e e e e e e e e e good evening and welcome to this meeting of the Planning and Development Council of the town of Oakville Madam clerk do we have any regrets we have no regrets this evening thank you uh I want to welcome everyone to the meeting uh and remind those in person in our chamber today that decorum is essential to our work here in order to ensure a peaceful and respectful environment for all who are participating uh counselor are there any Declarations of AR interest Madam clerk there are no declarations would uh two of us like to move in second into Committee of the whole Council L Jenna and councelor eler thank you any objection there being none that carries uh we have no consent items of uh public or confidential nature nor public hearing items and um no discussion items however we have U the advisory committee minutes from the Heritage Oakville advisory committee and uh the motion that we need uh from one of us is to receive the minutes of the Heritage advisory committee and councelor mcnees thank you for that and uh is there any objection there being none that carries thank you counselor we have one confidential discussion item and uh we need a motion to go into Clos session to deal with item 8.1 and 8.2 as these matters may be considered in the absence of the public under Section 239 sub2 of the misel act because they deal with the following information explicitly supplied in confidence to the municipality or local board by Canada a province or territory or a crown agency or any of them a position plan procedure criteria or instruction to be applied to any negotiations carried on or to be carried on by or on behalf of the municipality or local board and advice that is subject to solicor client privilege including Communications necessary for that purpose I believe I saw a motion from councelor Longo thank you any objection there being none that carries and we'll just take a brief pause while our technical people get us into an in camera session recording stopped try to live through cool I'm uh currently in my first of third of three years at uh at Sheridan so um it's uh kind of fun to be at that point because uh you have all great ideas and you're not limited by actual technology Sheridan College uh in the glass Department here they uh ran a bit of a competition amongst the students I submitted my design and uh then uh it got sent off um one of the things that I did before I submitted my design to the town was uh I had a talk with the uh actual professors to make sure that it was doable uh it'll look not un like this uh the central piece will actually have a a wave in it it's got this Oak shape to it uh when you look down on it uh that'll it'll have a name plate on there and then uh when it comes out of the mold it looks not unlike this it'll be on the end of the pipe and we just break it off and uh we put that in cool and then uh when it's done we saw it off right about here and uh uh polish the bottom so of course this one's been saw already the the process of the thing uh kind of goes like um we start out with a spike of glass we form a uh we take a gather and we form it into kind of a conical piece of glass uh then we get uh a couple of what we call gathers We Gather glass on the end of the rod and then we um roll it in colored powder which is basically really finely crushed glass uh with color in it uh then we melt that in uh we roll it a few times just to make sure that it's got lots of solid color on it uh what we do is we take molten glass out of the furnace and we roll it in this uh colored powder the uh glass color and it sticks it'll stick to the glass the hot glass and then what we do is we take it over to the glory hole and uh we melt it in so the glor hole gets it nice and hot reheat the glass once it's melted in nice and neat I'll take it over to Paul there and you'll uh stick it on a piece but I want to get it pretty hot so that I don't have a I get a nice uh small Trail for him um and then we apply that onto our Spike right so we have two colors we have uh we have have two guys doing it basically we'll we'll lay on one color then we'll flip it over and we'll lay on the other color so we have um the basically three rods of color together right because we don't want the glass to cool off too much after after he's done it uh after he's formed his spiky bit there um we don't want the glass to cool off too much and we don't want to have to reheat it over and over and over again uh so uh it it takes two of us with bit rods to form two colors just so that we can um put the one color on and then put the next color on uh and then go and and melt them together because if we put one color on and then he melts it together then we put another color on and he melts that in it could melt in uh in in kind of a weird uh blurred shape so if we put them both on at the same time then they melt at the same rate and that makes it uh much more crisp and nicer and so now uh we laid the color on the center bit and we just have to melt the color in so it becomes one smooth pattern because if there's any uh seams or anything where the color is when we plunge it into the middle it's going to catch bubbles there so that'll be little imperfections in the design um then we'll melt them together so that they're smooth uh without a lot of uh edges cuz if we have a lot of edges we'll trap air and we didn't want a ton of