Making the Postwar Suburb: the History and Development of the Silver Heights Subdivision

The Lord Strathcona Estate, the Municipality of St. James-Assiniboia, and the Purchase by Frank Lount and Son Company

Located on the western outskirts of Winnipeg, Silver Heights is a hundred acre and heavily wooden parcel of land. Officially designated as St. James' Lots 18-20, Lord Strathcona purchased the land from 1871 to 1882. The parcel consequently joined the Lord Strathcona Estate. Over the decades, Manitoba's largest potato farm and the homes of resident managers were situated in the river lots. In 1937, the Rural Municipality of St. James (the Municipality) took ownership of the parcel.

When the Municipality purchased the expansive parcel, its future was unclear. Some developers believed that the land could become a prominent park, noting that its dense forestation and proximity to the growing Deer Lodge subdivision gave it immense potential as a popular public space. But even as discussions about the estate's function as a public park took shape, the St. James Town Planning Committee continued to entertain the possibility of transforming the space into quality residential development. For instance, developers thought that the property could be divided into 50-foot lots, with homes built at a designated distance from the sidewalk. They believed that the low taxation rate would attract potential residents and encourage them to take part in the comfort and security that was increasingly tied to suburban life. However, the drive to transform the land into a subdivision halted and stalled in the following years.

Discussions about building a residential neighbourhood were reinvigorated when the Municipality sold the hundred acres of Lots 18-20, as well as Lot 17, to Franke Read Lount and Son Company in 1949. The Municipality received $850/acre of undeveloped land. The tract spans from Portage and Ness Avenue and runs along the avenues between Conway and Davidson Streets. Mount Royal Road is the main thoroughfare, and major intersections runs through Lodge and Bruce Avenue.

As developers that specialized in building residential homes and neighbourhoods, the Lount Company could effectively respond to the growing number of families and their needs. In 1950, they developed a neighbourhood plan. The plan accounted for several homes, as well as a community park, a playground, and a 5.86-acre school site. The Winnipeg Town Planning Commission approved the proposal in November 1950. On July 19, 1950, the Silver Heights subdivision was registered as Plan 5090.

The Development of Silver Heights

After the Second World War, Winnipeg experienced immense population and economic growth that contributed to a housing boom of unexpected scale. In suburban municipalities, the overall population tripled between 1941 and 1971. In St. James, there were 13,000 residents in 1940. By 1955, there were 24,130 residents. Amid the scramble to meet the needs of growing families, the Lount Company's 650-home subdivision emerged as one of the largest and most ambitious developments. With its generously treed crescent streets and neatly designed homes, St. James' Silver Heights neighbourhood reflects the social, economic, and architectural environment that informed postwar suburban planning and standalone residential housing in Winnipeg.

Loops and Crescents: Planning for Security

The rising rental prices and older homes' undesirable maintenance costs helped convince families to move to suburban neighbourhoods. But beyond their economic incentives, the new developments were attractive to growing families because the developments complimented the increasingly popular image of the postwar traditional family. The postwar traditional family is broadly defined as a nuclear family, with a working husband, a homemaking wife, and children. Whereas the urban landscape was associated with chaos, the quiet neighbourhoods and their homes were considered an appropriate setting for raising families. Placed far from the downtown's boundaries and tucked away from busy streets, new developments positioned themselves as a necessity for the ideal traditional family.

When planning Silver Heights, the Lount Company accounted for growing families' needs. Rather than applying the traditional grid-like convention of residential planning, the Lount Company divided the neighbourhood into a series of loops and crescents that were connected through a central road. The road ran north to south between Portage Avenue and Ness Street. On either side, residential bays and paved driveways provided direct street access to each home. Mount Royal Road bisected the property.

The Lount Company's plan created uniform and protected spaces, tucking families' homes within the projecting loops and strategically limiting the number of access points for incoming traffic. Non-residential buildings were strategically placed in the neighbourhood's boundaries. In 1952, the Silver Heights Shopping Centre was placed on Portage Avenue. In 1953, Strathmillan School was built on Strathmillan Street. The addition of educational and commercial buildings made the neighbourhood more appealing because it gave residents convenient access to their necessities, but their placement helped preserve the resolutely residential character of the subdivision.

