saul

Ojibwe gets bigger and bigger. Canadians of all colours and religion are entering the circle. You might feel that you have roots somewhere else, but in reality, you are right here with us”.

This is not a static idea. Yes, the inland sea we call Superior is here beside us and will be there for a long time, long after each of us, stronger than all of us. Yes, the bay has thundered across the centuries. Yes, for thousands of years indigenous peoples have been here at the Lakehead. Are here today. Why? Because this is a place for people to gather. A gathering place. And it is also a place of movement. Ojibwe, Chippewa, Métis, French, Finns, new comers from everywhere are all tied to patterns of life that stretch east and west over lakes and rivers, great liquid highways flowing thousands of kilometres each way; thousands of years of peoples, separate yet woven into alliances and relationships, moving up and down these patterns of place and people.

For more than four centuries now indigenous peoples have been explaining this reality to new comers.

At first there was a real conversation. It lasted several centuries. The new comers listened, learned, became part of the circle. From this conversation the Métis people emerged and played an important role. They were and are central to the reality of how complex belonging must be.

Then came a second phase, lasting a century to a century and a half, during which new comers didn’t listen.

They used raw power to impose a very different view.

Linear. Domineering. More about exploiting and passing through than belonging.

And now we seem to be slowly, painfully making our way into a third era. The original Canadian conversation is re-emerging in a new shape. The belligerence >>

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The Viewing Circle located at the end of Pier 2 gently slopes towards the lake oriented towards Nanabijou (The Sleeping Giant). The design was inspired by ‘Round Dance’ — a poem by the celebrated Blackfoot author Sarain Stump which is transcribed on the circumference of the elevated terrace.

of European methods is mutating here into something filled with questions about belonging in a more complex way; about belonging within the context or the circle of the place. Indigenous voices never went quiet. But now they are being heard again. Indigenous theories are making their way back into the mainstream. Those of us who were in denial are beginning to admit that we can imagine in a circular, inclusive way. We are beginning — just beginning — to re-imagine circular conversations.

Thunder Bay, long presented as a place of passage — a linear place — is expressing itself here through the circular idea of belonging. This is not as easy as it sounds. Our education systems are increasingly linear.

Utilitarian. While new generations are increasingly eager to imagine a relationship with the place in which they live — one which is closer to Cree ideas like Wîtaskêwin or Ahousaht ideas like Tsawalk — many of our institutions are retreating into ever narrower, old-fashioned, and shorter term views of trade, consumption, growth, self interest and efficiency. The result at the top is an ever more dominant and ever less interesting idea of society as a managerial structure.

So this revival of the original conversation and the re-emergence of indigenous concepts is not easy.

Society is deeply divided. On one side are the tired old linear arguments, still presenting themselves as the

force of progress, in spite of continuing stagnation.

On the other side are new, more inclusive and complex ideas, often led by indigenous theories. While managerialism preaches efficiency and consumption, public intellectuals like Ovide Mercredi call for consensual democracy and the Supreme Court calls for consultation.

Jim Dumont, the highly respected Anishinaabe-Ojibwe elder and retired professor makes the indigenous argument with appropriate edge. “The view that life is circular, after all, is far more intelligent than saying: ‘Everything happens in a linear sequence; that there is a beginning and there is an end — you are born here

and you are dead there and that these are the steps that you take in between.’ In my estimation that is almost an infantile view of reality”.

And so as you sit in these circles or ponder photos of them, think of Dumont’s words. A massive, uncontrollable body of water moves beside you. An even more massive continent moves around you. The old rational idea that we humans can float above the planet and do what we want with it because we are in control now seems to be romantic and dangerously naïve. The concept of the circle is far more realistic; far truer to the reality of ourselves as part of the planet. //

Don’t break this circle Before the song is over Because all of our people Even the ones long gone Are holding hands. // Round Dance, Sarain Stump

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The Viewing Circle located at the end of Pier 2 gently slopes towards the lake oriented towards Nanabijou (The Sleeping Giant). The design was inspired by ‘Round Dance’ — a poem by the celebrated Blackfoot author Sarain Stump which is transcribed on the circumference of the elevated terrace.

of European methods is mutating here into something filled with questions about belonging in a more complex way; about belonging within the context or the circle of the place. Indigenous voices never went quiet. But now they are being heard again. Indigenous theories are making their way back into the mainstream. Those of us who were in denial are beginning to admit that we can imagine in a circular, inclusive way. We are beginning — just beginning — to re-imagine circular conversations.

Thunder Bay, long presented as a place of passage — a linear place — is expressing itself here through the circular idea of belonging. This is not as easy as it sounds. Our education systems are increasingly linear.

Utilitarian. While new generations are increasingly eager to imagine a relationship with the place in which they live — one which is closer to Cree ideas like Wîtaskêwin or Ahousaht ideas like Tsawalk — many of our institutions are retreating into ever narrower, old-fashioned, and shorter term views of trade, consumption, growth, self interest and efficiency. The result at the top is an ever more dominant and ever less interesting idea of society as a managerial structure.

So this revival of the original conversation and the re-emergence of indigenous concepts is not easy.

Society is deeply divided. On one side are the tired old linear arguments, still presenting themselves as the

force of progress, in spite of continuing stagnation.

On the other side are new, more inclusive and complex ideas, often led by indigenous theories. While managerialism preaches efficiency and consumption, public intellectuals like Ovide Mercredi call for consensual democracy and the Supreme Court calls for consultation.

Jim Dumont, the highly respected Anishinaabe-Ojibwe elder and retired professor makes the indigenous argument with appropriate edge. “The view that life is circular, after all, is far more intelligent than saying: ‘Everything happens in a linear sequence; that there is a beginning and there is an end — you are born here

and you are dead there and that these are the steps that you take in between.’ In my estimation that is almost an infantile view of reality”.

And so as you sit in these circles or ponder photos of them, think of Dumont’s words. A massive, uncontrollable body of water moves beside you. An even more massive continent moves around you. The old rational idea that we humans can float above the planet and do what we want with it because we are in control now seems to be romantic and dangerously naïve. The concept of the circle is far more realistic; far truer to the reality of ourselves as part of the planet. //

Don’t break this circle Before the song is over Because all of our people Even the ones long gone Are holding hands. // Round Dance, Sarain Stump

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Throughout Prince Arthur’s Landing prose and poetry are integral elements of the design. The landscape is experienced as an informal narrative merging story and place.

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Throughout Prince Arthur’s Landing prose and poetry are integral elements of the design. The landscape is experienced as an informal narrative merging story and place.

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The Jardin Elliptique is the central gateway to Prince Arthur’s Landing. In the background, a 19th century railway structure, restored and expanded with a twostorey addition, hosts the Baggage Building Arts Centre.

Right: Interior view of the Baggage Building Arts Centre.

Artists’ studios, exhibition spaces, teaching spaces and a gift gallery have become a community hub for the arts on Thunder Bay’s waterfront. Brook McIlroy architects Judy Sanz-Sole and

Paul Gorrie were instrumental in the design of this green building which has been certified as LEED Gold. Features include photo-voltaic roof panels, natural lighting and restoration of the pre-existing 19th century railway building.

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The Jardin Elliptique is the central gateway to Prince Arthur’s Landing. In the background, a 19th century railway structure, restored and expanded with a twostorey addition, hosts the Baggage Building Arts Centre.

Right: Interior view of the Baggage Building Arts Centre.

Artists’ studios, exhibition spaces, teaching spaces and a gift gallery have become a community hub for the arts on Thunder Bay’s waterfront. Brook McIlroy architects Judy Sanz-Sole and

Paul Gorrie were instrumental in the design of this green building which has been certified as LEED Gold. Features include photo-voltaic roof panels, natural lighting and restoration of the pre-existing 19th century railway building.

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The Celebration Circle at night overlooking the downtown.

Recycled ash trees from Vickers Park provide amphitheatre seating. The Circle is used for story-telling, teaching, civic gatherings and celebrations.

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The Celebration Circle at night overlooking the downtown.

Recycled ash trees from Vickers Park provide amphitheatre seating. The Circle is used for story-telling, teaching, civic gatherings and celebrations.

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Thunder Bay, long presented as a place of passage — a linear place — is expressing itself here through the circular idea of belonging. // John Ralston Saul

La Croix First Nation Graduation Ceremony at the Celebration Circle, 2013.

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Thunder Bay, long presented as a place of passage — a linear place — is expressing itself here through the circular idea of belonging. // John Ralston Saul

La Croix First Nation Graduation Ceremony at the Celebration Circle, 2013.

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Custom granite and wood seating structures become cultural surfaces where excerpts from poetry and prose tell the story of Thunder Bay and its people.

Right: Interpretive signage is used throughout Prince Arthur’s Landing to provide the visitor with a narrative that conveys the history and cultural depth of the Thunder Bay region.

Botton right: Homecoming — A poem by Thunder Bay resident Donna Faye is placed near an entrance to the Baggage Building Arts Centre.

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Custom granite and wood seating structures become cultural surfaces where excerpts from poetry and prose tell the story of Thunder Bay and its people.

Right: Interpretive signage is used throughout Prince Arthur’s Landing to provide the visitor with a narrative that conveys the history and cultural depth of the Thunder Bay region.

Botton right: Homecoming — A poem by Thunder Bay resident Donna Faye is placed near an entrance to the Baggage Building Arts Centre.

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Jiigew (By the Water)

Located at the ends of Piers 1 & 3, Jiigew (By the Water) is a pair of sculptures which act as beacons overlooking Lake Superior and the water gateway to the City.

Through its shape, proportions and luminous qualities Jiigew celebrates the history and identity of Thunder Bay evoking the image of shipbuilding, lightning, and thunder.

The two beacons were designed as a collaboration between artists Eduardo Aquino and Karen Shanski of spmb and Brook McIlroy Architects. The seventyfoot-high structures are fabricated from weathering steel and integrate a ‘light waterfall’ of scrolling LED lights which transcribe an Anishinaabe poem-story.

Each beacon communicates the poem-story using a scrolling array of lights in Morse code. As one approaches the structure an audio track can be heard as a whisper — which recites the poem back in both Ojibwe and English.

The two structures have an inverse configuration. One leans forward, the other backward. They are each positioned to acknowledge the other’s presence across the water and, seen together from afar, appear to speak to one another.

The choice of weathering steel for the structures is a direct reference to the local tradition of shipbuilding.

Their shape bears a resemblance to the profile of a large vessel. The digitally programmed lighting component gently drops down the length of both beacons like a “light waterfall” communicating by way of Morse

Designed as a collaboration between artists Eduardo Aquino and Karen Shanski of spmb with Brook McIlroy Architects, the two beacons titled Jiigew (By the Water) are located at the ends

of Piers 1 and 3. The seventy-foot-high structures integrate a ‘light waterfall’ of scrolling LED lights transcribing an Anishinaabe poem-story.

code, while making a direct reference to navigation. The strategic location of the sculptures marks the symbolic moment when the land touches the sea. Afterward the theme of “water” was selected as the content of both the Morse code and the sound storyline, which broadcasts whispers narrated by two actors at the bottom of each beacon. The two sculptures “talk to each other” at a distance. At the same time they “talk back” to the city, waterfront visitors, and passers by, and “talk forward” to Lake Superior and the landscape afar.

The design carefully considered the idea of “nonduality” as a major conceptual direction for the project.

Non-duality is formed by the collision of complementing elements: land/sea; earth/sky; Port Arthur/Fort William; day/night; summer/winter; sun/moon; sleeping/awake; myth/reality, etc.

The narrative is introduced by a story by the local Anishinaabe artist and language educator Patricia Ningewance Nadeau: “A Story of the Thunder Bay Area

by Christie Lac Seul Ningewance as told to her daughter Patricia Ningewance Nadeau”. The subsequent words of the long poem are taken from the Ojibwe-English wordlist based on the Fond Du Lac College Ojibwe vocabulary. The poem is a collaborative effort by spmb and Ningewance Nadeau. Based on the Ojibwe tradition, the result is a lyrical ode of irregular metrical form (free verse) that occupies the sculptural structures with meaning and celebration. After having selected all

Eduardo Aquino & Karen Shanski

terms related to “water” from the Fond Du Lac College Ojibwe-English wordlist, they were placed in alphabetical sequence, and grouped with each family of definitions in separate stanzas. At times morphological adjacencies were included to enrich the lyrical aspect of the narrative. The narrative is interspersed by “water creatures” from the Anishinaabe culture animating the text with both nature and mythology: amikwag/beavers, omagakiig/frogs, wazhashk-wag/muskrats, etc.

Together, the story and the long poem form a fictional narrative of the human relationship with water, communicating the strength of the first peoples to inhabit the territory through the very basic skills of survival — “swimming across”, “wading across the river”, “crossing the water by bridge”, etc. The long poem is an ode to the people of Thunder Bay in very simple words, alluding to their struggle and cultural complexity. Patricia Ningewance Nadeau along with celebrated broadcaster Rick Smith narrate the poem.

The pair of narrators represents the local culture’s diverse character, symbolizing in the process the coming together of different peoples through poetry and art. All in all, there is no separation between the architecture (the beacons’ structure) and the art (light/ sound/narrative), but the project instead recognizes the full integration of the two as a major force, producing a poetic synthesis of the Thunder Bay coastline and the people that have inhabited the land. //

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55

Jiigew (By the Water)

Located at the ends of Piers 1 & 3, Jiigew (By the Water) is a pair of sculptures which act as beacons overlooking Lake Superior and the water gateway to the City.

Through its shape, proportions and luminous qualities Jiigew celebrates the history and identity of Thunder Bay evoking the image of shipbuilding, lightning, and thunder.

The two beacons were designed as a collaboration between artists Eduardo Aquino and Karen Shanski of spmb and Brook McIlroy Architects. The seventyfoot-high structures are fabricated from weathering steel and integrate a ‘light waterfall’ of scrolling LED lights which transcribe an Anishinaabe poem-story.

Each beacon communicates the poem-story using a scrolling array of lights in Morse code. As one approaches the structure an audio track can be heard as a whisper — which recites the poem back in both Ojibwe and English.

The two structures have an inverse configuration. One leans forward, the other backward. They are each positioned to acknowledge the other’s presence across the water and, seen together from afar, appear to speak to one another.

The choice of weathering steel for the structures is a direct reference to the local tradition of shipbuilding.

Their shape bears a resemblance to the profile of a large vessel. The digitally programmed lighting component gently drops down the length of both beacons like a “light waterfall” communicating by way of Morse

Designed as a collaboration between artists Eduardo Aquino and Karen Shanski of spmb with Brook McIlroy Architects, the two beacons titled Jiigew (By the Water) are located at the ends

of Piers 1 and 3. The seventy-foot-high structures integrate a ‘light waterfall’ of scrolling LED lights transcribing an Anishinaabe poem-story.

code, while making a direct reference to navigation. The strategic location of the sculptures marks the symbolic moment when the land touches the sea. Afterward the theme of “water” was selected as the content of both the Morse code and the sound storyline, which broadcasts whispers narrated by two actors at the bottom of each beacon. The two sculptures “talk to each other” at a distance. At the same time they “talk back” to the city, waterfront visitors, and passers by, and “talk forward” to Lake Superior and the landscape afar.

The design carefully considered the idea of “nonduality” as a major conceptual direction for the project.

Non-duality is formed by the collision of complementing elements: land/sea; earth/sky; Port Arthur/Fort William; day/night; summer/winter; sun/moon; sleeping/awake; myth/reality, etc.

