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Bentway Staging Grounds Brings Plant Life Under the Gardiner

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The new offsite project aims to extend The Bentway’s footprint eastwards through a network of walkways, benches and experimental gardens

As the season changes and cooler days creep in, a new discovery project in the city gives reason to spend time outdoors. A previously-vacant 20,000-square-foot space at Dan Leckie Way and Lake Shore Boulevard has been repurposed in The Bentway’s latest offsite project dubbed Bentway Staging Grounds. Designed by New York-based Agency—Agency and local architecture firm SHEEEP, Bentway Staging Groundscollects and leverages runoff water from the highway above to irrigate oversized planters in the space below.

Toronto Design

The project was completed in collaboration with Buro Happold (engineering), Neil Donnelly Studio (graphic design), and Brother Nature (horticultural consulting).

During its official opening event on September 18, The Bentway co-director Ilana Altman expressed that “The Bentway has always believed that the Gardiner can, and must, do more for the city,” The project’s dual-design aims to unlock a new public space under the Expressway while simultaneously discovering new strategies for water filtration and planting that could one day be applied across its length.

Adding a burst of colour to the otherwise bare lot, Bentway Staging Grounds is the most recent marker of the non-profit organization’s continued effort to extend the spirit of the iconic Skate Trail east and transform the Expressway into a better connector for pedestrians and cyclists, celebrating their procession to surrounding waterfront parks and trail systems.

The Bentway Staging Grounds

The Bentway Staging Grounds is a temporary installation set to remain in place until the initiation of the Gardiner Expressway Rehabilitation by the City of Toronto, which is currently slated for late 2025. THEBENTWAY.CA

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Okay, but it clearly is

For the first 16 years of my life, the bat cave at the Royal Ontario Museum (ROM)—a reconstruction of an actual cave in Jamaica—was among my favourite places in the city. The cave was decorated with cast stalactites and wax bat models, which hung from the ceiling and threw jagged shadows on the walls. A few other features imbued it with spooky verisimilitude: the drip-drip-drip sound effects, the mirrors arranged to create the illusion of infinite depth, the strobe lights strategically placed to make the shadows flutter. When I visited as a five-year-old, the bat cave scared me. When I visited as a stoned fifteen-year-old, it scared me even more. Then came the renovation.

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