The Lount Company clearly communicated the neighbourhood's secure status in promotional materials where they promised families that their streets could serve as "a refuge from the city [where they could] enjoy their home life." By affirming potential residents' fears that the city would not offer domestic security, they not only framed their development as a neighbourhood suitable for domestic life, but they framed their neighbourhood as a space of protection.

Silver Heights Homes

The Standardization of the Construction Process

As a result of using a standardized and streamlined approach to constructing the homes, the Lount Company was economical and efficient throughout the construction process.

The Lount Company built some parts onsite and had other components prefabricated. Building some components on the construction site helped the developers because it removed the need to separately measure different parts. For example, air duct pipes that outfitted the homes arrived in lengths and elbows that could be assembled according to the given home’s specifications. In other instances, the developers manufactured the components and transported them to the homes for immediate installation. Some prefabricated components included the kitchen cabinets, different patterns, jigs, and joints that were assembled with fastening equipment. The streamlined process relieved developers of additional labour and cut down time.

Additionally, the Lount Company was consistent in its use of construction materials. The homes mainly used laminated plywood, plastic, and metal. Standard Gyproc lath and plaster were used for the interior construction. Flooring was completed with half-inch select oak. Paint grade fir was used for the interior trim, and they were finished with white enamel. In the kitchen, bathrooms, and halls, the flooring was finished with Tilevein. The doors were rubbed white and finished with glaze.

With their standardized approach to residential construction, the Lount Company built homes at a rate of 100 to 150 homes every year. The staff supervised the development through a centralised office on the project site. The planning, design, and many of the home sales were conducted from the centralised office. Once the development was completed, approximately 650 homes were built.

Subcontractors included: Nelson River Construction Company; Cotter Bros. Ltd, roads, sewers, water and plumbing; Lars Mattson, plastering; Bowyer-Boag Ltd, sheet metal; C. T. Lount Oil Heating Company, heating; Home Painting and Decorating Company, painting; Minaker Construction Company, brickwork; Concrete Placers Limited, basements; Weston Builders Specialties Ltd., roofing, millwork, cabinets, aluminium windows, tile; Walter Wray Limited, garage doors; Hobbs Glass, fixed windows and decorative glass; Wrought Iron Products, ornamental iron.

Designing the Homes

Within the thoughtfully arranged streets, the Lount Company built a series of single family and detached homes. In the interest of efficiency and aesthetic cohesion, most of the houses were based on eight separate plans. At the same time, potential owners were granted considerable latitude in the design and construction of their homes—and in doing so, avoided the visual conformity that sometimes came with a standardized construction process.

The prototypes were influenced by modified Cape Cod and Ranch-style architecture. Cape Cod homes were characterized by their steep gable roof and their simple, symmetrical exterior. Ranch-style homes possess the same simplicity but distinguish themselves with their large picture windows. Drawing from these traditions, the homes often have gable roofs and prominent picture windows. In other cases, the homes might be topped with flatter roofs to accentuate the mass of the structure itself. The houses were finished with frame and stucco siding and trim, asphalt shingle roofs, and full basements. In keeping with their architectural influences and the development's standardized process, the buildings consistently showcase a classic, minimalist appearance and symmetrical forms. Beyond complimenting one another, the Lount Company's homes visually reaffirmed the neighbourhood’s security.

Although the homes share various architectural features, the Lount Company was careful to avoid the sense of sameness that some suburban developments possessed. By using varied sizes and creating a bright colour palette, the Lount Company achieved a more diversified scene. The houses ranged from one and a half storeys to two storeys. Painted in shades of wine, coral, green and yellow, the homes were clearly distinct from one another. The scene became more varied with additions. In a nod to the rising automobile culture, residents were granted the option of building front facing garages and (though rarely) open carport garages.

Beyond creating a more pleasant environment, the diversity in appearance helped address families’ more central desire for home ownership. As families aimed to move away from urban housing and the cramped spaces they were associated with, they were motivated to find properties that they could singularly own. The Lount Company’s distinctly coloured homes, set far from the street and with ample space between the properties, helped visually articulate individualism of postwar home ownership.