The narrative is introduced by a story by the local Anishinaabe artist and language educator Patricia Ningewance Nadeau: “A Story of the Thunder Bay Area

by Christie Lac Seul Ningewance as told to her daughter Patricia Ningewance Nadeau”. The subsequent words of the long poem are taken from the Ojibwe-English wordlist based on the Fond Du Lac College Ojibwe vocabulary. The poem is a collaborative effort by spmb and Ningewance Nadeau. Based on the Ojibwe tradition, the result is a lyrical ode of irregular metrical form (free verse) that occupies the sculptural structures with meaning and celebration. After having selected all

Eduardo Aquino & Karen Shanski

terms related to “water” from the Fond Du Lac College Ojibwe-English wordlist, they were placed in alphabetical sequence, and grouped with each family of definitions in separate stanzas. At times morphological adjacencies were included to enrich the lyrical aspect of the narrative. The narrative is interspersed by “water creatures” from the Anishinaabe culture animating the text with both nature and mythology: amikwag/beavers, omagakiig/frogs, wazhashk-wag/muskrats, etc.

Together, the story and the long poem form a fictional narrative of the human relationship with water, communicating the strength of the first peoples to inhabit the territory through the very basic skills of survival — “swimming across”, “wading across the river”, “crossing the water by bridge”, etc. The long poem is an ode to the people of Thunder Bay in very simple words, alluding to their struggle and cultural complexity. Patricia Ningewance Nadeau along with celebrated broadcaster Rick Smith narrate the poem.

The pair of narrators represents the local culture’s diverse character, symbolizing in the process the coming together of different peoples through poetry and art. All in all, there is no separation between the architecture (the beacons’ structure) and the art (light/ sound/narrative), but the project instead recognizes the full integration of the two as a major force, producing a poetic synthesis of the Thunder Bay coastline and the people that have inhabited the land. //

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Jiigew (By the Water)

PAT NINGEWANCE Female voice

spmb & Ningewance Nadeau

RICK SMITH Male voice

aagim snowshoe aagimose snowshoeing aazhawa’am crossing by canoe aazhawa’o crossing the water by canoe or boat Amikwag Beavers aazhawaadagaa swimming across aazhawagaazii wading across the river aazhawayi’ii across it; other side of; behind aazhoge crossing the water by bridge agaaming across the lake

Omagakiig Frogs

agaasadetigweyaa agidaagon agidibiig agidiskwam agonde

57

it is narrow as a river on the snow on top of water on top of the ice it floats, it is suspended in water

Wazhashkwag Muskrats agwaabatoo running ashore agwaabidoo pulling it ashore, pulling it from the water agwaabin pulling him ashore, pulling him from the water agwaabiiga’w taking them off the water using something agwaabiiga’amaw taking it off the water using something for him agwaabiiga’ taking it off the water using something agwaabiigin taking them off the water / fire Nigigwag Otters agwaadaabaad dragging it ashore agwaadaabaan dragging them ashore agwaadaabii dragging something ashore agwaa’o landing, coming off the water agwaanaaso unloading a boat or canoe agwaashim taking them ashore, taking them off the fire agwaasidoo taking it ashore, taking it off the fire agwaasijigaade it is taken ashore, it is taken off the fire agwaasijigaazo taken ashore, taken off the fire agwaataa going ashore, coming ashore agwaawebin throwing him out of the water gagwejikada’odi they race (canoe, boat) on the water gakaamikijiwan there is a waterfall gakijiwan there is a waterfall gakiiwe going overland; portaging ganaajiwi handsome, beautiful gichi-ziibi big river; Mississippi river gichigami sea, Lake Superior, great water of Great Lakes Bikwakooshibag Common Goldeneyes giigoonh fish giigooyike fishing giigooyikewinini fisherman Gaagaagiwishibag Cormorants giiwedinakwad the clouds come from the north giiwedinobiisaa the rain comes from the north giiwedinong to the north giiwenh so the story goes, so it is said Zhiishiibag Ducks giiwitaa’ose walking around something giiwitaa-ayi’ii all around it giiwitaabatoo running around something giiwitaayaazhagaame walking around a body of water Maangwag Loons gimiwan it is raining gimiwanaaboo rainwater gimiwanoo-babiinzikawaagan raincoat giziibiiga’ washing giziibiiga’igan soap giziibiiga’ige-makak washtub giziibiiga’ige washing clothes giziibiiganaagane washing dishes giziibiigazhe-makak bathtub giziibiigazhe taking bath; washing up giziibiigii washing oneself giziibiigiingwe washing one’s own face giziibiigin washes it; washes her giziibiigininjii washes one’s own hand(s Ininishibag Mallards giziibiigisaginige-giizhigad it is Saturday giziibiigisaginige washes floors gonzaabiishkoojigan sinker (fishing tackle) googii diving googiise falling in deep water; sinking

Waabiziig Swans

goon snow goonaaboo water from melted snow goonikaa there is a lot of snow Giinigojeshibag gopii gwaaba’ibii

Wood Ducks getting out of the water; going inland drawing water

Maanamegwag Catfish gwayako-bimaadizi living an honest life gwayakokweni holding one’s own head straight up gwayakoshin going the right way; going straight gwayakoshkaa going straight; going the right way gwayakosidoo straightens it Wiibijiig Goldeye inaadagaa swimming there ishkwaabiisaa it stops raining ishkwaaj last; finally ishkwaapo it stops snowing ishkwaataa stopping working ishkwe-ayi’ii at the end of it; beyond it Ginoozheg ishpaagonagaa jiigeweyaazhagaame jiigeweyaazhagaamebatoo jiigibiig jiigwajiw

Northern Pike it is high (snow) walking along the water’s edge running along the water’s edge along the shore; by the water near the mountain

Asaawensag Perch jiimaan canoe; boat jiimaanike making canoes jiime paddling Ogaanhag, Ogaansag madaabii-gozi madaabii madaabiise madaabiiwidoo madaabiiwin madaagami

Pickerel camping out by the water’s edge, out of the woods going to the shore from land sliding to the water’s edge carrying it to the water’s edge taking to the water’s edge swirled water

Ashiganag Rockbass madoodoo taking a sweat bath madoodoowinini Finn Nameg Sturgeon madwe can be heard; audible from a distance madwebiisaa the rain is heard madwegamijii the stomach makes noise / growls madwejiwan the water’s current is heard Namebinag Sucker makwasaagim bearpaw snowshoe mamaangadepo large snowflakes come down Namegosag Trout mangitigweyaa the river is large / wide mashkawaa it is strong; it is hard; it is dense mashkawaagami it is a strong liquid mashkawaakwajidoo freezes it solid mashkawadin the lake is frozen solid mashkawaji being frozen; being frostbitten mashkawajininjiiwaji the hands are frozen Odoonibiig Tullibee migiskan fishhook migiskanaatig fishpole migiskaneyaab hook and line miijimikanjige baiting a fish hook Adikamegwag Whitefish mikwam ice mikwamii-makak ice box; refrigerator mikwamiikaa there is a lot of ice mikwamiiwadamo the road is icy Zagaskwayag Bloodsucker mikwamiiwinaagaans drinking glass mimigwaakosijiga washboard mina’ gives a drink to someone mindookad there is dew minikwaajigan drinking glass, jug minikwe drinks it minikwe drinking Esag Clam misanwi the snow falls from the trees mitagoonag on the snow

Ashaageshiwag Crayfish mooshkamo coming up to the surface of the water mooshkina’ filling someone up mooshkinatoo fills it up mooshkine it is full; they are full rainbow nandone’w looks for someone nandoobii looking for a drink nibi water nibiikaa there is much water nibiiwan it is wet; it is watery nibiiwisagizi being water-logged Odemiskwaanisiig ningiaw ningide ningiz ningizo

Underwater Beetle melting (snow) it melts; it thaws melts it someone melts; someone thaws

E’iidawaakobwayesiwag Water Boatman noojigiigooyiwe going fishing ojiig(ag)(wag) fisher Maangodikomag onaabanad onda’ibaan(an) onzaamibadoo onzaamiban onzaamibii

Water Spider there is a crust on the snow water well fills it too much (a liquid) giving someone too much to drink drinking too much

Miskoziisag ozhaashikoshin ozhaashishin ozhaashizi

Whirlygig Beetle slipping and falling on ice slipping and falling someone is slippery; someone is slick

Nitaagib Green waabooz rabbit; waaginaak waak waakoons

Algae snowshoe hare canoe rib fish egg fish egg

Akadamoog waazhibiiyaa

Waterlily, Fragrant Stem there is a pond; there is a pothole of water; there is a water puddle

Oshkitebagoon wewebanaabii

Waterlily, White fishing with a pole

Bigwaawaanashkoon wiigwaasi-jiimaan wiigwaasi-makak wiigwaasi-mitig wiigwaasike

Water Parsnip birch bark canoe; canoe birch bark container white birch tree removing bark from birch tree

Anzanziin wiijanokiim wiijayaaw

Water Weed works with them is with them; stays with them

Zhedeg Pelicans zaaga’igaans small lake; pond zaaga’iga lake

Maada’iganishibag

Northern Shovelers

Mooshka’osiwag

Blue Herons

zaagi’ zaagitoo

zaasijiwan zhakaagonagaa zhakamo zhakipo

loves him; loves she; likes him, likes her loves it; likes it

the water ripples the snow is soft; the snow is mushy putting something in the mouth heavy, wet snow falls

Ojijaakwag Cranes ziibi(wan) river ziibiins(an) creek ziiga’and watering it; pouring liquid on it ziiga’andaw pouring liquid on him; baptizes her ziiganawew spoon feeding a liquid ziigin pouring it out; spilling it ziiginige pouring; spilling ziigise it is pouring out; it is spilling out Gichi-Dagwaagishibag zoogipo zoongan zoongide’e zoongizi

Lesser Scaups it snows it is solid; it is strong they are brave they are solid; they are strong

Ozhaawashkoginoozheg Muskellunge

Pier 1 Beacon: Each of the two beacons broadcasts a poem-story using a scrolling array of lights in Morse code. As one approaches the structure an audio track can be heard as a whisper — which recites the poem in both Ojibwe and English.

56

Jiigew (By the Water)

PAT NINGEWANCE Female voice

spmb & Ningewance Nadeau

RICK SMITH Male voice

aagim snowshoe aagimose snowshoeing aazhawa’am crossing by canoe aazhawa’o crossing the water by canoe or boat Amikwag Beavers aazhawaadagaa swimming across aazhawagaazii wading across the river aazhawayi’ii across it; other side of; behind aazhoge crossing the water by bridge agaaming across the lake

Omagakiig Frogs

agaasadetigweyaa agidaagon agidibiig agidiskwam agonde

57

it is narrow as a river on the snow on top of water on top of the ice it floats, it is suspended in water

Wazhashkwag Muskrats agwaabatoo running ashore agwaabidoo pulling it ashore, pulling it from the water agwaabin pulling him ashore, pulling him from the water agwaabiiga’w taking them off the water using something agwaabiiga’amaw taking it off the water using something for him agwaabiiga’ taking it off the water using something agwaabiigin taking them off the water / fire Nigigwag Otters agwaadaabaad dragging it ashore agwaadaabaan dragging them ashore agwaadaabii dragging something ashore agwaa’o landing, coming off the water agwaanaaso unloading a boat or canoe agwaashim taking them ashore, taking them off the fire agwaasidoo taking it ashore, taking it off the fire agwaasijigaade it is taken ashore, it is taken off the fire agwaasijigaazo taken ashore, taken off the fire agwaataa going ashore, coming ashore agwaawebin throwing him out of the water gagwejikada’odi they race (canoe, boat) on the water gakaamikijiwan there is a waterfall gakijiwan there is a waterfall gakiiwe going overland; portaging ganaajiwi handsome, beautiful gichi-ziibi big river; Mississippi river gichigami sea, Lake Superior, great water of Great Lakes Bikwakooshibag Common Goldeneyes giigoonh fish giigooyike fishing giigooyikewinini fisherman Gaagaagiwishibag Cormorants giiwedinakwad the clouds come from the north giiwedinobiisaa the rain comes from the north giiwedinong to the north giiwenh so the story goes, so it is said Zhiishiibag Ducks giiwitaa’ose walking around something giiwitaa-ayi’ii all around it giiwitaabatoo running around something giiwitaayaazhagaame walking around a body of water Maangwag Loons gimiwan it is raining gimiwanaaboo rainwater gimiwanoo-babiinzikawaagan raincoat giziibiiga’ washing giziibiiga’igan soap giziibiiga’ige-makak washtub giziibiiga’ige washing clothes giziibiiganaagane washing dishes giziibiigazhe-makak bathtub giziibiigazhe taking bath; washing up giziibiigii washing oneself giziibiigiingwe washing one’s own face giziibiigin washes it; washes her giziibiigininjii washes one’s own hand(s Ininishibag Mallards giziibiigisaginige-giizhigad it is Saturday giziibiigisaginige washes floors gonzaabiishkoojigan sinker (fishing tackle) googii diving googiise falling in deep water; sinking

Waabiziig Swans

goon snow goonaaboo water from melted snow goonikaa there is a lot of snow Giinigojeshibag gopii gwaaba’ibii

Wood Ducks getting out of the water; going inland drawing water

Maanamegwag Catfish gwayako-bimaadizi living an honest life gwayakokweni holding one’s own head straight up gwayakoshin going the right way; going straight gwayakoshkaa going straight; going the right way gwayakosidoo straightens it Wiibijiig Goldeye inaadagaa swimming there ishkwaabiisaa it stops raining ishkwaaj last; finally ishkwaapo it stops snowing ishkwaataa stopping working ishkwe-ayi’ii at the end of it; beyond it Ginoozheg ishpaagonagaa jiigeweyaazhagaame jiigeweyaazhagaamebatoo jiigibiig jiigwajiw

Northern Pike it is high (snow) walking along the water’s edge running along the water’s edge along the shore; by the water near the mountain

Asaawensag Perch jiimaan canoe; boat jiimaanike making canoes jiime paddling Ogaanhag, Ogaansag madaabii-gozi madaabii madaabiise madaabiiwidoo madaabiiwin madaagami

Pickerel camping out by the water’s edge, out of the woods going to the shore from land sliding to the water’s edge carrying it to the water’s edge taking to the water’s edge swirled water

Ashiganag Rockbass madoodoo taking a sweat bath madoodoowinini Finn Nameg Sturgeon madwe can be heard; audible from a distance madwebiisaa the rain is heard madwegamijii the stomach makes noise / growls madwejiwan the water’s current is heard Namebinag Sucker makwasaagim bearpaw snowshoe mamaangadepo large snowflakes come down Namegosag Trout mangitigweyaa the river is large / wide mashkawaa it is strong; it is hard; it is dense mashkawaagami it is a strong liquid mashkawaakwajidoo freezes it solid mashkawadin the lake is frozen solid mashkawaji being frozen; being frostbitten mashkawajininjiiwaji the hands are frozen Odoonibiig Tullibee migiskan fishhook migiskanaatig fishpole migiskaneyaab hook and line miijimikanjige baiting a fish hook Adikamegwag Whitefish mikwam ice mikwamii-makak ice box; refrigerator mikwamiikaa there is a lot of ice mikwamiiwadamo the road is icy Zagaskwayag Bloodsucker mikwamiiwinaagaans drinking glass mimigwaakosijiga washboard mina’ gives a drink to someone mindookad there is dew minikwaajigan drinking glass, jug minikwe drinks it minikwe drinking Esag Clam misanwi the snow falls from the trees mitagoonag on the snow

