A collector and young architects rethink a Toronto classic

by Alex Bozikovic

Dr. Kenneth Montague and his wife, artist and educator Sarah Aranha, own one of Canada’s largest private collections focused on Black art.The home, recently renovated by SOCA Architecture, has been designed as a place for art and living, each framed by a personal lens.Dr. Montague, a trustee and an adviser to the Art Gallery of Ontario, founded the Wedge Collection in 1997, which has more than 400 works exploring the culture of the African diaspora and contemporary Black life.The central fireplace, the spiritual heart of the original structure, anchors the living room and library at the front.Light now floods rooms once dark with panelling, entering through skylights and windows.Architect Tura Cousins Wilson's design includes spatial cuts and displacement – what Dr. Montague calls the 'cutaway Jenga kind of thing' – appears throughout the house.The new millwork – white oak finished in a warm hue – echoes the original palette while feeling contemporary. A workout space in the attic offers downtown views through strategically placed windows.The architects added 1,000 square feet at the rear of the house, which accommodates a master suite.The new master ensuite is bathed in natural lightThe house mixes art from the Wedge Collection with family pieces.The idea for the house was 'a beautiful envelope for the artwork and the books,' Dr. Montague explains, 'rather than going for grand gestures.' The renovation mirrors Dr. Montague’s art collecting ethos: support the work, show it, continue the conversation.By removing the front staircase, adding internal windows and carving strategic voids, the architects amplified the spatial complexity that defines the house’s character.The house – an artifact of borrowed English ideals – has found a new voice as a vessel for contemporary Black creativity.

Pass through Kenneth Montague’s front door, and he starts showing you the art. In the 1919 house near Wychwood Park in Toronto that he shares with his family, the front hall has been reshaped into a two-storey gallery where art climbs the walls.

Black figures, mostly seen from behind, in portraits and street photographs; a long tapestry by Preston Pavlis that depicts a woman beaming within a joyous cloud of butterflies. Then there is a construction-paper crown made by one of his kids. This is a place for art and living, each framed by a personal lens.

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