Silver Heights is an exemplary model of modernist suburb design. The division continues to be a lively and desirable neighbourhood that effectively showcases the Lount Company’s strategic approach to suburban planning and design. The following walking tour begins along Portage Avenue at Mount Royal Road and ends near Ness Avenue. It aims to showcase the Silver Heights subdivision, including several representative homes, apartment structures, and community services.

Biographies

The Frank Lount and Son Company

The Frank Lount and Son Company (the Lount Company) was established in 1929. Frank Lount Sr. (1914–1976) first established the Lount Company shortly after moving to Winnipeg in 1921. The Lount Company later expanded to include his son, William Dangerfield Lount, and his son-in-law, A. Burton Stovel (1921–1977). During the Great Depression, the young company became a fixture in Winnipeg’s residential construction market. They initially specialised in custom-built executive homes. Their work included the impactful brick Sures House at 1021 Wellington Crescent (1933) and the arts and crafts-style home of prominent Winnipeg accountant and businessman, William Sydney Ronald, at 120 Handsart Boulevard (later home to the United States Consulate).

During the postwar period, the Lount Company continued building on its experience in residential development. They designed and constructed a substantial part of Tuxedo and St. James. Their work is most prominently showcased on Winchester Street, Overdale Street, Amherst Street, Sackville Street, and Moorgate Street. When they developed Silver Heights, they cemented their influence in the city’s residential development. The projects were completed by a small team. Frank Lount and A.B. Stovel designed the division’s residential and commercial buildings. The group was completed by an accountant and two bookkeepers. They practiced a holistic approach to neighbourhood development that suited the growing industry of suburban development. They assembled land, hired architects and planners, managed and contracted construction and sales, and arranged mortgage financing for national financial corporations. Their work was grounded in the mass production, mass marketing and mass consumption of housing.

Frank R. Lount

Frank R. Lount was a prominent building contractor. During his time in the construction industry, he contributed to the growth of Winnipeg’s most significant neighbourhoods and distinctive landmarks.

Born in Whitevale, Ontario, Lount moved to Winnipeg in 1921. After completing a series of construction projects in residential homes, Lount established Frank R. Lount and Son in 1929. Working with W.D. Lount and A.B. Stovel, Lount helped build several notable landmarks and homes. He mainly concentrated on building residential housing and developments, completing projects in Tuxedo and Windsor Park. His most notable contribution to the residential housing industry was the Silver Heights development.

Lount’s influence on Winnipeg’s residential construction market was officially recognized throughout the years. In 1942, he was elected as the first president of the Winnipeg Home Builders’ Association. From 1945 to 1946, he was national president of the Canadian Home Builder’s Association. In 1952, Lount reaffirmed his proficiency and passion for architecture and construction in Western Construction and Building magazine. He announced that he was “a builder. It [was his] business and [his] only hobby, and [he intended] to keep on building as long as [he was able].”

Augustus Burton (A.B.) Stovel

Born in 1921, Augustus Burton (A.B.) Stovel attended the University of Manitoba from 1937 to 1941. After serving in the Second World War, he graduated with a Bachelor of Architecture in 1947. In the same year, he joined Frank Lount and Son Company. From 1947 to 1968, he played a central role in designing residential homes and apartment blocks. When the Silver Heights development took place, he designed several homes and worked as the general superintendent.

After leaving the Lount Company in 1968, Stovel established his own design and construction firm, A.B. Stovel Limited. His projects included numerous private residences in Tuxedo, River Heights, St. Charles and Charleswood, as well as summer homes in the Lake of the Woods area. Though he primarily designed residential homes, he helped design and built several commercial buildings.

Stovel’s prolific career included appointments to several industry and community boards. He served on the National Housebuilders' Research Committee; Special Committee on Housing, National Building Code; Canadian Housing Design Council; Building By-Law Advisory Committee, Winnipeg Metropolitan Corporation; and was Chairman of both the St. James School Board Building Committee and the St. James Y.M.C.A. Board Building Committee.