Ashaageshiwag Crayfish mooshkamo coming up to the surface of the water mooshkina’ filling someone up mooshkinatoo fills it up mooshkine it is full; they are full rainbow nandone’w looks for someone nandoobii looking for a drink nibi water nibiikaa there is much water nibiiwan it is wet; it is watery nibiiwisagizi being water-logged Odemiskwaanisiig ningiaw ningide ningiz ningizo

Underwater Beetle melting (snow) it melts; it thaws melts it someone melts; someone thaws

E’iidawaakobwayesiwag Water Boatman noojigiigooyiwe going fishing ojiig(ag)(wag) fisher Maangodikomag onaabanad onda’ibaan(an) onzaamibadoo onzaamiban onzaamibii

Water Spider there is a crust on the snow water well fills it too much (a liquid) giving someone too much to drink drinking too much

Miskoziisag ozhaashikoshin ozhaashishin ozhaashizi

Whirlygig Beetle slipping and falling on ice slipping and falling someone is slippery; someone is slick

Nitaagib Green waabooz rabbit; waaginaak waak waakoons

Algae snowshoe hare canoe rib fish egg fish egg

Akadamoog waazhibiiyaa

Waterlily, Fragrant Stem there is a pond; there is a pothole of water; there is a water puddle

Oshkitebagoon wewebanaabii

Waterlily, White fishing with a pole

Bigwaawaanashkoon wiigwaasi-jiimaan wiigwaasi-makak wiigwaasi-mitig wiigwaasike

Water Parsnip birch bark canoe; canoe birch bark container white birch tree removing bark from birch tree

Anzanziin wiijanokiim wiijayaaw

Water Weed works with them is with them; stays with them

Zhedeg Pelicans zaaga’igaans small lake; pond zaaga’iga lake

Maada’iganishibag

Northern Shovelers

Mooshka’osiwag

Blue Herons

zaagi’ zaagitoo

zaasijiwan zhakaagonagaa zhakamo zhakipo

loves him; loves she; likes him, likes her loves it; likes it

the water ripples the snow is soft; the snow is mushy putting something in the mouth heavy, wet snow falls

Ojijaakwag Cranes ziibi(wan) river ziibiins(an) creek ziiga’and watering it; pouring liquid on it ziiga’andaw pouring liquid on him; baptizes her ziiganawew spoon feeding a liquid ziigin pouring it out; spilling it ziiginige pouring; spilling ziigise it is pouring out; it is spilling out Gichi-Dagwaagishibag zoogipo zoongan zoongide’e zoongizi

Lesser Scaups it snows it is solid; it is strong they are brave they are solid; they are strong

Ozhaawashkoginoozheg Muskellunge

Pier 1 Beacon: Each of the two beacons broadcasts a poem-story using a scrolling array of lights in Morse code. As one approaches the structure an audio track can be heard as a whisper — which recites the poem in both Ojibwe and English.

58

59

The two sculptures “talk to each other” at a distance.

At the same time they “talk back” to the city, waterfront visitors, and passers by, and “talk forward” to Lake Superior and the landscape afar. // Eduardo Aquino & Karen Shanski

Pier 3 Beacon: the beacons have an inverse configuration, one leans forward, the other backward, positioned to acknowledge the other’s presence across the water. Seen together from afar and animated by their scrolling lights, they appear to speak to one another.

58

59

The two sculptures “talk to each other” at a distance.

At the same time they “talk back” to the city, waterfront visitors, and passers by, and “talk forward” to Lake Superior and the landscape afar. // Eduardo Aquino & Karen Shanski

Pier 3 Beacon: the beacons have an inverse configuration, one leans forward, the other backward, positioned to acknowledge the other’s presence across the water. Seen together from afar and animated by their scrolling lights, they appear to speak to one another.

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61

The Gift of Everyday 03

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61

The Gift of Everyday 03

62

Kite flying at the Viewing Circle.

63

The Gift of Everyday: No Place I’d Rather Be

Anyone from Thunder Bay knows that the lake has always been the place to where our eyes are drawn, whether it’s that first burst of sparkle you get coming down Red River Road in early July, or the snow drifts of deep February you can watch swirling over the lake ice with a sound soft as Irish linen. From windows, piers and lookouts we’ve all been awed by Superior’s luminous displays of cloud, water and sunlight, which are enough to have us mutely elbow a friend, a parent, or a co-worker, before pointing out toward the lake. It is our muse. Our orienting landmark. Our gateway. Our own little ocean.

But growing up in Thunder Bay in the late Eighties, I was drawn to the lake for different reasons. Because of the abrasive scraping of snowplows and the way winter heaves the ground violently each year, the streets and sidewalks of Thunder Bay are impossibly rough. This is catastrophic news for a budding skateboarder. As a boy, my friends and I would take the bus downtown to practice on the miles of semi-smooth decking that comprised the old Marina Park. Aside from splinters we’d often get from frequent spills on the rotting wood, there were other dangers. Quite regularly, annoyed boaters or people walking their dogs would shoo us away, telling us to go play a real sport like soccer (which some of us already did) or hockey (it was summer!) or to just plain disappear. We were good kids, mostly, just practicing something we dearly loved, and it troubled me greatly that there seemed to be a huge gulf of understanding between people of different generations. Today this serves as a sobering example of how architecture can directly shape our lives, how public space, and our expectations of it, can either bring us together, or drive us apart.

So imagine my delight today when I see young people from all over the region — from the Fort William First Nation to Current River to Murillo — skateboarding together in the Plaza at Prince Arthur’s Landing, as passersby look on approvingly. It’s a park my younger self would have offered up both his comic book collection and his yearly allowance for a chance to roll around on for just a half hour. But it’s not only the skate park that makes Prince Arthur’s Landing so usable: it’s the splash pad, the walking paths, the public art, the piers,

Michael Christie

the multitude of dazzling festivals and concerts — this is truly a place designed to bring people together, to celebrate, exercise and contemplate; to applaud, discuss or just shoot the breeze. For children it’s a place to jump, splash and laugh; to learn, create and slop ice cream onto their chins. For adults it’s where we can discover cultures that aren’t our own, can converse with someone older, or younger, someone from outside our neighborhood, our city, or our tax bracket.

These days I’m a father myself, and through some karmic accounting I’ve been given two little boys of my own to watch over and to strap snugly with helmets. Two little boys for whom it is mostly up to me and my wife to engage and teach, to provide with lasting experiences that will shape them into balanced human beings. And I find that no matter what the season, “Want to go down to the waterfront?” is never far from my lips. Perhaps it’s because I spent so many hours on the planks there as a kid, or that today I like to watch the grain elevators, freight trains, and lakeboats coasting on the dancing water in those rare moments my boys aren’t clamouring for another push on the swing. Maybe it’s because my great grandfather worked down here on the railway, or my father in the grain elevators to pay for university. Maybe it’s because it comforts me to be in a place where things are shipped and constructed, traded and exchanged, moved and measured, where the towering evidence of hard work and human perseverance is everywhere to see. Whatever the reason: there is no place I would rather spend a Sunday with my family than this.

And as we mark Prince Arthur’s Landing’s second birthday, it’s already clear that it has firmly established itself as the hub of another kind of commerce and trade: the exchange of goodwill and a growing understanding between the people of this region. In a world that each day invents ever more ingenious ways to drive us apart and keep us inside, our eyes screwed to the brilliance of our LCD screens, it relieves me that we can still find so many reasons to come together in real physical space, to share in the unique beauty and distinct and complex heritage of this place we all call home. That we can still sit on a bench with a complete stranger, look out at the lake, and talk. //

62

Kite flying at the Viewing Circle.

63

The Gift of Everyday: No Place I’d Rather Be

Anyone from Thunder Bay knows that the lake has always been the place to where our eyes are drawn, whether it’s that first burst of sparkle you get coming down Red River Road in early July, or the snow drifts of deep February you can watch swirling over the lake ice with a sound soft as Irish linen. From windows, piers and lookouts we’ve all been awed by Superior’s luminous displays of cloud, water and sunlight, which are enough to have us mutely elbow a friend, a parent, or a co-worker, before pointing out toward the lake. It is our muse. Our orienting landmark. Our gateway. Our own little ocean.

But growing up in Thunder Bay in the late Eighties, I was drawn to the lake for different reasons. Because of the abrasive scraping of snowplows and the way winter heaves the ground violently each year, the streets and sidewalks of Thunder Bay are impossibly rough. This is catastrophic news for a budding skateboarder. As a boy, my friends and I would take the bus downtown to practice on the miles of semi-smooth decking that comprised the old Marina Park. Aside from splinters we’d often get from frequent spills on the rotting wood, there were other dangers. Quite regularly, annoyed boaters or people walking their dogs would shoo us away, telling us to go play a real sport like soccer (which some of us already did) or hockey (it was summer!) or to just plain disappear. We were good kids, mostly, just practicing something we dearly loved, and it troubled me greatly that there seemed to be a huge gulf of understanding between people of different generations. Today this serves as a sobering example of how architecture can directly shape our lives, how public space, and our expectations of it, can either bring us together, or drive us apart.

So imagine my delight today when I see young people from all over the region — from the Fort William First Nation to Current River to Murillo — skateboarding together in the Plaza at Prince Arthur’s Landing, as passersby look on approvingly. It’s a park my younger self would have offered up both his comic book collection and his yearly allowance for a chance to roll around on for just a half hour. But it’s not only the skate park that makes Prince Arthur’s Landing so usable: it’s the splash pad, the walking paths, the public art, the piers,

Michael Christie

the multitude of dazzling festivals and concerts — this is truly a place designed to bring people together, to celebrate, exercise and contemplate; to applaud, discuss or just shoot the breeze. For children it’s a place to jump, splash and laugh; to learn, create and slop ice cream onto their chins. For adults it’s where we can discover cultures that aren’t our own, can converse with someone older, or younger, someone from outside our neighborhood, our city, or our tax bracket.

These days I’m a father myself, and through some karmic accounting I’ve been given two little boys of my own to watch over and to strap snugly with helmets. Two little boys for whom it is mostly up to me and my wife to engage and teach, to provide with lasting experiences that will shape them into balanced human beings. And I find that no matter what the season, “Want to go down to the waterfront?” is never far from my lips. Perhaps it’s because I spent so many hours on the planks there as a kid, or that today I like to watch the grain elevators, freight trains, and lakeboats coasting on the dancing water in those rare moments my boys aren’t clamouring for another push on the swing. Maybe it’s because my great grandfather worked down here on the railway, or my father in the grain elevators to pay for university. Maybe it’s because it comforts me to be in a place where things are shipped and constructed, traded and exchanged, moved and measured, where the towering evidence of hard work and human perseverance is everywhere to see. Whatever the reason: there is no place I would rather spend a Sunday with my family than this.

And as we mark Prince Arthur’s Landing’s second birthday, it’s already clear that it has firmly established itself as the hub of another kind of commerce and trade: the exchange of goodwill and a growing understanding between the people of this region. In a world that each day invents ever more ingenious ways to drive us apart and keep us inside, our eyes screwed to the brilliance of our LCD screens, it relieves me that we can still find so many reasons to come together in real physical space, to share in the unique beauty and distinct and complex heritage of this place we all call home. That we can still sit on a bench with a complete stranger, look out at the lake, and talk. //

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The Viewing Circle

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The Viewing Circle

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Summer ‘Movie Nights in the Park’ attract large crowds to the Festival Area at Prince Arthur’s Landing.

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Summer ‘Movie Nights in the Park’ attract large crowds to the Festival Area at Prince Arthur’s Landing.

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The Skateboard/BMX Plaza designed by van der Zalm + Associates and New Line Skateparks brings throngs of youth and skate enthusiasts to the waterfront and has become an unexpected source of entertainment for visitors.

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The Skateboard/BMX Plaza designed by van der Zalm + Associates and New Line Skateparks brings throngs of youth and skate enthusiasts to the waterfront and has become an unexpected source of entertainment for visitors.

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The Lodge within the WaterGarden Pavilion is a public change room and warm-up area. The colours selected were based on scans of autumn leaves collected on site.

Wrapping three sides of the WaterGarden Pavilion, rows of randomly placed wood columns reference a “clearing� in the forest. They frame seating ledges that overlook the adjacent WaterGarden splash pad/skating rink.

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The Lodge within the WaterGarden Pavilion is a public change room and warm-up area. The colours selected were based on scans of autumn leaves collected on site.

Wrapping three sides of the WaterGarden Pavilion, rows of randomly placed wood columns reference a “clearing� in the forest. They frame seating ledges that overlook the adjacent WaterGarden splash pad/skating rink.

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The signage at Prince Arthur’s Landing utilizes weathering steel in a variety of applications.

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The signage at Prince Arthur’s Landing utilizes weathering steel in a variety of applications.

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The waterfall at Jardin Elliptique overlooks the WaterGarden and further to Lake Superior. The back wall behind the waterfall entitled ‘Embedded History’ was created by artists Steven Beites & Christian Joakim of Studio Kimiis.

The blended surfaces of the concrete water-feature wall depict textures of wood grains and flowing water, representing the emergence of the Métis people from two distinct cultures.

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The waterfall at Jardin Elliptique overlooks the WaterGarden and further to Lake Superior. The back wall behind the waterfall entitled ‘Embedded History’ was created by artists Steven Beites & Christian Joakim of Studio Kimiis.

The blended surfaces of the concrete water-feature wall depict textures of wood grains and flowing water, representing the emergence of the Métis people from two distinct cultures.

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An excerpt from Jean Pendziwol’s children’s story, The Red Sash, is positioned on the wall of the Children’s Pond Pavilion. It references the history of the Rendezvous at Fort William where Métis Voyageurs came together with Aboriginal traders and the North West Trading Company.

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The Children’s Pond Pavilion designed by Brook McIlroy architect Jessica Hawes supports a variety of waterfront activities including boat rentals, summer camps and an ice-cream shop. The facade of the pavilion is composed of five naval signal flags that spell BOATS.

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An excerpt from Jean Pendziwol’s children’s story, The Red Sash, is positioned on the wall of the Children’s Pond Pavilion. It references the history of the Rendezvous at Fort William where Métis Voyageurs came together with Aboriginal traders and the North West Trading Company.

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The Children’s Pond Pavilion designed by Brook McIlroy architect Jessica Hawes supports a variety of waterfront activities including boat rentals, summer camps and an ice-cream shop. The facade of the pavilion is composed of five naval signal flags that spell BOATS.

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A view from inside the restaurant at the WaterGarden Pavilion.

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A view from inside the restaurant at the WaterGarden Pavilion.

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Mistress

Released from her frozen cloak, she stretches as though rising from bed and reaches liquid hands to caress the shore in the pre-dawn mist.

She greets Prince Arthur’s Landing, breaking the silence with a conversation that will last for months.

Beyond her grasp, the ground embraces the rising sun, awakening hope, which emerges green to paint the slopes and tint the trees.

Birds wing above her deep turquoise surface, some pausing to recount their adventures to observant listeners before setting off again to complete their remarkable northern journey.

Others find their homes amongst the wooden pilings and rushes that line her rock-strewn borders.

The people come, too.

They come and sit, sometimes in twos like the feathered tenants of the shore, hands entwined; they sit with feet dangling above her surface and gaze across at the headlands blushing with spring and the hulking freighters once again swinging at anchor beyond the break wall.

She can hear the laughter, the joy of young and old, as jackets are cast aside and faces shine.

She can hear, too, the cadenced hum of skateboards and the spinning wheels of bicycles.

The boats return.

They slip into her grasp with echoes of bark canoes from time before time, of voyageur songs and wooden bateaux, of great steel ships built by the hands of men from the City, launched amidst champagne celebrations, to move iron ore, grain, potash, soldiers

far from her shores, far from the snaking rail lines, dense forests and looming grain elevators.