extra bubbles or or um special design of bubbles so we we wanted to make sure that um it's all nice and smooth then what we do is we extrude it out a bit uh lengthwise and give it a Twist nice slow twist and that gives it kind of that Helix of color in this you can see a spike of color but it has this nice uh you know about two revolutions worth of color uh and a two revolutions of twist in the color um then it's we put a bit of a wave into it so it looks kind of more like a flame so puts a nice then we have a graphite mold mold that's made out of a big CH block of graphite uh it's a two-part mold so it splits in half basically I'll get a ladle of glass out of the out of the furnace a big Ladle of glass and we pour that into the mold so it's full and then uh the the guy who forms the spike with the twist in it um plunges that into the mold so we plunge it straight down into the mold we let it cool off a little bit so that it firms up because the glass is kind of like taffy you know um after a few minutes uh we wait a little bit longer and it seizes up a little bit more it's still flexible but not uh solid just doing this to cool the edges here set it up a bit then we pull it out of the mold and we flash it in the Gory hole and that's to uh even out the heat but also the flame in the glory hole will polish the one end so this this end here gets its uh gets its smooth surface from what we call Flame polishing and so we have to let it completely set up before we put it away otherwise if we put it away too hot it's going to deform when it's in the analer the the internal heat in it will actually like deform the piece yeah SL the heat actually moves kind of slow and the internal heat will come out to the external part of the uh of the uh piece and then when it sits on the grading in the analer because the shelves are great uh it can actually take on the shape of the grading if it was too like if it becomes too hot and the aner itself isn't that hot even though it feels like it when you stick your head in there it feels like it I go but uh uh glass it's not hot enough to actually deform but the interior of the piece could be 3 4 500° warmer than the actual exterior and then that soaks out to the outside yeah the anas are at like 500° and these furnaces are at like 2,000 yeah uh then we uh wait uh for a while until it seizes up as soon as it stops moving then we'll break it off and we'll put it in the annealing oven now we're just creating a stress point in the glass if like this is a really cool part now so if I hit the glass all the vibrations are going to stop at that one point uh then it'll sit in the annealing oven for about 57 hours and that cools down slowly and what it does is it takes all the stress out of the glass uh because all the forming uh that we do uh causes uh inconsistent Heating in throughout the glass right and even though we're flashing it and doing all kinds of things to it uh to try and um even out the heat uh it'll still have inconsistent heat through it so what we do is we put in the kneeling oven and it bathes it in a in a 550° c for uh um a good 25 hours or so well everything in a glass shop is a team effort right uh so uh I came up with the design you know it's it's it's my design but that doesn't mean that I'm the one who carries things out I mean there are a number of artists like that they actually just design and somebody else actually makes something in this case uh I you know I've got this skill set that allows me to help out right and plus I get to supervise I get to look and see what's going on um the some other first year students that are there are Paul ven biger uh he's the one who's putting the twist in the glass he's quite good at it so uh we figured why you know why reinvent the wheel for one of us to figure that out and then there's Matt Crosby and that's helping out with everything else bringing beds opening the door um you need to have a hand uh in the glass shop because there's so many things that are really hot that you just can't do it you just can't hold a pipe in one hand and try and open the door the other hand especially with this thing it weighs too much it's a good 5 10 lbs of Glass on there um so uh it's important that I get Paul and Matt to help out each one will be unique it'll be it'll be at least slightly different no matter how no matter how much we wanted them to be exactly the same uh they'll always be a little bit different just because of uh how we did it the uh shape of this award it takes on the shape which is actually an oak leaf um so if you look at it it's Oakleaf shaped right um and that's of course the oakville's own built-in iconography so what we did is we placed uh these spirals of color in the center to kind of um uh symbolize an inner flame so it's kind of like the inner fire that runs the runs the town it so the um volunteers have you know are are this um uh energy that that runs the town and uh you don't get anything done without having a core of volunteers willing to do the things that need to be done so so I thought it was important to have that in there and it also kind of symbolizes the inter fire of the actual people uh who are volunteers because they have to have a certain Dedication that you don't see so it's it's kind of a dual meaning in that in that regard you've got uh the in fire of the town and the in fire in the people who are near