RENOVATING AN OLD BEAUTY
Mining entrepreneur, cinematographer and renovator Kevin van Niekerk happened to be walking along Stewart Street in the King- Bathurst neighbourhood back in 2008, just as the for-sale sign was being put up outside a lovely mid-Victorian semi. The house was one of a row of six that had miraculously escaped the wrecking ball in what was then a relatively barren enclave of industrial warehouses, condos under construction and empty streets. But he knew an opportunity when he saw one.
Born and raised in Zambia and Britain, van Niekerk’s business and creative interests have made him an internationalist, and he’s lived in cities all over the world. “I lived on airplanes for many years, and in the process got exposed to worldwide cultures,” he says. “Often, your only downtime is on planes; I became immersed in magazines like Wallpaper and the British edition of Architectural Digest, and developed a passion for design and architecture.”
He started pursuing a sideline in renovating and flipping apartments and condos — first in London, then Vancouver, where he settled during his filmmaking days. He wound up in Toronto and continued to buy and redesign condo properties. He had already lived in several condos in the neighbourhood when this house came into his purview.
“Part of what caught my eye was that it had never really been messed with,” he says. The all-too-typical renovation to an old house like this, he says, is to go open concept, which is foreign to his British sensibilities.
Almost all of the walls and lovely incidental period details were still intact — but that meant the house was sorely in need of repair. “In the end, I ended up doing quite a bit more than I intended,” he says with a laugh.
Ever the engineer, properly renovating the old beauty meant just as much went into structural repair and modernization as in esthetics. He placed a priority on preservation of what was salvageable, and respecting or replicating what wasn’t, but not to the point of making it a museum or movie set. In some cases, notably the kitchen, modern esthetics and functionality are much more important than trying to live in the past.
But everywhere he could manage it, woodwork, trans oms and other period details were removed, restored and replaced, or replicated. ( Some decorative details were too beautiful not to keep, such as the uninsulated hand- painted stained glass above the front window, or the long- inoperable arch-topped air vents on the second floor, with grilles depicting intricate silhouettes of flowers.) The result is a cosy, gracious family home, suited to modern living but with a respect for the past.
As you step through the front door, it’s hard to be sure what is original and what was added. The penny tile flooring is his own design; the arched corbel in the high ceilinged hallway is original. Achieving that harmony was a trick, since the interior had to be gutted and floor joists twinned to straighten them to repair sagging floors and crumbling walls.
Though the home’s history is shrouded in mystery, chances are it wasn’t a particularly fancy home, which makes its original features the more remarkable to modern eyes. Some details such as the fireplace in the dining room were comparatively humble, and by the time van Niekerk took over, in rather sorry shape. So he chose to give it an upgrade, adding a marble surround, a gas insert with an ornate arch-topped metal front, and a very realistic-looking simulacrum of coal for the grate.
Van Niekerk is a dedicated cook, and he’s designed many kitchens over t he years. But the fact the existing ’ 70s- era kitchen was quite ready for reinvention allowed him to start over with a clear conscience. The entire room, including the back wall, was gutted, affording the chance to add a tall door that leads to a backyard patio and pool.
It also gave him a place for a floor- to- ceiling pantry wall, and a chance to realize a vision: a deep, dark lacquer finish he calls “piano black,” which really does emulate the gloss of a grand piano. To access the highest cupboards, there’s a built- in stainless steel library ladder that rolls on casters. A broad concretetopped peninsula with a raised serving shelf and Knoll wire stools and a deep butler’s sink under the window complete the setup.
The original basement had been semi- finished, but was little more than a cellar. Digging down to increase headroom allowed him to create a relaxed family room with a zinc-topped bar — “I’m British. I have to have a pub in my basement,” he jokes — and a carefully calibrated wall of walnut-fronted cabinetry for entertainment equipment and storage. There’s also space for a generous laundry room, a fully appointed bathroom and guest suite, and a play area for kids.
On the second floor, a formerly gloomy bathroom was brightened with subway tiles floor to ceiling, a glassed- in shower and plenty of built-in storage.
The top floor, probably once maids’ quarters, is now a private retreat for parents after a busy day. Van Niekerk converted one of the smaller bedrooms into a master ensuite, enclosed behind sandblasted glass, with a tub lit by a crystal chandelier. Another smallish bedroom adjoining the master became a well- appointed dressing room. A slight adjustment yielded big results: By stealing a few inches from this room, the master suite became large enough to accommodate a king-sized bed and a laid-back sitting area.
With a touch of sadness, van Niekerk acknowledges new business opportunities mean it’s time to move on; the house is on the market. But knowing him, there will certainly be a new house to obsess over before long.