They travel, carrying pieces of her, whatever small droplet clinging to their hulls, beyond lakes and rivers and oceans and seas.

And the people there hear her whisper.

They come to visit, to wander the paths along her shore, to gaze at Nanabijou slumbering in the distance, to set their own boats upon her water.

She turns playful.

Teased grey and tossing white foam, a summer storm dances across her waters and the mothers and fathers of feathered and other summon their broods to shelter.

Boats prance with white wings chasing each other.

The sun grows stronger and hotter and takes more time, lingering over the roofs of the City before slipping below the western horizon.

Prince Arthur’s Landing becomes a haven and she sends the wind, with temperate gifts drawn from her cobalt depths, to wander amongst the people.

The wind returns with stories.

It speaks of families, gathered in celebration with picnic baskets open on grandma’s old woolen blanket, of Frisbees tossed, guitars strummed and histories shared.

She hears of poets and performers, of silent healing

and collective sharing.

She smells the tang of fires and the aroma of food.

Then, the music begins.

She carries it, not like she carries the sailboats and kayaks, but allows it to drift across her waves and mingle with the rhythm of her own voice.

And even when the sun retires, she remains to witness the crackling bursts of coloured stars that sparkle across her inky surface, and to catch a white flower, gathered from her shore, and tossed as a wish into the night.

Too soon, the trees change and adorn themselves in festive garb.

They have saved their best gowns for last and stand stunning, golden and fiery against her frosty blue.

But the sun, tired from a season of play, spends more time sleeping and the trees begin to disrobe, dropping autumn confetti that crunches beneath the feet of joggers and scatters across her rippling silver skin.

Boats are plucked from her grasp and tucked beneath covers to hibernate.

She is given to tantrums, roiling beneath scowling skies and throwing fists full of chilling emerald water.

Even in her temper, she is beautiful.

A train shudders in the darkness and the Lake is slowly hushed by white that floats, settling on empty piers

Jean Pendziwol

and collecting in mounds on rooftops and in the branches of trees.

For a time, she is able to stay its progress, catching the flakes that melt, even on her icy tongue.

But not for long.

It starts close to shore, thin and fragile, then spreads in tinkling increments to wider and thicker stretches, sometimes tossed in jumbled chunks against the rocks, only to form again on the next still moonless night.

She gathers the music and the laughter of children who skate beneath winter lights and warm their hands and noses over cups of hot chocolate and cider, and stores them as hushed memories.

Then, finally, she surrenders to slumber, and is wrapped in frozen silence.

In time, the south wind returns, sometimes gentle, so that the snowy mounds soften and disappear into the ground, sometimes persistent; a tempest chasing beneath and over and through the packed bay until the Lake is scattered into floating islands of ice.

Released from her frozen cloak, she stretches as though rising from bed, and reaches liquid hands to caress the shore in the pre-dawn mist.

She greets Prince Arthur’s Landing, breaking the silence with a conversation that will last for months.

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Mistress

Released from her frozen cloak, she stretches as though rising from bed and reaches liquid hands to caress the shore in the pre-dawn mist.

She greets Prince Arthur’s Landing, breaking the silence with a conversation that will last for months.

Beyond her grasp, the ground embraces the rising sun, awakening hope, which emerges green to paint the slopes and tint the trees.

Birds wing above her deep turquoise surface, some pausing to recount their adventures to observant listeners before setting off again to complete their remarkable northern journey.

Others find their homes amongst the wooden pilings and rushes that line her rock-strewn borders.

The people come, too.

They come and sit, sometimes in twos like the feathered tenants of the shore, hands entwined; they sit with feet dangling above her surface and gaze across at the headlands blushing with spring and the hulking freighters once again swinging at anchor beyond the break wall.

She can hear the laughter, the joy of young and old, as jackets are cast aside and faces shine.

She can hear, too, the cadenced hum of skateboards and the spinning wheels of bicycles.

The boats return.

They slip into her grasp with echoes of bark canoes from time before time, of voyageur songs and wooden bateaux, of great steel ships built by the hands of men from the City, launched amidst champagne celebrations, to move iron ore, grain, potash, soldiers

far from her shores, far from the snaking rail lines, dense forests and looming grain elevators.

They travel, carrying pieces of her, whatever small droplet clinging to their hulls, beyond lakes and rivers and oceans and seas.

And the people there hear her whisper.

They come to visit, to wander the paths along her shore, to gaze at Nanabijou slumbering in the distance, to set their own boats upon her water.

She turns playful.

Teased grey and tossing white foam, a summer storm dances across her waters and the mothers and fathers of feathered and other summon their broods to shelter.

Boats prance with white wings chasing each other.

The sun grows stronger and hotter and takes more time, lingering over the roofs of the City before slipping below the western horizon.

Prince Arthur’s Landing becomes a haven and she sends the wind, with temperate gifts drawn from her cobalt depths, to wander amongst the people.

The wind returns with stories.

It speaks of families, gathered in celebration with picnic baskets open on grandma’s old woolen blanket, of Frisbees tossed, guitars strummed and histories shared.

She hears of poets and performers, of silent healing

and collective sharing.

She smells the tang of fires and the aroma of food.

Then, the music begins.

She carries it, not like she carries the sailboats and kayaks, but allows it to drift across her waves and mingle with the rhythm of her own voice.

And even when the sun retires, she remains to witness the crackling bursts of coloured stars that sparkle across her inky surface, and to catch a white flower, gathered from her shore, and tossed as a wish into the night.

Too soon, the trees change and adorn themselves in festive garb.

They have saved their best gowns for last and stand stunning, golden and fiery against her frosty blue.

But the sun, tired from a season of play, spends more time sleeping and the trees begin to disrobe, dropping autumn confetti that crunches beneath the feet of joggers and scatters across her rippling silver skin.

Boats are plucked from her grasp and tucked beneath covers to hibernate.

She is given to tantrums, roiling beneath scowling skies and throwing fists full of chilling emerald water.

Even in her temper, she is beautiful.

A train shudders in the darkness and the Lake is slowly hushed by white that floats, settling on empty piers

Jean Pendziwol

and collecting in mounds on rooftops and in the branches of trees.

For a time, she is able to stay its progress, catching the flakes that melt, even on her icy tongue.

But not for long.

It starts close to shore, thin and fragile, then spreads in tinkling increments to wider and thicker stretches, sometimes tossed in jumbled chunks against the rocks, only to form again on the next still moonless night.

She gathers the music and the laughter of children who skate beneath winter lights and warm their hands and noses over cups of hot chocolate and cider, and stores them as hushed memories.

Then, finally, she surrenders to slumber, and is wrapped in frozen silence.

In time, the south wind returns, sometimes gentle, so that the snowy mounds soften and disappear into the ground, sometimes persistent; a tempest chasing beneath and over and through the packed bay until the Lake is scattered into floating islands of ice.

Released from her frozen cloak, she stretches as though rising from bed, and reaches liquid hands to caress the shore in the pre-dawn mist.

She greets Prince Arthur’s Landing, breaking the silence with a conversation that will last for months.

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83

From windows, piers and lookouts we’ve all been awed

by Superior’s luminous displays of cloud, water and sunlight, which are enough to have us mutely elbow a friend, a parent, or a co-worker, before pointing out toward the lake. It is our muse. Our orienting landmark.

Our gateway. Our own little ocean. // Michael Christie

Pier 2 Picnic Docks: Lit up at night, each lantern illuminates colourful glass panels by artist Mark Nisenholt. His work, Paleogirls, Swimmers, Ulysses, depicts giant figures emerging from Lake Superior.

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From windows, piers and lookouts we’ve all been awed

by Superior’s luminous displays of cloud, water and sunlight, which are enough to have us mutely elbow a friend, a parent, or a co-worker, before pointing out toward the lake. It is our muse. Our orienting landmark.

Our gateway. Our own little ocean. // Michael Christie

Pier 2 Picnic Docks: Lit up at night, each lantern illuminates colourful glass panels by artist Mark Nisenholt. His work, Paleogirls, Swimmers, Ulysses, depicts giant figures emerging from Lake Superior.

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Creating Prince Arthur’s Landing 04

Brook McIlroy rendering of the design for the new shoreline at Prince Arthur’s Landing.

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Creating Prince Arthur’s Landing 04

Brook McIlroy rendering of the design for the new shoreline at Prince Arthur’s Landing.

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Creating Prince Arthur’s Landing

Soldiers returning from the war at the waterfront.

The Anishinaabe call this the place of “shining blue sea water.”

When we look at photographs from the turn of the 20th century, the water is front and centre, at the foot of the now historic CN Station. Soldiers returning from the First World War parade in front of the Pagoda, welcomed by the community — it’s a true gathering place.

From the moment we lost our connection to the water due to rapid industrial development of a prosperous port, we realized the need to reconnect ourselves to the shores of Lake Superior.

For well over four decades, the City has made waterfront development and the reconnection to the City’s northside core a priority. Each effort has built on the one before. In the ‘60s, there was Port Arthur’s urban revitalization. In the ‘70s and ‘80s, Marina Park was created.

With the popularity of Summer in the Parks and Canada Day, people began to see the potential of the park as the City’s festival and event centre. In the ‘90s, the “Next Wave” waterfront plan set the stage for a mixed use waterfront development, which included an unrealized attempt at a public-private partnership that provided valuable lessons and paved the way for future success.

With a new century, the City’s focus turned to an expanded Marina Park. Building on public involvement and support for this latest planning exercise, a group of business leaders known as the Ambassadors revived the concept of a waterfront village as a means of revitalizing Thunder Bay’s North Core, formerly Port Arthur’s downtown. Following a highest and best land use study, Thunder Bay City Council formed the Waterfront Development Committee, Chaired by Councillor Mark Bentz, which brought together representatives of Council and citizen appointees to oversee and develop a path forward. An ambitious proposal emerged to create a mixed-use destination in the centre of Marina Park to attract both residents and visitors to Thunder Bay’s spectacular waterfront. In 2007, Thunder Bay City Council adopted a plan that would create a new mixeduse downtown waterfront requiring an investment of $130 million to be undertaken as a 50/50 partnership between the public and private sectors.

As with many complex capital projects with an ambition to transform a community, the proposed development sparked a spirited debate within the community.

It required that a small portion of public waterfront lands within Marina Park be conveyed to the privatesector development partners; this was central to the discussion. The debate played out in the community,

Karen M. Lewis, Mark Smith & Kathy Ball

and once citizens were convinced that the expansion of the park through infilling of the lake would mean no net loss in public land, significant progress was made. The Waterfront Development Committee prepared the way for a major waterfront development through a series of initial projects originally conceived as part of the 2003 Earth Tech master plan for an expanded Marina Park.

Among these, the skatepark plaza created a place for youth and the festival area was enhanced and enlarged for all to enjoy. The Committee’s citizen appointees also represented the community in articulating a vision for the full length of the 52-kilometre waterfront.

While these projects moved forward, the architectural firm of Brook McIlroy created a comprehensive master plan for a mixed used village that was consistent with the vision and sensitive to the natural and cultural heritage of the waterfront as a gathering place and a source of pride. Both the Committee and the Waterfront Project Team conducted extensive public engagement at every stage. On March 7, 2007, more than a thousand residents attended the unveiling of the master plan at the Thunder Bay Community Auditorium. With all his experience in designing international waterfronts, architect Calvin Brook told those gathered he had never seen so many people at a waterfront meeting. The headline of The Chronicle-Journal editorial the day of the event captured the excitement: “The future is now.”

Originally called Marina Park Village, the development was renamed just before the unveiling of the master plan. Prince Arthur’s Landing hearkens back to the name adopted for the marina by City Council in 1979, which in turn reflected the name given to the area by Col. Garnet Wolseley in honour of the Queen’s younger son. Wolseley camped on the shoreline here while on his way to the Riel Rebellion in 1870. Perhaps given its historic familiarity, the name Prince Arthur’s Landing was quickly adopted by the public. On reflection, it is the Spirit Garden — the result of extensive consultation with the Aboriginal communities of the Thunder Bay Region, together with Aboriginal design and construction — that is one of the most iconic landmarks of Prince Arthur’s Landing.

It needs no words — as one Anishinaabe person commented afterward, “They incorporated everything that is important to us — water, fire, air and earth.” These different histories and cultural traditions are celebrated at the site, a testament to the care of the planning team and the involvement of a great many people.

After adopting the Brook McIlroy master plan and design guidelines the City was successful in attracting >>

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Creating Prince Arthur’s Landing

Soldiers returning from the war at the waterfront.

The Anishinaabe call this the place of “shining blue sea water.”

When we look at photographs from the turn of the 20th century, the water is front and centre, at the foot of the now historic CN Station. Soldiers returning from the First World War parade in front of the Pagoda, welcomed by the community — it’s a true gathering place.

From the moment we lost our connection to the water due to rapid industrial development of a prosperous port, we realized the need to reconnect ourselves to the shores of Lake Superior.

For well over four decades, the City has made waterfront development and the reconnection to the City’s northside core a priority. Each effort has built on the one before. In the ‘60s, there was Port Arthur’s urban revitalization. In the ‘70s and ‘80s, Marina Park was created.

With the popularity of Summer in the Parks and Canada Day, people began to see the potential of the park as the City’s festival and event centre. In the ‘90s, the “Next Wave” waterfront plan set the stage for a mixed use waterfront development, which included an unrealized attempt at a public-private partnership that provided valuable lessons and paved the way for future success.

With a new century, the City’s focus turned to an expanded Marina Park. Building on public involvement and support for this latest planning exercise, a group of business leaders known as the Ambassadors revived the concept of a waterfront village as a means of revitalizing Thunder Bay’s North Core, formerly Port Arthur’s downtown. Following a highest and best land use study, Thunder Bay City Council formed the Waterfront Development Committee, Chaired by Councillor Mark Bentz, which brought together representatives of Council and citizen appointees to oversee and develop a path forward. An ambitious proposal emerged to create a mixed-use destination in the centre of Marina Park to attract both residents and visitors to Thunder Bay’s spectacular waterfront. In 2007, Thunder Bay City Council adopted a plan that would create a new mixeduse downtown waterfront requiring an investment of $130 million to be undertaken as a 50/50 partnership between the public and private sectors.

As with many complex capital projects with an ambition to transform a community, the proposed development sparked a spirited debate within the community.

It required that a small portion of public waterfront lands within Marina Park be conveyed to the privatesector development partners; this was central to the discussion. The debate played out in the community,

Karen M. Lewis, Mark Smith & Kathy Ball

and once citizens were convinced that the expansion of the park through infilling of the lake would mean no net loss in public land, significant progress was made. The Waterfront Development Committee prepared the way for a major waterfront development through a series of initial projects originally conceived as part of the 2003 Earth Tech master plan for an expanded Marina Park.

Among these, the skatepark plaza created a place for youth and the festival area was enhanced and enlarged for all to enjoy. The Committee’s citizen appointees also represented the community in articulating a vision for the full length of the 52-kilometre waterfront.

While these projects moved forward, the architectural firm of Brook McIlroy created a comprehensive master plan for a mixed used village that was consistent with the vision and sensitive to the natural and cultural heritage of the waterfront as a gathering place and a source of pride. Both the Committee and the Waterfront Project Team conducted extensive public engagement at every stage. On March 7, 2007, more than a thousand residents attended the unveiling of the master plan at the Thunder Bay Community Auditorium. With all his experience in designing international waterfronts, architect Calvin Brook told those gathered he had never seen so many people at a waterfront meeting. The headline of The Chronicle-Journal editorial the day of the event captured the excitement: “The future is now.”