fire of the town the complexity of the piece actually requires that uh you have a few extra hands especially when we got a two-part mold um one guy plunges the piece into the mold but he can't let go of the pipe uh to uh you know to to try and extract it so um it takes another two people to try and separate the mold off of it cuz it can stick uh can get glass can get sticky at that temperature and it can get stuck in the mold and if we leave it in there too long it's just going to crack uh so we'll have a ruined piece at that point so um because graphite really sucks the heat out of the uh out of the glass right it's like uh doing anything with it touching metal to the glass it'll suck the heat out of the glass so um it takes a couple of guys in there uh sometimes prying sometimes holding on to the physically holding on to the mold with a pair of gloves on um and then Paul can pull it up out of there once it's out uh once it's been freed uh it's important to pull up vertically so that we don't snap off some of the vertical striations in the mold like these uh these bits in here um that's you know uh solid graphite in the mold and if we twist it we can snap them off and then we've ruined the mold and we don't want to do that right uh it it it takes it takes a while to cut one of those things because it's 6 in thick so uh it takes a it takes a few hands uh to get things uh get things done this is actually my my first time in Oakville it's a lot of it's a very nice town uh everybody's really nice here and it's a almost it's almost surprising you know like how how nice everyone is in Oakville um and also how dedicated volunteers are and how important it is to actually um give them some kind of uh award to recognize what they do so uh it was it was great for me to to to sit down and go hey I get to I get to make this thing volunteers are B basically selfless you know it's selfless service it's it's really giving to others I know for sure that they're not in doing their volunteer work um expecting to be recognized and to be thanked but it really is from my perspective an enormous honor to be able to make this year the awards that will'll actually recognize them and thank them for the work that they do volunteers are the creatures that operate maybe between Earth and Sky and to keep a community together the community Spirit award for this year is a um an a functional box uh that was the request from the committee um I had proposed something that would go on the wall but it has um actually the the Box itself has a lot of the elements that I had of my initial proposal um my initial proposal did include this um Waterfront line delineating uh the difference between the sky and the Earth so uh that has been retained in the Box the process of making the boxes is included working with two different clay bodies one that's very groggy a bit like having sand in it so it's very textured and the other one is a porcelain for the temperature that I'm firing to so the um the interesting part about these two clay bodies is they're really quite different one is um very smooth and the other one is is this as I say more textured more more has more um almost like sand in it if you were to feel it with your fingers you you feel more of um um it's just different to tactile but they uh these two different Clays dry differently and they um they want to almost go in opposite directions so it's kind of interesting to work with them in a way that puts them together to come to the um the awards which are the boxes Vanessa has come a long way in terms of solving a lot of technical problems this year and it's because she's really set for herself um some technical challenges working with different types of of Clays and trying to combine them um together in a single piece a single object um as a ceramic artist that sort of sets you up for trouble and um Vanessa went in knowing that and she's been strategic in finding ways to sort of respond to those challenges and it's really boosted her her technical skills for sure this is why my little note here on that you know it's like yes you're going to get different sorts of responses by by working with uh um uh a hollow right where the glaze is going to collect and flow oh then when it's and that's not really representational of the kinds of forms that you're making where it's going to be you know there are little grooves small areas where it's going to be gathering together but generally speaking it's going to flow over and then this all I do is didn't it's not an elegant process that so see there just come out it's maybe even a bit distorted and then take this magic tool which I do not know if it has a name and we hope for the best so highly unsophisticated I'm cutting through this box so now I have two pieces one that's sort of showing the irregularities and the very um hopefully straight cut lid once those are put aside then I return to the same mold and using the grogged clay now with the Globs I use Globs I press them into the mold and at a certain point I then take the one of the halves of the porcelain as uh piece flip it over into the mold and so what I'm visually looking at that point is I'll have some porcelain as clay some space and almost the Grog clay below and then I'll take more of the Grog clay fill it all in and what I'm doing there is um joining both the porcelin and the grogged clay and at that