John Nelson (J.N.) Semmens

John Nelson (J.N.) Semmens was born in Toronto on June 7, 1879. He attended Wesley College in Winnipeg before moving to Philadelphia, where he graduated from the School of Architecture at the University of Pennsylvania. After moving to Winnipeg, Semmens established an eponymous firm that would last until 1950. Beyond the prominent Bank of Montreal, his early work in the city included the Taylor Residence and Bannatyne School. Several other residential, corporate, academic, and institutional projects occupied Semmens prior to the First World War, including the two-storey brown brick Winnipeg Public Library St. John’s Branch.

Semmens resumed his busy architectural pace when he returned to Canada after serving in the Second World War. His focus was school design. Semmens’ work during this period included Champlain School, Wolseley School, and Daniel McIntyre Collegiate. In Silver Heights, he designed Strathmillan School. With such great and proficient output, Semmens cultivated a reputation for school design and helped shape the standard for school architecture in Western Canada. His best works from the period include Isaac Newton Junior High School and Daniel McIntyre Collegiate, both designed in a faithful and carefully detailed Tudor Revival style.

1

When Silver Heights Apartments first opened, it boasted 136 units. It was engineered by Cowin and Company. The units were divided between four storeys and five separate buildings that spanned 130,000 square feet. The apartments offered one-and-two-bedroom units. Two buildings were accessible with a core elevator, while the remaining three buildings were walk-ups. At the time of completion, the cost of construction was approximately $1 million.

With its expansive and dynamic construction, Silver Heights Apartments echoes the futuristic and Googie architecture that describes several residential and commercial buildings in the postwar period. The apartments have a red brick face and alternating bands of concrete and limestone, with a series of large windows positioned on every floor. Sections of the apartment advances in an angular manner, coming to a point at three separate entrances that are framed by extending walls. Though the acute angle is subtle, the unique construction helps distinguish the building from the surrounding landscape.

To help simultaneously accentuate its mass and lend more attention to its angularity, the structure bears a flat roofline, as well as flat extending eaves and canopies on every floor. The consistent reproduction of straight lines helps the apartment take on a streamlined appearance. Generally, the lines proceed smoothly throughout the structure and are only interrupted by the entryways.

The three main entrances are positioned evenly throughout the apartment. On the far left, the entrance is bordered by an extending section of the building. The entrances at the centre and the far right are framed by extending concrete walls. All three entrances bear large glass walls fixed above the doorway. They have flat canopies that curve upwards and project liberally into the walkway. The apartment's place in the subdivision is subtly expressed with the brick pillars supporting the entrances' canopies. With its light brick and slim construction, the pillars echo the Silver Heights Gates and hints to its ties to the subdivision.

At the time of construction, Silver Heights Apartments was one of the largest apartment complexes built with the Youtz-Slick Lift Slab Technique (lift-slab technique) in Winnipeg. It was the fourth lift-slab construction project in Canada. Philip Youtz and Tom Slick invented the method in the United States. The Lount Company patented the technique in Canada. In the early 1950s, W.D. Lount further developed the lift-slab method.

In contrast to conventional construction methods that required a new set of form work for each floor slab poured, the lift-slab method relies on a standardized method of assembly. The method pours and cures slab at grade before lifting it to the desired floor. The efficiency and economical nature of the method suited the needs of the growing development.

The lift-slab method begins with the construction of the foundation and then the pouring of concrete for the base slab. Anchors are placed, anchored, and grouted. The second-floor slab is placed on top of the base slab. The base slab is then covered with concrete. With the use of hydraulic lifting equipment, the slab is lifted to its permanent location on the columns and welded in position. Standard approaches to construction required a new set of formwork for each floor slab that was poured. But in the lift-slab method, only edge formwork was necessary for the slabs.

Twenty slabs were built for the project. Each slab weighed approximately 340 tons. As a result of the apartment’s structural orientation, the exterior walls are not loadbearing. They are built with brick or concrete, and are finished in stucco, brick, limestone veneer, or render.

2

Construction for the Silver Heights Shopping Centre began in 1953. In March 1954, the centre was opened to the public. Designed by A.B. Stovel, the structure showcases elements of modernist and Googie architecture.

With its sweeping form, flat roofline, and flat extending eaves and canopies, the Silver Heights Shopping Centre illustrates the streamlined and minimalist qualities that characterizes modernist architecture.