Originally called Marina Park Village, the development was renamed just before the unveiling of the master plan. Prince Arthur’s Landing hearkens back to the name adopted for the marina by City Council in 1979, which in turn reflected the name given to the area by Col. Garnet Wolseley in honour of the Queen’s younger son. Wolseley camped on the shoreline here while on his way to the Riel Rebellion in 1870. Perhaps given its historic familiarity, the name Prince Arthur’s Landing was quickly adopted by the public. On reflection, it is the Spirit Garden — the result of extensive consultation with the Aboriginal communities of the Thunder Bay Region, together with Aboriginal design and construction — that is one of the most iconic landmarks of Prince Arthur’s Landing.

It needs no words — as one Anishinaabe person commented afterward, “They incorporated everything that is important to us — water, fire, air and earth.” These different histories and cultural traditions are celebrated at the site, a testament to the care of the planning team and the involvement of a great many people.

After adopting the Brook McIlroy master plan and design guidelines the City was successful in attracting >>

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Brook McIlroy design drawings for the WaterGarden Pavilion.

Right: The Baggage Building Arts Centre under construction.

Bottom right: Stepped granite shoreline walls under construction.

a committed private-sector partner—the Resolve Group from Winnipeg. With the vision, the plan and the partners in place, the Prince Arthur’s Landing project was set to be constructed over more than a decade in tandem with public sector funding. Then the recession of 2008 hit.

Normally this would be the end of such an ambitious undertaking. Just the opposite occurred as government-created programs to stimulate the economy were initiated. As a ‘shovel-ready’ project, Prince Arthur’s Landing received one of the largest Infrastructure Stimulus Fund investments in Canada as well as other significant federal and provincial funding ($35 million in total). What was intended to be built over the course of more than a decade was constructed in just two years, or three building seasons. The first season saw civil and marine works to lay the groundwork. The second season brought the buildings. The third season saw landscaping and finishing touches. Looking back at the project that way makes it sound so simple. It was anything but.

The navigation of this politically and technically complex project was spearheaded by Katherine Dugmore, Waterfront Development Project Manager. Always humble, Katherine often said, “It takes a City to build a Waterfront.”

To give some sense of the complexity, at the height

of construction in December 2010, 14 tenders were active with nearly 200 construction workers, plumbers, masons, landscapers, and archaeologists crisscrossing land roughly equivalent to two football fields.

Enough concrete was poured to create 16 kilometres of sidewalk — or to the other side of the City and back.

Given the size of the site, contractors had to be very resourceful in their use of heavy equipment. For some of the in-water work, a backhoe was transported across the bay on a barge, using the backhoe shovel to move the barge along. On countless occasions, the site came to a standstill for hours while artifacts were reviewed for possible historical significance. Work was stopped on one occasion to assess a large bone that turned out to be from a cow as part of some previous infill. Some 700 bottles were removed, documented and are now stored at Lakehead University. The two-year timeframe also presented a challenge in implementing an ambitious public art program. The development included the creation of eight major installations — almost all included multiple works — as well as integration of prose and poetry within the architecture, and included the engagement of local artists and writers. The scope was enormous considering that the City’s Public Art Program had undertaken only three major projects in

the 25 years preceding this development.

Prince Arthur’s Landing officially re-opened on December 16, 2011. The community celebration on that chilly winter’s night was warmed by a festival atmosphere featuring a fire juggler, music, fireworks and people bundled up and enjoying things to see and do around every corner.

The new landscapes, public art, activities and buildings provided by the City and its federal and provincial partners are a catalyst for further development.

Prince Arthur’s Landing is now attracting new cultural uses to the waterfront including traditional teachings at the Spirit Garden, unprecedented attendance at events and activities including some 20,000 skaters each winter. The waterfront is also now poised to potentially become the new home of our renowned Thunder Bay Art Gallery. When we started this project, we said, “it all starts here.” With the successful completion of Prince Arthur’s Landing, we now look north and south.

A waterfront trail and other initiatives will be the new priorities to connect our 52-kilometre shoreline, in keeping with the vision.

Prince Arthur’s Landing is a magnificent start. Imagine our waterfront “connected, year-round and ours to celebrate.” It’s happening. //

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Brook McIlroy design drawings for the WaterGarden Pavilion.

Right: The Baggage Building Arts Centre under construction.

Bottom right: Stepped granite shoreline walls under construction.

a committed private-sector partner—the Resolve Group from Winnipeg. With the vision, the plan and the partners in place, the Prince Arthur’s Landing project was set to be constructed over more than a decade in tandem with public sector funding. Then the recession of 2008 hit.

Normally this would be the end of such an ambitious undertaking. Just the opposite occurred as government-created programs to stimulate the economy were initiated. As a ‘shovel-ready’ project, Prince Arthur’s Landing received one of the largest Infrastructure Stimulus Fund investments in Canada as well as other significant federal and provincial funding ($35 million in total). What was intended to be built over the course of more than a decade was constructed in just two years, or three building seasons. The first season saw civil and marine works to lay the groundwork. The second season brought the buildings. The third season saw landscaping and finishing touches. Looking back at the project that way makes it sound so simple. It was anything but.

The navigation of this politically and technically complex project was spearheaded by Katherine Dugmore, Waterfront Development Project Manager. Always humble, Katherine often said, “It takes a City to build a Waterfront.”

To give some sense of the complexity, at the height

of construction in December 2010, 14 tenders were active with nearly 200 construction workers, plumbers, masons, landscapers, and archaeologists crisscrossing land roughly equivalent to two football fields.

Enough concrete was poured to create 16 kilometres of sidewalk — or to the other side of the City and back.

Given the size of the site, contractors had to be very resourceful in their use of heavy equipment. For some of the in-water work, a backhoe was transported across the bay on a barge, using the backhoe shovel to move the barge along. On countless occasions, the site came to a standstill for hours while artifacts were reviewed for possible historical significance. Work was stopped on one occasion to assess a large bone that turned out to be from a cow as part of some previous infill. Some 700 bottles were removed, documented and are now stored at Lakehead University. The two-year timeframe also presented a challenge in implementing an ambitious public art program. The development included the creation of eight major installations — almost all included multiple works — as well as integration of prose and poetry within the architecture, and included the engagement of local artists and writers. The scope was enormous considering that the City’s Public Art Program had undertaken only three major projects in

the 25 years preceding this development.

Prince Arthur’s Landing officially re-opened on December 16, 2011. The community celebration on that chilly winter’s night was warmed by a festival atmosphere featuring a fire juggler, music, fireworks and people bundled up and enjoying things to see and do around every corner.

The new landscapes, public art, activities and buildings provided by the City and its federal and provincial partners are a catalyst for further development.

Prince Arthur’s Landing is now attracting new cultural uses to the waterfront including traditional teachings at the Spirit Garden, unprecedented attendance at events and activities including some 20,000 skaters each winter. The waterfront is also now poised to potentially become the new home of our renowned Thunder Bay Art Gallery. When we started this project, we said, “it all starts here.” With the successful completion of Prince Arthur’s Landing, we now look north and south.

A waterfront trail and other initiatives will be the new priorities to connect our 52-kilometre shoreline, in keeping with the vision.

Prince Arthur’s Landing is a magnificent start. Imagine our waterfront “connected, year-round and ours to celebrate.” It’s happening. //

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Interior view of the Baggage Building Arts Centre.

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Top: Exterior view of the Baggage Building Arts Centre.

Bottom: Entrance ramp at the Jardin Elliptique.

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Interior view of the Baggage Building Arts Centre.

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Top: Exterior view of the Baggage Building Arts Centre.

Bottom: Entrance ramp at the Jardin Elliptique.

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The design seeks to bring the presence of the lake into the fabric of the downtown and to provide new opportunities for people to actively engage the water.

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Top: The Waterfront Plaza provides a multi-purpose space with informal seating clusters and supports a variety of public activities including outdoor markets and festivals.

Bottom: The Waterfront Plaza is comprised of landscaped tiers that can be used for outdoor events including concerts and busking.

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The design seeks to bring the presence of the lake into the fabric of the downtown and to provide new opportunities for people to actively engage the water.

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Top: The Waterfront Plaza provides a multi-purpose space with informal seating clusters and supports a variety of public activities including outdoor markets and festivals.

Bottom: The Waterfront Plaza is comprised of landscaped tiers that can be used for outdoor events including concerts and busking.

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The Tai Chi Garden at Prince Arthur’s Landing designed

by Walter Kuch of FORM Architecture Engineering.

September 17, 2010 — Mid way through construction Canada’s Prime Minister Stephen Harper and other officials celebrate Prince Arthur’s Landing’s progress.

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The Tai Chi Garden at Prince Arthur’s Landing designed

by Walter Kuch of FORM Architecture Engineering.

September 17, 2010 — Mid way through construction Canada’s Prime Minister Stephen Harper and other officials celebrate Prince Arthur’s Landing’s progress.

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Who knew when we started that it would be so amazing?

I knew it would be good; but it is really beyond that.

It is perfect. // Katherine Dugmore Katherine Dugmore was a landscape architect and urban planner with a great love for northern communities.

As Project Manager for the waterfront project she was responsible for planning, design, communications, funding, construction and continuous reporting to multiple levels of government within the context of an extremely condensed time frame. Maintaining the quality of the project and its transformational vision were always at the forefront of her work.

Katherine had a rare ability as an administrator to provide a creative environment for those who worked for her while navigating between multiple spheres of accountability and scrutiny. In the face of the inevitable controversy and criticism that a project of this magnitude engenders, she persevered with confidence and grace. Facing these enormous challenges she one day posed the question to herself: “What would you do if you knew you couldn’t fail?” Katherine would not stop until she knew it would be perfect.

When she was asked to lead the Prince Arthur’s Landing project, she recognized a city in transition, more deeply involving Aboriginal people in decision-making processes that affect their lives. In 2012 Katherine wrote an article for the Plan Canada journal titled: “Thunder Bay’s Spirit Garden: Incorporating Cultural Values Into Project Design”. In that article she describes how the spirit of cooperation helped shape the waterfront project: “In 2005, I returned to the north to live, and I chose Thunder Bay for its cultural diversity and its beautiful natural environment…the Spirit Garden is the physical manifestation of the City’s vision of a community that is inclusive and that celebrates its diversity”. Today the product of her labour and self-sacrifice speaks for itself and enriches the lives of countless Thunder Bay residents and visitors.

Katherine Dugmore at the Agawa Rock Pictographs, Lake Superior Provincial Park, 2008.

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Who knew when we started that it would be so amazing?

I knew it would be good; but it is really beyond that.

It is perfect. // Katherine Dugmore Katherine Dugmore was a landscape architect and urban planner with a great love for northern communities.

As Project Manager for the waterfront project she was responsible for planning, design, communications, funding, construction and continuous reporting to multiple levels of government within the context of an extremely condensed time frame. Maintaining the quality of the project and its transformational vision were always at the forefront of her work.

Katherine had a rare ability as an administrator to provide a creative environment for those who worked for her while navigating between multiple spheres of accountability and scrutiny. In the face of the inevitable controversy and criticism that a project of this magnitude engenders, she persevered with confidence and grace. Facing these enormous challenges she one day posed the question to herself: “What would you do if you knew you couldn’t fail?” Katherine would not stop until she knew it would be perfect.

When she was asked to lead the Prince Arthur’s Landing project, she recognized a city in transition, more deeply involving Aboriginal people in decision-making processes that affect their lives. In 2012 Katherine wrote an article for the Plan Canada journal titled: “Thunder Bay’s Spirit Garden: Incorporating Cultural Values Into Project Design”. In that article she describes how the spirit of cooperation helped shape the waterfront project: “In 2005, I returned to the north to live, and I chose Thunder Bay for its cultural diversity and its beautiful natural environment…the Spirit Garden is the physical manifestation of the City’s vision of a community that is inclusive and that celebrates its diversity”. Today the product of her labour and self-sacrifice speaks for itself and enriches the lives of countless Thunder Bay residents and visitors.

Katherine Dugmore at the Agawa Rock Pictographs, Lake Superior Provincial Park, 2008.

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Contributors

Pages / 41-43

Pages / 9, 12-13

Pages / 80-81

Page / 63

Page / 3

Pages / 4-5

JOHN RALSTON SAUL John Ralston Saul is the International President of PEN International. An essayist, novelist and long-time champion of freedom of expression, his works have been translated into 23 languages in 30 countries, are widely taught in universities and central to the debate over contemporary society in many countries.

They include the philosophical trilogy: Voltaire’s Bastards and the Dictatorship of Reason in the West, The Doubter’s Companion, The Unconscious Civilization, and its conclusion, On Equilibrium.

In The Collapse of Globalism (appearing in Spanish in autumn 2014) he predicted today’s economic crisis.

In the autumn of 2012, he published his first novel in 15 years, Dark Diversions: A Traveller’s Tale, a picaresque novel about the life of modern nouveaux riches.

His awards include South Korea’s Manhae Grand Prize for Literature, the Pablo Neruda Medal, Canada’s Governor General’s Literary Award for Non-Fiction, the inaugural Gutenberg Galaxy Award for Literature, Italy’s Premio Letterario Internazionale. He is a Companion in the Order of Canada and a Chevalier in the Ordre des Arts et des Lettres of France.

He is the recipient of 17 honorary degrees.

JOSEPH BOYDEN Joseph Boyden’s first novel, Three Day Road, was selected for the Today Show Book Club, won the Rogers Writers’ Trust Fiction Prize, the CBA Libris Fiction Book of the Year Award, the Amazon.ca/ Books in Canada First Novel Award, and the McNally Robinson Aboriginal Book of the Year Award, and was shortlisted for the Governor General’s Award for Fiction. His second novel, Through Black Spruce, was awarded the Scotiabank Giller Prize and named the Canadian Booksellers Association Fiction Book of the Year; it also earned him the CBA’s Author of the Year Award. His third novel, The Orenda, was on the long list for the Scotiabank Giller Prize in 2013, was short listed for the 2013 Governor General’s Award for English fiction, and won the 2014 edition of Canada Reads. Boyden divides his time between Northern Ontario and Louisiana.

JEAN E. PENDZIWOL Jean E. Pendziwol is an award-winning author who was born in Thunder Bay and has made the city her home. Her works have been translated into many languages and are distributed throughout the world.

She was shortlisted for the Governor General’s Literary Awards for her children’s book, Once Upon a Northern Night (Groundwood Books, 2013), and was the recipient of the City of Thunder Bay Arts and Heritage Award for Performing and Media Arts in 2012. She draws on the geography and rich culture of northwestern Ontario as inspiration, sharing stories and images of the region with people all over the world.

MICHAEL CHRISTIE Michael Christie is the author of The Beggar’s Garden, a linked collection of stories that won the Vancouver Book Award, was nominated for the Giller Prize, and was a finalist for the Writer’s Trust Prize for Fiction. He holds an MFA in Creative Writing from UBC, and his book reviews appear regularly in The National Post and The Globe and Mail. His new novel, titled If I Fall If I Die, will be published by McLelland & Stewart in January 2015.

Along with his wife and two sons, he splits his time between Thunder Bay and Galiano Island.

MARK BENTZ Mark Bentz is a three-term City Councillor in Thunder Bay and was first elected to office in 2003. In 2005, Mark was elected to Chair the newly formed Waterfront Development Committee that was given the mandate of developing a mixed-use plan to reunite the citizens of Thunder Bay with their waterfront. Mark has Chaired the Committee throughout the development of Prince Arthur’s Landing and is both inspired and grateful to all those in the community who have shown leadership in making this transformational project a reality.