point I'm um really compressing the clay and forming the shape that's going to be in the inside and I that process takes a fair amount of time and then when that um piece when the mold has absorbed some of the moisture from the actual clay I flip that out and then I put together um overnight the what is now the base of the clay the base of the box and the lid I put them together without the lip and I actually dry them inverted uh with a lot of plastic to keep the moisture in so it's actually not dry it's just settling uh which is sort of an important part of this process I let that happen overnight and then the next day I will put the um the lip into the box the rim it's beautiful I like the way it's it's so soft by comparison scratch I know I know nal's got extremely high standards the program it shared and is really intense um it takes over your life life in ways that you couldn't possibly predict and the more you learn about it the more you want to know the more you experiment and learn about the materials um you realize that it never ends and that there's always something new and exciting to do with Ceramics and I think that's what's amazing about Sheridan so that it's a really transformative three years in order to create the um the lip of the box I will first either roll out a slab a bit like you do with pastry or I will pass it through our slab roller either way I've got um something that looks very much like pastry and then I um cut strips to the size that I want so I'm able to cut it and create the lip then I cut that lip at an angle and I soften it and I clean it up so what is lovely about this porcelain is that I can actually use sponge fairly liberally on it I can smooth out um the lines where I want them The Last Detail that I put on a box is of course the writing so um I've chosen to write in um script on the boxes you there is an exhibition of um the graduating class of all Studios so it's includes textiles glass furniture and Ceramics of course so um that was very EX exciting it was very very um it was very successful in the sense that we had people coming in there until about 10:00 at night so there were people on the sidewalk the galleries were full the work was great so a great opportunity as a student to start you know um exhibiting our work and showing our work and uh and that process is also very interesting because once your work becomes public there's a whole new dialogue that starts happening so I mean I think that dialogue of privacy is a real important part of what she's been doing with her thesis work and that's why I think uh in a lot of ways the fact that she's taken those pieces and and being been inspired to work more publicly in relation to this commission uh makes those pieces really interesting once it goes through the bisf faring then um I glaze them and that's a bit of a slow Pro Oakville is my home I have an office often worked in Oakville but I have always lived almost in Oakville since uh my family and I arrived in Canada we came from Argentina in 1985 this area is to the family very important the places are glazed inside and outside and there is different glazes for different reasons as I glaz the inside both the lid and the box with a clear glaze this cleaning off can actually be done at different times the glaze will come out once that is done then I will glaze the the lid and the part of the box that is you know whether referring to the lake or the sky in in in with a glaze and then once that is on we uh put the pieces in the k for the glaze firing which is about 16 hours of firing and then another 16 20 of just cooling down before the pieces can be taken out it says 60° here to open and I can move my hands because it's not so hot yes it works mostly important that it works for the recipient but um yes I think we have you know we've got texture we've got lines we've got you know the handwritten note as I think try to think of script you know I know it's not what we use the most being so accustomed to um text messages but you know handwriting does have a connotation something personal and you know these recips are receiving and are being acknowledged on a very personal for very personal activity so I kind of like that idea I debated what type of script to put and then I thought okay just handwriting works so that's what it is together my wife and I were I guess were designers I guess myself I'm I'm a shop guy I like making stuff I like getting into the studio early and taking care of business trying to figure out how how to make something and what the best way to make something will be yeah that'll be nice so it'll be in in about there perfect you get to keep some of this though yeah yeah that's a neat I like that that's a neat thing I wonder how it'll stay with uh should finish up okay yeah I actually first met both Joseph and Dena about four years ago as uh students at the Sheridan College craft and design program and both were studying in the furniture studio right from the start both Joseph and Dena have been very active in the field of Woodworking and it's also been my pleasure to see them move from students into building a collaborative design studio and production house called DJ and JB and which also kind playfully references their own uh relationship at as husband and wife Dana and I work work very closely together what do you think we always bounce our ideas off each