The building expresses its mass through its low and rectangular form, with one section advancing onto the parking lot. Its volume is further accentuated with its red brick and concrete face. The massive brick and concrete structure become more dynamic and brighter with the use of the white and flat eaves and canopies. Its flat roof is outlined by the overhanging eaves and canopies. A continuous band of large windows fixed on the upper floor helps alleviate the harshness of the construction materials. Since there are limited embellishments, the eaves, canopies, and window bands travel smoothly across the structure to create a simple and streamlined façade.

Cars and their increasing use seem to have guided the centre’s design and construction. In addition to communicating the building’s streamlined form, the restrained decoration helps fix attention to the prominent signage positioned on the extending section. In keeping with Googie architecture and its commitment to designs that attracted drivers’ attention, the sign is bright red and set against a white star and blue concrete. Meanwhile, the ample parking lot reflects the desire to accommodate drivers’ needs.

When the space first opened for the public, the main level contained businesses ranging from the Royal Bank of Canada, a supermarket, and a salon. The upper floor was available to rent for professional businesses. The basement housed a bowling alley. By granting the community access to essential goods and leisure activities, the building anchored residents in local retail activity and further insulated them from urban life.

3

At the time of its construction in 1950, Silver Heights Gates was among Winnipeg’s most prominent gates. In 1958, it gained a Historic Sites Advisory Board plaque. In 1995, the gate became a Grade III municipally designated site. It functions as signage, a gate, and seating.

With its modern and minimalist design, it represents a break from the traditional pillar styles featured in neighbourhoods like Armstrong’s Point and Bruce Park. Most of the slabs are approximately two feet high, composed of a series of rough-hewn and randomly patterned limestone-clad rectangular masses. It is topped with concrete slabs. The largest pillar is fifteen feet high, with an extending concrete eave. “Silver Heights” is emblazoned on the pillar in wrought iron. It nods to the intricacies of traditional design with its weight bearing wrought iron work, which forms a crocus flower pattern. The gates are finished in limestone brick.

The consistency in the construction materials connects the neighbourhood. Since the limestone gates mirrors the limestone pillars in the nearby Silver Heights Apartments, it creates a coherent visual language.

4

The one and a half-storey home has a simple and refined appearance. It is finished with white stucco on the main floor and horizontal siding on the second floor. Its orientation deviates from more traditional styles, with the main entrance situated on the west elevation and away from the streets. Instead, a large picture window and the tall gable end faced the expansive yard. The window’s generous size created spaciousness within the home.

The home has undergone several alterations since its construction. Most notably, the original picture window and the cream exterior has been changed.

5

The two-storey home has a rectangular form. It is defined by its symmetrical and traditional appearance. The main entrance is positioned on the centre of the home, with a large window is placed on either side. Three small windows line the second floor. The windows are topped with small, straight canopies that emphasize the horizontality of the structure.

The house was finished in stucco on the main floor and painted wood siding on the upper floor. However, the finish material on the upper storey has since been replaced with vinyl siding.

6

Horizontal siding stretches across the front elevation, creating a simple and classic two-storey residence. Rather than creating a singular focal point, the main entrance and the large, stacked windows are positioned on opposite sides of the front elevation. A canopy extends slightly above the main entrance.

Since the time of construction, a garage addition has been made on the east side. In a thoughtful use of space, the garage roof functions as a balcony.

7

Though the one storey bungalow generally follows the traditional residential designs that informed the subdivision’s homes, it showcases thoughtful shifts in design that grants the house a more dynamic appearance.

The numerous materials used in the exterior serve as contrasting elements that creates a modern impression. Painted horizontal siding on the north elevation and white stucco on the south elevation aligns with more traditional design approaches. But the wide chimney on the north elevation, finished with light brown and horizontal stonework, serves as an organic and warm element that contrasts against the cool toned siding.

In contrast to the simple and street facing roofs of most homes, the house have low pitched gable and hipped roofs that generously overlap. The eaves extends liberally over the entrance and window. Its unconventional and flat roof more closely echoes the traditions of mid-century modern.