CALVIN BROOK Calvin Brook is an architect, urban designer and planner and a founding partner with Anne McIlroy of Brook McIlroy — an architecture, urban design, landscape architecture and planning practice in Toronto and Thunder Bay, Ontario. Cal’s projects have been recognized with over 30 professional awards from the Royal Architectural Institute of Canada, The Waterfront Centre, the International Downtown Association, Canadian Institute of Planners, Canadian Society of Landscape Architects, The Chicago Athenaeum, and the European Centre for Architecture. His practice merges the fields of urbanism, architecture and landscape architeture through design projects that touch all scales of place-making.

Calvin led the Prince Arthur’s Landing project team as principal designer working with Anne McIlroy, Ryan Gorrie, Jessica Hawes, Rajko Jakovic, Sean Serino, Jana Joyce, Judy Sanz-Sole, Colin Berman, Victoria Taylor, Linda Dervishaj, Tsugumi Kanno, Zhongwei Shi, Paul Gorrie, Gavin Wyman, Tsenye Ing, Amrit Phull, Stacy Anderson and Alistair Grierson.

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Contributors

Pages / 41-43

Pages / 9, 12-13

Pages / 80-81

Page / 63

Page / 3

Pages / 4-5

JOHN RALSTON SAUL John Ralston Saul is the International President of PEN International. An essayist, novelist and long-time champion of freedom of expression, his works have been translated into 23 languages in 30 countries, are widely taught in universities and central to the debate over contemporary society in many countries.

They include the philosophical trilogy: Voltaire’s Bastards and the Dictatorship of Reason in the West, The Doubter’s Companion, The Unconscious Civilization, and its conclusion, On Equilibrium.

In The Collapse of Globalism (appearing in Spanish in autumn 2014) he predicted today’s economic crisis.

In the autumn of 2012, he published his first novel in 15 years, Dark Diversions: A Traveller’s Tale, a picaresque novel about the life of modern nouveaux riches.

His awards include South Korea’s Manhae Grand Prize for Literature, the Pablo Neruda Medal, Canada’s Governor General’s Literary Award for Non-Fiction, the inaugural Gutenberg Galaxy Award for Literature, Italy’s Premio Letterario Internazionale. He is a Companion in the Order of Canada and a Chevalier in the Ordre des Arts et des Lettres of France.

He is the recipient of 17 honorary degrees.

JOSEPH BOYDEN Joseph Boyden’s first novel, Three Day Road, was selected for the Today Show Book Club, won the Rogers Writers’ Trust Fiction Prize, the CBA Libris Fiction Book of the Year Award, the Amazon.ca/ Books in Canada First Novel Award, and the McNally Robinson Aboriginal Book of the Year Award, and was shortlisted for the Governor General’s Award for Fiction. His second novel, Through Black Spruce, was awarded the Scotiabank Giller Prize and named the Canadian Booksellers Association Fiction Book of the Year; it also earned him the CBA’s Author of the Year Award. His third novel, The Orenda, was on the long list for the Scotiabank Giller Prize in 2013, was short listed for the 2013 Governor General’s Award for English fiction, and won the 2014 edition of Canada Reads. Boyden divides his time between Northern Ontario and Louisiana.

JEAN E. PENDZIWOL Jean E. Pendziwol is an award-winning author who was born in Thunder Bay and has made the city her home. Her works have been translated into many languages and are distributed throughout the world.

She was shortlisted for the Governor General’s Literary Awards for her children’s book, Once Upon a Northern Night (Groundwood Books, 2013), and was the recipient of the City of Thunder Bay Arts and Heritage Award for Performing and Media Arts in 2012. She draws on the geography and rich culture of northwestern Ontario as inspiration, sharing stories and images of the region with people all over the world.

MICHAEL CHRISTIE Michael Christie is the author of The Beggar’s Garden, a linked collection of stories that won the Vancouver Book Award, was nominated for the Giller Prize, and was a finalist for the Writer’s Trust Prize for Fiction. He holds an MFA in Creative Writing from UBC, and his book reviews appear regularly in The National Post and The Globe and Mail. His new novel, titled If I Fall If I Die, will be published by McLelland & Stewart in January 2015.

Along with his wife and two sons, he splits his time between Thunder Bay and Galiano Island.

MARK BENTZ Mark Bentz is a three-term City Councillor in Thunder Bay and was first elected to office in 2003. In 2005, Mark was elected to Chair the newly formed Waterfront Development Committee that was given the mandate of developing a mixed-use plan to reunite the citizens of Thunder Bay with their waterfront. Mark has Chaired the Committee throughout the development of Prince Arthur’s Landing and is both inspired and grateful to all those in the community who have shown leadership in making this transformational project a reality.

CALVIN BROOK Calvin Brook is an architect, urban designer and planner and a founding partner with Anne McIlroy of Brook McIlroy — an architecture, urban design, landscape architecture and planning practice in Toronto and Thunder Bay, Ontario. Cal’s projects have been recognized with over 30 professional awards from the Royal Architectural Institute of Canada, The Waterfront Centre, the International Downtown Association, Canadian Institute of Planners, Canadian Society of Landscape Architects, The Chicago Athenaeum, and the European Centre for Architecture. His practice merges the fields of urbanism, architecture and landscape architeture through design projects that touch all scales of place-making.

Calvin led the Prince Arthur’s Landing project team as principal designer working with Anne McIlroy, Ryan Gorrie, Jessica Hawes, Rajko Jakovic, Sean Serino, Jana Joyce, Judy Sanz-Sole, Colin Berman, Victoria Taylor, Linda Dervishaj, Tsugumi Kanno, Zhongwei Shi, Paul Gorrie, Gavin Wyman, Tsenye Ing, Amrit Phull, Stacy Anderson and Alistair Grierson.

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Page / 27

Page / 55

RYAN GORRIE Ryan Gorrie is a native of Thunder Bay and a member of Bingwi Neyaashi Anishinaabek (Sand Point First Nation on Lake Nipigon). A descendant from communities such as Red Rock Band, Fort William First Nation and Rocky Bay First Nation, Ryan has a strong sense of identity. From small to large scales, Ryan has been involved in a variety of design projects for communities, organizations and individuals — from traditionally carved ceremonial pipes for individuals, to health centres, to work on the Thunder Bay Waterfront’s award-winning Spirit Garden and Celebration Circle.

Moving to Winnipeg in 1998 to pursue post-secondary studies, Ryan became intimately involved in the Aboriginal community at the University of Manitoba and in southern Manitoba. From participating in ceremonies including sweat lodge, sundance and fasting to continued pursuit of attaining proficiency in Anishinaabemowin (Ojibwe Language), Ryan strives to ensure the perpetuation of Aboriginal culture.

Ryan has volunteered many hours working with elders in the community, singing at traditional events such as funerals, weddings, sundances, culture camps, as well as the creation of traditional items for ceremonial use.

EDUARDO AQUINO & KAREN SHANSKI spmb (São Paulo-Manitoba) is a collaborative practice in art + architecture + design formed by Eduardo Aquino and Karen Shanski that questions the tradition of art and architecture through interdisciplinary strategies including site-specific public sculpture, projects in urban spaces, landscape design, gallery projects, research, teaching, publishing, and any other means to instigate the public realm. spmb has concentrated the practice in public art and the design of public spaces, with projects realized in Edmonton, Calgary, Winnipeg, Thunder Bay, Toronto, Montreal, Quebec City, Rio de Janeiro, São Paulo, and Eindhoven (The Netherlands).

They are co-authors of Complex Order: Intrusions in Public Space (Winnipeg: Plug In Editions, 2009).

DAVID WHITTAKER David Whittaker is a Toronto-based architectural photographer with an extensive portfolio of interior and exterior photographs. A school project in Grade 5 launched his lifelong interest in photography. He went on to study photo arts at Ryerson Polytechnical Institute. After Ryerson he worked as a still photographer on films such as Moonstruck, 3 Men + a Baby and Agnes of God, where he gained an appreciation and skill for lighting. In the early 90s he changed his focus to design and has worked with many of Canada’s leading interior designers and architects. His photos are featured in numerous national and international magazines and many of his projects have won awards for his various clients’ awards programs.

Pages / 87-88

Pages / 87-88

Pages / 87-88

KAREN M. LEWIS Karen M. Lewis is Director of Corporate Communications & Strategic Initiatives for the City of Thunder Bay. Her team, including Valerie Marasco, Stacey Levanen and Jodi Wright, plays a lead role in communications and public engagement for the City’s major projects such as Prince Arthur’s Landing.

In addition to her management experience, she is a writer and holds a Master of Science in Journalism from Columbia University. She fondly remembers working with community members of the Waterfront Development Committee — Cameron Clark, Norm Lavoie, Donna Gilhooly, Brian Babcock, and Trina Rawn — to articulate the vision for the 52 kilometres of waterfront.

MARK SMITH Mark Smith is an Urban Planner and the General Manager of the City of Thunder Bay’s Development Services Department. Having worked for the City for more than 20 years, Mark has been heavily involved in many initiatives to enhance and reconnect Thunder Bay with its waterfront. However, Prince Arthur’s Landing could not be more special to Mark. Katherine Dugmore was his wife.

KATHY BALL Kathy Ball has been involved in the Thunder Bay Waterfront Project from inception in 2005 as the City’s Tourism Development Officer. As the project progressed, she took on the role of Waterfront Funding and Sponsorship Coordinator, successfully securing millions of dollars in Federal and Provincial funding for the development. Inspired by the outcome of this project, Kathy has now taken on the role of Waterfront Operations Coordinator with the mandate of ensuring that the vision of the project is upheld in the day-today programming.

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Contributors

Page / 27

Page / 55

RYAN GORRIE Ryan Gorrie is a native of Thunder Bay and a member of Bingwi Neyaashi Anishinaabek (Sand Point First Nation on Lake Nipigon). A descendant from communities such as Red Rock Band, Fort William First Nation and Rocky Bay First Nation, Ryan has a strong sense of identity. From small to large scales, Ryan has been involved in a variety of design projects for communities, organizations and individuals — from traditionally carved ceremonial pipes for individuals, to health centres, to work on the Thunder Bay Waterfront’s award-winning Spirit Garden and Celebration Circle.

Moving to Winnipeg in 1998 to pursue post-secondary studies, Ryan became intimately involved in the Aboriginal community at the University of Manitoba and in southern Manitoba. From participating in ceremonies including sweat lodge, sundance and fasting to continued pursuit of attaining proficiency in Anishinaabemowin (Ojibwe Language), Ryan strives to ensure the perpetuation of Aboriginal culture.

Ryan has volunteered many hours working with elders in the community, singing at traditional events such as funerals, weddings, sundances, culture camps, as well as the creation of traditional items for ceremonial use.

EDUARDO AQUINO & KAREN SHANSKI spmb (São Paulo-Manitoba) is a collaborative practice in art + architecture + design formed by Eduardo Aquino and Karen Shanski that questions the tradition of art and architecture through interdisciplinary strategies including site-specific public sculpture, projects in urban spaces, landscape design, gallery projects, research, teaching, publishing, and any other means to instigate the public realm. spmb has concentrated the practice in public art and the design of public spaces, with projects realized in Edmonton, Calgary, Winnipeg, Thunder Bay, Toronto, Montreal, Quebec City, Rio de Janeiro, São Paulo, and Eindhoven (The Netherlands).

They are co-authors of Complex Order: Intrusions in Public Space (Winnipeg: Plug In Editions, 2009).

DAVID WHITTAKER David Whittaker is a Toronto-based architectural photographer with an extensive portfolio of interior and exterior photographs. A school project in Grade 5 launched his lifelong interest in photography. He went on to study photo arts at Ryerson Polytechnical Institute. After Ryerson he worked as a still photographer on films such as Moonstruck, 3 Men + a Baby and Agnes of God, where he gained an appreciation and skill for lighting. In the early 90s he changed his focus to design and has worked with many of Canada’s leading interior designers and architects. His photos are featured in numerous national and international magazines and many of his projects have won awards for his various clients’ awards programs.

Pages / 87-88

Pages / 87-88

Pages / 87-88

KAREN M. LEWIS Karen M. Lewis is Director of Corporate Communications & Strategic Initiatives for the City of Thunder Bay. Her team, including Valerie Marasco, Stacey Levanen and Jodi Wright, plays a lead role in communications and public engagement for the City’s major projects such as Prince Arthur’s Landing.

In addition to her management experience, she is a writer and holds a Master of Science in Journalism from Columbia University. She fondly remembers working with community members of the Waterfront Development Committee — Cameron Clark, Norm Lavoie, Donna Gilhooly, Brian Babcock, and Trina Rawn — to articulate the vision for the 52 kilometres of waterfront.

MARK SMITH Mark Smith is an Urban Planner and the General Manager of the City of Thunder Bay’s Development Services Department. Having worked for the City for more than 20 years, Mark has been heavily involved in many initiatives to enhance and reconnect Thunder Bay with its waterfront. However, Prince Arthur’s Landing could not be more special to Mark. Katherine Dugmore was his wife.

KATHY BALL Kathy Ball has been involved in the Thunder Bay Waterfront Project from inception in 2005 as the City’s Tourism Development Officer. As the project progressed, she took on the role of Waterfront Funding and Sponsorship Coordinator, successfully securing millions of dollars in Federal and Provincial funding for the development. Inspired by the outcome of this project, Kathy has now taken on the role of Waterfront Operations Coordinator with the mandate of ensuring that the vision of the project is upheld in the day-today programming.

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Public Art

Awards

Wa ter Str eet

Pearl Street Entrance

2014 / Baggage Building Arts Centre Skateboard/BMX Plaza

Spirit Garden

Pier 1

Pier 2

Pier 3

11

15

12

13

16

17

14

18

Royal Architectural Institute of Canada National Urban Design Awards, Medal, Urban Fragments Category, Jiigew (By the Water), Prince Arthur’s Landing, Thunder Bay

Ontario Association of Architects: Concepts Award, Jiigew (By the Water), Prince Arthur’s Landing, Thunder Bay

2013 /

International Architecture Award, The Chicago Athenaeum: Museum of Architecture and Design & The European Centre for Architecture, Art, Design and Urban Studies, Celebration Circle

Canadian Urban Institute Brownfields Awards, Best Small Scale Project, Baggage Building Arts Centre, Prince Arthur’s Landing, Thunder Bay

Lake Superior Magazine, Best of the Lake Award, Prince Arthur’s Landing, Thunder Bay

Thunder Bay Clean, Green and Beautiful Awards, Diamond, Prince Arthur’s Landing, Thunder Bay

2012 /

Ontario Wood WORKS! Northern Ontario Excellence Award, WaterGarden Pavilion, Prince Arthur’s Landing, Thunder Bay.