Rather than bearing a picture window, the home’s windows span across the exterior in large bands. The windows on the north elevation frame the main entrance, as well as sit flush against the corners. Both windows frame the main entrance and are flush against the corners. A column of glass blocks sits on the immediate left side of the main entrance. Two substantial windows come together at the home’s northeast corner.

8

With its white stucco finish and painted horizontal siding, the one storey home echoes other residences in the neighbourhood. But in a slight deviation, the main entrance sits on the west elevation and is shaded by a generous overhanging eave. It sits close to the carport and garage, mirroring the broader trend of placing entrances to the driveway for the purpose of accessibility. A large square divider supports the eave and frames the entrance.

On the front face, a large picture window assumes most of the elevation. Its several square grilles adds a subtle geometric element to the home.

9

Strathmillan School was rebuilt at an unprecedented period for public education. In Winnipeg, school enrolment had been dropping and stuttering from 1931 to 1946. But as the birth rate rose and greater investments were made in education, school enrolment rates boomed. Like other schools, the school was built to address the immediate demand for quality education in the neighbourhood.

With its simple and utilitarian construction, Strathmillan School’s design illustrates the functional principles of modernist architecture and the urgency of education.

Modernist school design concentrated on functionality and economy as guiding tenets. Such ideas are expressed in the school’s minimalist and brown brick exterior, with alternating bands of white stucco. At some points, the stucco takes more space, and the brick serves as an accenting column. Its flat roofline is accentuated by painted wooden panelling that unifies the structure.

Bands of windows placed at the centre of the exterior stretches across the structure, allowing light to stream liberally into classrooms and hallways. Functionalist design is further demonstrated in the use of drywall and acoustic tile for the interiors. Since the materials could be easily cleaned and replaced, they aligned with mainstream utilitarian perspectives.

At the time of construction, the school was a narrow and one-storey rectangle with a modest gym and playground on the south side. As more families moved into the neighbourhood, several additions were made in quick succession. Two wings were added in 1955. A third wing was built in 1961. Since the additions were finished in brown brick and stucco, the new wings complimented the original design. The series of additions transformed the once rectangular building into an E-shaped building.

10

The one storey residence has a brick finish and textured white stucco. It is an unpretentious and refined structure, echoing the neighbouring homes with its steep gable roof and large picture window. But the structure distinguishes itself with the porch’s brickwork and the series of geometric columns on the west side. The columns mildly disrupts the overall symmetry of the home, introducing more sharpness.

11

The Silver Heights United Church formed in September 1954. As the congregation grew, they moved through various locations. In 1956, Doug Gillmor and Alan Waisman, from Waisman Ross Coop Gillmor and Hanna, designed the Silver Heights United Church. Frank Carnegie was employed as a contractor. Construction was completed in 1965.

Built as an extension of the existing Christian Education Centre, the Silver Heights United Church is a prominent fixture of the neighbourhood. The Brutalist tradition is clearly expressed in its material and form, placing the structure in stark contrast with the bright and modest homes of the subdivision. Its silhouette shows a dramatic ascent, disrupted by a tall volume projecting diagonally from the ground.

The structure is finished entirely with precast concrete and accented by limestone aggregate. Starting from the entrance, the flat roofline rises dramatically. Concrete fins extend slightly from the north and south elevation, lining the exterior with shifting shadows and further accentuating its dramatic ascent. On the east elevation, a concentric concrete volume halts its ascent. Its curvature contrasts with the sharpness of the form, softening the intensity of the structure’s lines and materials.
The church has now been de-sanctified and is used for other purposes.

12

In October 1955, St. Bede’s Anglican Church had its organisational meeting in the Women’s Tribute Lodge. Later gatherings took place in a modest bungalow on 99 Turner Avenue. The congregation’s needs continued to grow, resulting in the construction of a new building in the same location.

In 1959, Dwight Johnston designed a new building on the same location. The church is a modest and south-facing structure that echoes the surrounding residential buildings. Finished in two-tone brown brick, tall rows of windows face the street to bring light in. The eave advances dramatically to provide shade.

In 1965, Smith Carter built a complimentary addition, clad in brick, and topped with a gable roof. On the centre of the building, a large and thin window extends to the roofline’s highest point.

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