Ontario Wood WORKS! Jury’s Choice Award, Celebration Circle, Prince Arthur’s Landing, Thunder Bay

Waterfront Center (Washington D.C.), Excellence on the Waterfront Honor Award, Prince Arthur’s Landing, Thunder Bay

International Downtown Association, Pinnacle Award, Public Space Category, Prince Arthur’s Landing, Thunder Bay

Royal Architectural Institute of Canada National Urban Design Awards, Medal, Urban Fragments Category, Celebration Circle, Prince Arthur’s Landing, Thunder Bay

Canadian Institute of Planners, Award for Planning Excellence, Aboriginal Community Planning and Development Category, Spirit Garden, Prince Arthur’s Landing, Thunder Bay

Ontario Association of Architects Award, Artifact Category, Celebration Circle, Prince Arthur’s Landing, Thunder Bay

Ontario Association of Landscape Architects, Award for Service to the Environment, Spirit Garden, Prince Arthur’s Landing, Thunder Bay

2011 /

North American Wood Design Council, Award of Merit, Celebration Circle, Prince Arthur’s Landing, Thunder Bay

2010 /

1. Celebration Circle Panel, Randy Thomas & Roy Thomas, Location: Spirit Garden // 2. Jiigew (By the Water), spmb - Eduardo Aquino & Karen Shanski with Brook McIlroy Architects, Location: Piers 1 & 3 // 3. Lanterns - Paleogirls, Swimmers, Ulysses, Mark Nisenholt, Location: Pier 2 // 4. Traveller’s Return, Andy Davies, Location: WaterGarden Pavilion Patio // 5. Embedded History, Studio Kimiis - Steven Beites & Christian Joakim, Location: Baggage Building Arts Centre Entrance // 6. Diatom Whisper – Alchemy, Ingrid Koivukangas, Location: Skateboard/BMX Plaza // 7. Vessel, Jacqueline Metz & Nancy Che, Location: Skateboard/BMX Plaza // 8. Naturally Inflated, Paul Slipper & Nadine Stefan, Location: Base of Pier 1

Canadian Urban Institute Brownfields Awards, Best Large Scale Project, Prince Arthur’s Landing Master Plan, Thunder Bay

Parks and Recreation Ontario, Excellence in Design Award, Prince Arthur’s Landing, Thunder Bay

104

105

Public Art

Awards

Wa ter Str eet

Pearl Street Entrance

2014 / Baggage Building Arts Centre Skateboard/BMX Plaza

Spirit Garden

Pier 1

Pier 2

Pier 3

11

15

12

13

16

17

14

18

Royal Architectural Institute of Canada National Urban Design Awards, Medal, Urban Fragments Category, Jiigew (By the Water), Prince Arthur’s Landing, Thunder Bay

Ontario Association of Architects: Concepts Award, Jiigew (By the Water), Prince Arthur’s Landing, Thunder Bay

2013 /

International Architecture Award, The Chicago Athenaeum: Museum of Architecture and Design & The European Centre for Architecture, Art, Design and Urban Studies, Celebration Circle

Canadian Urban Institute Brownfields Awards, Best Small Scale Project, Baggage Building Arts Centre, Prince Arthur’s Landing, Thunder Bay

Lake Superior Magazine, Best of the Lake Award, Prince Arthur’s Landing, Thunder Bay

Thunder Bay Clean, Green and Beautiful Awards, Diamond, Prince Arthur’s Landing, Thunder Bay

2012 /

Ontario Wood WORKS! Northern Ontario Excellence Award, WaterGarden Pavilion, Prince Arthur’s Landing, Thunder Bay.

Ontario Wood WORKS! Jury’s Choice Award, Celebration Circle, Prince Arthur’s Landing, Thunder Bay

Waterfront Center (Washington D.C.), Excellence on the Waterfront Honor Award, Prince Arthur’s Landing, Thunder Bay

International Downtown Association, Pinnacle Award, Public Space Category, Prince Arthur’s Landing, Thunder Bay

Royal Architectural Institute of Canada National Urban Design Awards, Medal, Urban Fragments Category, Celebration Circle, Prince Arthur’s Landing, Thunder Bay

Canadian Institute of Planners, Award for Planning Excellence, Aboriginal Community Planning and Development Category, Spirit Garden, Prince Arthur’s Landing, Thunder Bay

Ontario Association of Architects Award, Artifact Category, Celebration Circle, Prince Arthur’s Landing, Thunder Bay

Ontario Association of Landscape Architects, Award for Service to the Environment, Spirit Garden, Prince Arthur’s Landing, Thunder Bay

2011 /

North American Wood Design Council, Award of Merit, Celebration Circle, Prince Arthur’s Landing, Thunder Bay

2010 /

1. Celebration Circle Panel, Randy Thomas & Roy Thomas, Location: Spirit Garden // 2. Jiigew (By the Water), spmb - Eduardo Aquino & Karen Shanski with Brook McIlroy Architects, Location: Piers 1 & 3 // 3. Lanterns - Paleogirls, Swimmers, Ulysses, Mark Nisenholt, Location: Pier 2 // 4. Traveller’s Return, Andy Davies, Location: WaterGarden Pavilion Patio // 5. Embedded History, Studio Kimiis - Steven Beites & Christian Joakim, Location: Baggage Building Arts Centre Entrance // 6. Diatom Whisper – Alchemy, Ingrid Koivukangas, Location: Skateboard/BMX Plaza // 7. Vessel, Jacqueline Metz & Nancy Che, Location: Skateboard/BMX Plaza // 8. Naturally Inflated, Paul Slipper & Nadine Stefan, Location: Base of Pier 1

Canadian Urban Institute Brownfields Awards, Best Large Scale Project, Prince Arthur’s Landing Master Plan, Thunder Bay

Parks and Recreation Ontario, Excellence in Design Award, Prince Arthur’s Landing, Thunder Bay

106

Acknowledgements

The sum of all fears is forgetting to thank those whose contributions have touched the project.

We hope we have not failed in this regard but sincerely apologize in advance for any omissions.

2006-10 City Council Mayor Lynn Peterson

2010-14 City Council Mayor Keith Hobbs

Councillors Iain Angus Mark Bentz Andrew Foulds Trevor Giertuga Larry Hebert Rebecca Johnson Brian McKinnon Frank Pullia Aldo Ruberto Linda Rydholm Andy Savela Robert Tuchenhagen Joe Virdiramo

Councillors Iain Angus Mark Bentz Ken Boshcoff Andrew Foulds Trevor Giertuga Larry Hebert Rebecca Johnson Brian McKinnon Paul Pugh Aldo Ruberto Linda Rydholm Joe Virdiramo

Waterfront Development Committee (varying terms 2006-14)

SPECIAL THANKS: The Waterfront Development project received significant financial assistance from the Governments of Canada and Ontario.

Council Members Mayor Keith Hobbs Mayor Lynn Peterson Mark Bentz (Chair) Andrew Foulds Brian McKinnon Aldo Ruberto Joe Virdiramo

The Honourable Tony Clement, President of the Treasury Board

Citizen Appointees Brian Babcock Scott Chisholm Cameron Clark Cindy Crowe Donna Gilhooly Wilfred King Norman Lavoie Marcus Luft Patrick Morash Anne Ostrom Trina Rawn Martti Arvi Tenander

The Honourable Greg Rickford, Minister of Natural Resources and Minister of State (Federal Economic Development Initiative for Northern Ontario)

The Honourable Michael Gravelle, Minister of Northern Development and Mines The Honourable Bill Mauro, Minister of Municipal Affairs and Housing

PRINCE ARTHUR’S LANDING TEAM Joe Adcock Manish Agarwal Richard Ahtila Laura Airns Greg Alexander Mark Alocilja Leif Andersen Bruce Anderson Elaine Anderson Stacy Anderson Elle Andra-Warner Ray Antcliffe Eduardo Aquino Shawn Armstrong Joy Asham Jennifer Ashworth Catherine Aubut Christina Augier Bob Baird Biljana Baker Beverly Ball Kathy Ball Rick Ball Gene Bannon Leo Bannon Jr. Tim Bannon Rosanna Barbuzzi Bob Barker Jen Barnett Nancy Bauer Chris Bayko

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May Bayko Leah Bayly Mari Beaton Steven Beites Celine Belleau Peter Belluz Kerry Berlinquette Colin Berman Joe Berscia Ron Bidulka Wayne Bilbrough Tim Biloski Dave Bishop Kathie Blake John Bociurko Stan Bold Bernie Bonazzo Janice Bonish Greg Boucher Joe Bova David Bowick Jim Bowles Chris Boyechko Ann Breen Joe Brescia Wendy Brescia Darlene Britt Gerry Broere Benjamin Brook Calvin Brook Susan Brooks

Richard Brosseau John Bruno Joe Buckell Gerry Buckrell Jim Buie Cameron Burgess Paul Burke Todd Burnell Alyn Bygate Rob Calquhoun Janice Cameron Rob Cameron Dario Campanotto Don Campbell Kelly Campbell Marita Campbell John Cantola Dean Caron Norine Carroll Thora Cartlidge Mike Cavar Sean Chamberlain Nancy Chew Barry Chezick Aubrey Chiswell Joe Cillis Myles Cizmar Mark Clara Richard Clara Janet Clark Lee Clouthier

James Coady Ed Collins Peter Collins Margot Colquhoun Tim Commisso Paul Connally RoseAnn Cormier Kevin Courtney Brian Cox David Cramer Fred Cramer Richard Cramer Ted Creagh Jane Crossman Don Crupi Lorraine Cull Angelo Daniele Cody Darcis Dave Darcis Jorge DaSilva Andy Davies Peter de Haan Rod Delaney Donelda DeLaRonde Steve Demmings Joel DePeuter Linda Dervishaj Silvio Di Gregorio Aime Dimatteo Kyle Dion Bob Dobbin

Joe Donio Laurin Dow Brent Dubinsky Dale Dubinsky Katherine Dugmore Marilyn Dumont Ernie Eberhardt Kevin Edison Bernie Edwards Grant Eklund Caitlin Elliott Pia Erkkila Eugene Esquega Peter Esquega Rosalie Evans Dan Ezowski Lynda Fares Marshal Farquharson Bill Fauconnier Donna Faye Paul Fayrick Paola Fernandez Vince Filice Warren Fisher Walter Fletto J.F. (Jim) Foulds Ron Furioso Al Fydirchuk Susan Gammon Jeremiah Gammond Larry Garbos

Murray Garbutt Rick Garrick Bill Garrioch Doug Gelmich Demetri Georgiou Dwight Gessie Emad Ghattas Anna Gibbon Heather Gibbons WJ Gibson David Gillen Pier Giorgio Di Cicco JP Gladu Paul Gladu Sharon Godwin Bob Gomes Ann Goodwin Franco Gorenszach Paul Gorrie Ryan Gorrie Robert Graham Sandy Granbois Andrew Grant David Green Charles Grey Alistair Grierson Annaliese Grieve John Guerard Janis Gummeson Nathan Gunn Allen Gustafson

Suzanne Gustafson John Hakala Brenda Hamalainen Scott Hamilton John S. Hannam Mike Hannusch Barbara Harapiak Dave Hardick Noel Harding Agnes Hardy Bart Hardy Frank Hardy Rick Harms Shawn Harris Margaret Hartvickson Jessica Hawes John Hay Grant Healey Brent Heerema Harold Heerema Callie Hemsworth Collen Henderson Sheelagh Hendrick Tim Heney Doug Henry Susan Henton Mervi Henttonen Don Hickey Emma Hickey Timo Hiiback Kai Hilden Andrew Hinshelwood Al Hjorth Les Hobie Kristy Holmes Christine Hoogstraten Adam Hopkins Stephen Horner Martin Horvath David House Jack Hudolin Joanne Hung Jeff Hunnakko Wayne Hurley Jennine Husiak Carrie Hutchison Tsenye Ing Ray Innes Sharon Irvine Douglas Ivison Rajko Jakovic Lindsay Janiec Rob Jardine Jitka Jarolimek Christian Joakim Jim Johnson Alan Jones Jason Jones John Jones Marianne Jones

Mark Jones Moe Jones Parker Jones Ryan Jones Tom Jones Jana Joyce John Jurcik Linda Kachur Karl Kahmann Tsugumi Kanno Walter Keating Beth Kelle John Kelly Sarah Kerton Edward King Hugh King Tom Kleinboeck Dan Klukie Helmut Kohn Ingrid Koivukangas Penny Kok Nadia Koltun Nyomie Korcheski Cory Koski Victoria Kosny Denise Kowalski Larry Krawchuk Peter Kropf Eric Kuch Walter Kuch Ron Kucher Nadia Kurd Peter Kwandibens Eileen Lacey Wendy Landry Lee Languibo Mike Larocque Tammy Laws Dan Lechow Scott Lee Shannon Lepere Stacey Levanen Karen M. Lewis Andrew Lindstrom Matthew Lindstrom Alun Lloyd Sandy Lockwood Decio Lopes John Lorenowich Brian Loucks John Lowes Todd Lowey Brian Ludwigsen Mark Luke Matt Lundin Gerald Luty James Lynn Marco Maccandanza Frank Macchi Freda MacDonald

Gisele MacDonald Kevin MacDonald Tyler MacDonald Lorraine MacPhail Ryan Madahbee Jack Mallon Trish Malmborg Robynn Maluga Dean Manahan Rosemarie Mancusa Rob Marasco Valerie Marasco Frank Marini Lynn Martin Roly Martin Paul Mascarin Denette Maslach Gord Massaro Tammy Mastalerz Darrell Matson Pat Mauro Randy McAllister Stuart McBain Gerard McCabe Tom McConnell Leslie McEachern Anne McIlroy Jean McIsaac-Wiitala Bob McKay Bob McKinnon Scott McLeod Greg McMillin Kevin McNally Isabelle Mercier Gerald Merkley Peter Merrill Jacqueline Metz Debbie Metzler Eric Mickelson Chris Mikkelsen Tracy Miller Rick Moore Ron Morancy John Morassutti Trevor Morgan Cole Moro Ron Moro Paul Morralee Ron Morrisseau Joe Moses Kevin Muloin Les Muniak Dan Munshaw Reana Mussato John Nacarrato Andrea Nadeau Louie Nadin Norm Nadin Brian Newman Bill Nicholson

Brian Nieminen Patricia Ningewance Nadeau Mark Nisenholt John Nistico Ray Nobis Andrea Normand Debbie Novak Sharon Nummikoski Lois Nuttall Kathy O’Brien Larry O’Hearn Kristen Oliver Terry Olsen John Oriecuia Paul Page Dave Palubski Dawn Paris Ian Pattison Linda Pauluik Bernie Pechiwa Bernard Pedersen Domiano Pelaia Helen Pelletier Phillip Pelletier Pierre Pelletier Jean E. Pendziwol Paul Pepe Damien Perron Bob Petrie Butch Petrone Harriet Phillips Amrit Phull John Piccinin Kurtis Piche Tim Pile Paul Podstawka Richard Pohler Carol Pollard Larry Pond Glen Ponka Arto Pouru Christian Pradissitto Gary Prezio Troy Prezio George Price Frank Prisco Peter Provenzano Andy Pruys John Pucchio Andy Puiatti Roberto Pupella James Reid Matt Reid Enzo Riccio Dennis Richard Julie Robbins Ian Robson Adam Rose Bill Ross Marlene Sabourin

Paolo Sacchetti David Sajecki Gord Sakiyama Farnoush Saman Mike Sandrin Judy Sanz-Sole Mark Schincariol Tiffany Schmidt Werner Schwar Blair Scorgie Doug Scott Paul Seguin Sean Serino Sam Shahsahabi Dave Shalley Karen Shanski Carla Shawayahamaish Scott Sheriff Zhongwei Shi Ian Shrimpton Todd Siciliano Donna Sippala Marta Sitek Bryan Skrabek Paul Slipper Brenda Small Barry Smith Linda Smith Mark Smith Michael Smith Rick Smith Tessa Soderberg John Soychuk Bob Speer Doug Steele Nadine Stefan Rob Stinchcombe Savka Stojanoska Des Stoltz Bruce Stonehouse Chris Stones Bruce Strapp Barry Streib Ryan Strey Bill Swanson Myrtle Swanson John Szura Matt Szybalski Dan Tamblyn Rose Marie Tarnowski Bobbi Tate Elaine Taylor Jamie Taylor Victoria Taylor Claudio Tesolin Brian Tetlock Byran Thiel Milan Thierry Jim Thiessen Elaine Thomas

Louise Thomas Randy Thomas Xavier Thompson Linnea Tillet Craig Tosset Ben Tranter David Tranter Darcy Trist Tory Tronrud Bruce Tucker Katherine Turner Craig Urquhart Marcy Vallelunga Mark Van Der Zalm Kevin Vanderzwaag Dave Van-Wagoner Dave Vass Lorna Veal Aaron Veldstra Don Venasky Shelley Vescio Fern Vezeau Don Vezina Paloma Villarmea Allan Wainwright Johnny Walker Emily Wall Lana Warren Edward Wawia Jessica Weel Dennis Wegher Eric Weller Jeff White David Whittaker Mike Williams JR Williamson Kellie Winters Allan Wolotko Fred Wood Gary Wood Jodi Wright Gavin Wyman Peng Youlian Anthony Yozipovic Lisa Zawadzki Cory Zurell

106

Acknowledgements

The sum of all fears is forgetting to thank those whose contributions have touched the project.

We hope we have not failed in this regard but sincerely apologize in advance for any omissions.

2006-10 City Council Mayor Lynn Peterson

2010-14 City Council Mayor Keith Hobbs

Councillors Iain Angus Mark Bentz Andrew Foulds Trevor Giertuga Larry Hebert Rebecca Johnson Brian McKinnon Frank Pullia Aldo Ruberto Linda Rydholm Andy Savela Robert Tuchenhagen Joe Virdiramo

Councillors Iain Angus Mark Bentz Ken Boshcoff Andrew Foulds Trevor Giertuga Larry Hebert Rebecca Johnson Brian McKinnon Paul Pugh Aldo Ruberto Linda Rydholm Joe Virdiramo

Waterfront Development Committee (varying terms 2006-14)

SPECIAL THANKS: The Waterfront Development project received significant financial assistance from the Governments of Canada and Ontario.

Council Members Mayor Keith Hobbs Mayor Lynn Peterson Mark Bentz (Chair) Andrew Foulds Brian McKinnon Aldo Ruberto Joe Virdiramo

The Honourable Tony Clement, President of the Treasury Board

Citizen Appointees Brian Babcock Scott Chisholm Cameron Clark Cindy Crowe Donna Gilhooly Wilfred King Norman Lavoie Marcus Luft Patrick Morash Anne Ostrom Trina Rawn Martti Arvi Tenander

The Honourable Greg Rickford, Minister of Natural Resources and Minister of State (Federal Economic Development Initiative for Northern Ontario)

The Honourable Michael Gravelle, Minister of Northern Development and Mines The Honourable Bill Mauro, Minister of Municipal Affairs and Housing

PRINCE ARTHUR’S LANDING TEAM Joe Adcock Manish Agarwal Richard Ahtila Laura Airns Greg Alexander Mark Alocilja Leif Andersen Bruce Anderson Elaine Anderson Stacy Anderson Elle Andra-Warner Ray Antcliffe Eduardo Aquino Shawn Armstrong Joy Asham Jennifer Ashworth Catherine Aubut Christina Augier Bob Baird Biljana Baker Beverly Ball Kathy Ball Rick Ball Gene Bannon Leo Bannon Jr. Tim Bannon Rosanna Barbuzzi Bob Barker Jen Barnett Nancy Bauer Chris Bayko

107

May Bayko Leah Bayly Mari Beaton Steven Beites Celine Belleau Peter Belluz Kerry Berlinquette Colin Berman Joe Berscia Ron Bidulka Wayne Bilbrough Tim Biloski Dave Bishop Kathie Blake John Bociurko Stan Bold Bernie Bonazzo Janice Bonish Greg Boucher Joe Bova David Bowick Jim Bowles Chris Boyechko Ann Breen Joe Brescia Wendy Brescia Darlene Britt Gerry Broere Benjamin Brook Calvin Brook Susan Brooks

Richard Brosseau John Bruno Joe Buckell Gerry Buckrell Jim Buie Cameron Burgess Paul Burke Todd Burnell Alyn Bygate Rob Calquhoun Janice Cameron Rob Cameron Dario Campanotto Don Campbell Kelly Campbell Marita Campbell John Cantola Dean Caron Norine Carroll Thora Cartlidge Mike Cavar Sean Chamberlain Nancy Chew Barry Chezick Aubrey Chiswell Joe Cillis Myles Cizmar Mark Clara Richard Clara Janet Clark Lee Clouthier

James Coady Ed Collins Peter Collins Margot Colquhoun Tim Commisso Paul Connally RoseAnn Cormier Kevin Courtney Brian Cox David Cramer Fred Cramer Richard Cramer Ted Creagh Jane Crossman Don Crupi Lorraine Cull Angelo Daniele Cody Darcis Dave Darcis Jorge DaSilva Andy Davies Peter de Haan Rod Delaney Donelda DeLaRonde Steve Demmings Joel DePeuter Linda Dervishaj Silvio Di Gregorio Aime Dimatteo Kyle Dion Bob Dobbin

Joe Donio Laurin Dow Brent Dubinsky Dale Dubinsky Katherine Dugmore Marilyn Dumont Ernie Eberhardt Kevin Edison Bernie Edwards Grant Eklund Caitlin Elliott Pia Erkkila Eugene Esquega Peter Esquega Rosalie Evans Dan Ezowski Lynda Fares Marshal Farquharson Bill Fauconnier Donna Faye Paul Fayrick Paola Fernandez Vince Filice Warren Fisher Walter Fletto J.F. (Jim) Foulds Ron Furioso Al Fydirchuk Susan Gammon Jeremiah Gammond Larry Garbos

Murray Garbutt Rick Garrick Bill Garrioch Doug Gelmich Demetri Georgiou Dwight Gessie Emad Ghattas Anna Gibbon Heather Gibbons WJ Gibson David Gillen Pier Giorgio Di Cicco JP Gladu Paul Gladu Sharon Godwin Bob Gomes Ann Goodwin Franco Gorenszach Paul Gorrie Ryan Gorrie Robert Graham Sandy Granbois Andrew Grant David Green Charles Grey Alistair Grierson Annaliese Grieve John Guerard Janis Gummeson Nathan Gunn Allen Gustafson

Suzanne Gustafson John Hakala Brenda Hamalainen Scott Hamilton John S. Hannam Mike Hannusch Barbara Harapiak Dave Hardick Noel Harding Agnes Hardy Bart Hardy Frank Hardy Rick Harms Shawn Harris Margaret Hartvickson Jessica Hawes John Hay Grant Healey Brent Heerema Harold Heerema Callie Hemsworth Collen Henderson Sheelagh Hendrick Tim Heney Doug Henry Susan Henton Mervi Henttonen Don Hickey Emma Hickey Timo Hiiback Kai Hilden Andrew Hinshelwood Al Hjorth Les Hobie Kristy Holmes Christine Hoogstraten Adam Hopkins Stephen Horner Martin Horvath David House Jack Hudolin Joanne Hung Jeff Hunnakko Wayne Hurley Jennine Husiak Carrie Hutchison Tsenye Ing Ray Innes Sharon Irvine Douglas Ivison Rajko Jakovic Lindsay Janiec Rob Jardine Jitka Jarolimek Christian Joakim Jim Johnson Alan Jones Jason Jones John Jones Marianne Jones

Mark Jones Moe Jones Parker Jones Ryan Jones Tom Jones Jana Joyce John Jurcik Linda Kachur Karl Kahmann Tsugumi Kanno Walter Keating Beth Kelle John Kelly Sarah Kerton Edward King Hugh King Tom Kleinboeck Dan Klukie Helmut Kohn Ingrid Koivukangas Penny Kok Nadia Koltun Nyomie Korcheski Cory Koski Victoria Kosny Denise Kowalski Larry Krawchuk Peter Kropf Eric Kuch Walter Kuch Ron Kucher Nadia Kurd Peter Kwandibens Eileen Lacey Wendy Landry Lee Languibo Mike Larocque Tammy Laws Dan Lechow Scott Lee Shannon Lepere Stacey Levanen Karen M. Lewis Andrew Lindstrom Matthew Lindstrom Alun Lloyd Sandy Lockwood Decio Lopes John Lorenowich Brian Loucks John Lowes Todd Lowey Brian Ludwigsen Mark Luke Matt Lundin Gerald Luty James Lynn Marco Maccandanza Frank Macchi Freda MacDonald

Gisele MacDonald Kevin MacDonald Tyler MacDonald Lorraine MacPhail Ryan Madahbee Jack Mallon Trish Malmborg Robynn Maluga Dean Manahan Rosemarie Mancusa Rob Marasco Valerie Marasco Frank Marini Lynn Martin Roly Martin Paul Mascarin Denette Maslach Gord Massaro Tammy Mastalerz Darrell Matson Pat Mauro Randy McAllister Stuart McBain Gerard McCabe Tom McConnell Leslie McEachern Anne McIlroy Jean McIsaac-Wiitala Bob McKay Bob McKinnon Scott McLeod Greg McMillin Kevin McNally Isabelle Mercier Gerald Merkley Peter Merrill Jacqueline Metz Debbie Metzler Eric Mickelson Chris Mikkelsen Tracy Miller Rick Moore Ron Morancy John Morassutti Trevor Morgan Cole Moro Ron Moro Paul Morralee Ron Morrisseau Joe Moses Kevin Muloin Les Muniak Dan Munshaw Reana Mussato John Nacarrato Andrea Nadeau Louie Nadin Norm Nadin Brian Newman Bill Nicholson

Brian Nieminen Patricia Ningewance Nadeau Mark Nisenholt John Nistico Ray Nobis Andrea Normand Debbie Novak Sharon Nummikoski Lois Nuttall Kathy O’Brien Larry O’Hearn Kristen Oliver Terry Olsen John Oriecuia Paul Page Dave Palubski Dawn Paris Ian Pattison Linda Pauluik Bernie Pechiwa Bernard Pedersen Domiano Pelaia Helen Pelletier Phillip Pelletier Pierre Pelletier Jean E. Pendziwol Paul Pepe Damien Perron Bob Petrie Butch Petrone Harriet Phillips Amrit Phull John Piccinin Kurtis Piche Tim Pile Paul Podstawka Richard Pohler Carol Pollard Larry Pond Glen Ponka Arto Pouru Christian Pradissitto Gary Prezio Troy Prezio George Price Frank Prisco Peter Provenzano Andy Pruys John Pucchio Andy Puiatti Roberto Pupella James Reid Matt Reid Enzo Riccio Dennis Richard Julie Robbins Ian Robson Adam Rose Bill Ross Marlene Sabourin

Paolo Sacchetti David Sajecki Gord Sakiyama Farnoush Saman Mike Sandrin Judy Sanz-Sole Mark Schincariol Tiffany Schmidt Werner Schwar Blair Scorgie Doug Scott Paul Seguin Sean Serino Sam Shahsahabi Dave Shalley Karen Shanski Carla Shawayahamaish Scott Sheriff Zhongwei Shi Ian Shrimpton Todd Siciliano Donna Sippala Marta Sitek Bryan Skrabek Paul Slipper Brenda Small Barry Smith Linda Smith Mark Smith Michael Smith Rick Smith Tessa Soderberg John Soychuk Bob Speer Doug Steele Nadine Stefan Rob Stinchcombe Savka Stojanoska Des Stoltz Bruce Stonehouse Chris Stones Bruce Strapp Barry Streib Ryan Strey Bill Swanson Myrtle Swanson John Szura Matt Szybalski Dan Tamblyn Rose Marie Tarnowski Bobbi Tate Elaine Taylor Jamie Taylor Victoria Taylor Claudio Tesolin Brian Tetlock Byran Thiel Milan Thierry Jim Thiessen Elaine Thomas

Louise Thomas Randy Thomas Xavier Thompson Linnea Tillet Craig Tosset Ben Tranter David Tranter Darcy Trist Tory Tronrud Bruce Tucker Katherine Turner Craig Urquhart Marcy Vallelunga Mark Van Der Zalm Kevin Vanderzwaag Dave Van-Wagoner Dave Vass Lorna Veal Aaron Veldstra Don Venasky Shelley Vescio Fern Vezeau Don Vezina Paloma Villarmea Allan Wainwright Johnny Walker Emily Wall Lana Warren Edward Wawia Jessica Weel Dennis Wegher Eric Weller Jeff White David Whittaker Mike Williams JR Williamson Kellie Winters Allan Wolotko Fred Wood Gary Wood Jodi Wright Gavin Wyman Peng Youlian Anthony Yozipovic Lisa Zawadzki Cory Zurell

Published by The City of Thunder Bay © The City of Thunder Bay All rights reserved Printed and bound in Canada June 1, 2014 / First Edition

LIBRARY AND ARCHIVES CANADA CATALOGUING IN PUBLICATION The city and the spirit garden : Prince Arthur’s Landing, Thunder Bay Editor: Calvin Brook Contributors: John Ralston Saul, Joseph Boyden, Jean Pendziwol, Michael Christie, Mark Bentz, Calvin Brook, Ryan Gorrie, Eduardo Aquino & Karen Shanski, Karen M. Lewis, Mark Smith and Kathy Ball Text in English and Ojibwe.

ISBN 978-0-9937227-0-7 (bound) 1. Prince Arthur’s Landing (Thunder Bay, Ont.). 2. Waterfronts--Ontario--Thunder Bay. 3. Indians of North America--Ontario--Thunder Bay. I. Brook, Calvin, 1955 -, editor NA9053.W38C58 2014

711’.50971312

C2014-902350-2

Published by: The City of Thunder Bay Editor: Calvin Brook / Brook McIlroy Inc. Book Production: Stacy Anderson, Caitlin Elliott Designer: Carolina Söderholm (designholmen.com) Printer: RP Graphics

All photos by David Whittaker with the exception of: 04

Calvin Brook

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Courtesy of City of Thunder Bay Archives

12-13 Amina Lalor 26-27 Amina Lalor 28-29 Sean Serino 30

Stacy Anderson

36

Stacy Anderson

44-45 Stacy Anderson 52

Calvin Brook

62

Stacy Anderson

73

Amina Lalor

76

Stacy Anderson

77

Calvin Brook

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Thunder Bay Museum

96

Mark Smith

98

Shawn Bailey

SPECIAL THANKS TO: Stacy Anderson and David Whittaker The City of Thunder Bay City Council, the Waterfront Development Committee, Keith Hobbs, Mark Bentz, Joe Virdiramo, Tim Commisso, Karen M. Lewis, Mark Smith, Kathy Ball, Sara Janes, Amanda Rozenuk, Amina Lalor, Valerie Marasco, Leah Bayly, Reana Mussato, Brenda Hamalainen, Sheelagh Hendrick, Matt Szybalski, Debbie Novak, Tory Tronrud, Sharon Godwin, Heidi Uhlig, Anne McIlroy, Rajko Jakovic, Jessica Hawes, Sean Serino, Michelle MacAleese, Colin Berman, Tsugumi Kanno, Paul Gorrie, Linda Dervishaj, Julie Robbins, Caitlin Elliott, Lee-Ann Chevrette, Carolina Söderholm and Brittany Tyson

JOHN RALSTON SAUL / JOSEPH BOYDEN / JEAN PENDZIWOL / MICHAEL CHRISTIE Mark Bentz / Ryan Gorrie / Eduardo Aquino / Karen Shanski / Karen M. Lewis / Mark Smith / Kathy Ball Calvin Brook, Editor / David Whittaker, Photography