other we work as a team I think in coming up with um how these Awards have turned out Dana has been a just pushing me always to do more and to just dig in to the project basically for me to explore and dive into um the making of of these Awards um a lot of it is is on me as the guy who's in front of the lathe or doing most of the actual work um and shaping of these things to actually treat each piece with uh its own intention uh and then she kind of swoops in and adds whole other layers of of meaning she sees things that that maybe I haven't seen and adds um context and support that'll be nice so it'll be in in about there so as a collaborative team they have developed to produce a really flexible and modern selection of work and they always focus on using local materials sustainable practices so Dana and I started JB plus DG while we were in school together um the acronym is our our initials Joseph Bowman Plus Dana gney oh we're at Blossom and Bloom at Union Station in Toronto it's a 2day cck fair we do one of these every 2 to three weeks uh throughout the summer uh depending on our boo size we bring what we can and uh because it is a flower show we've brought our Planters and some of the paper flowers that started making and some wall hangings and mobiles so when it come came time to establish a name for business that just seemed like apt um it's who we are it's a bit of a love story and it's simple so our own approach is the uh simplest expression of an elegant idea I'm the studio technician at uh the wood studio uh Queen Elizabeth Park Community and Cultural Center and um I get to talk shop with residents every day I'm here and help out with projects and just hang out in a wood studio all day with people I think specifically this community center is amazing this is a a space that when it opened I remember being intensely jealous of the first technician who scored the gig that I have now very intensely jealous for me it's kind of a a coveted gig I like the role um you get to meet a lot of people you to help out with a lot of projects um I get to do a lot of thinking about how I might uh solve a problem without actually having to solve that problem myself I get to offer my advice and then see how that project plays out um so it's fun it's rewarding and it it opened up a lot of opportunities the fun part's over and now the work begins what I know about Joseph anda's Studio practice is that they've put a lot of hard work into building something that works both in terms of what they want to do creatively and what their customers are looking for and so they have a really beautiful range of products that are very modern and aesthetic um but that are also very customizable and that they're using local woods and sustainable practices I try not to be too precious about any of the material um I believe that the material is is uh is going to work it's it's wood it's beautiful it has beautiful natural characteristics that I know I can turn into something that others will enjoy and and you kind of believe in that process and believe in the skill and craftsmanship and the eye and the hand and go from there the theme that we're starting from is volunteerism so there's something in volunteering your time that um is altruistic it's caring for another another person a place it's something completely outside of yourself it's it's nurturing something and so we thought it would be appropriate to present awards that um had a bit of that in them so they're vessels for um succulent plants they're all individually beautiful vessels for for plants um we chose succulents we chose a variety of succulents and little trees um to have some interest in color and layers we actually get our plants from a nursery a neighbor of ours has a small Nursery um in the East End um where she grows everything from she has her mother trees and she grows everything from cuting and uh uh the little succulent in in our line of work it's a rare opportunity to put that amount of time into something so these pieces have been babied they've been um they've been well-loved um and I've been over every inch of them for hours and it's been joyous it's been a it's been a very enjoyable experience if somebody comes in to see me at the at the queue and then they really need help with something there's a lot that I get out of helping people with their projects here it's been my experience that I guess giving of your of your time knowledge and effort is kind of its own reward in a way it should be reasonably well understood that each piece was made by hand and and that uh um each image is different for that reason so it's it's very clear that um I'm not using any sort of mass produced or or mass production technique what I'm using are tools and my own hands to carve each piece out individually this is really about the handmade process or or or the maker Mark in that sense the process of throwing essentially whether you're making a cup or a vase or a bowl the process is essentially the same it starts with wedging your clay preparing the clay making sure it's nice and even and consistent for throwing you want to avoid air bubbles or chunks or bits um so you wedge that clay to get it nice and even it goes onto the wheel uh first step is centering uh which involves uh uh holding the clay in place so that uh you know uh basically the whole idea is is not to force the clay but to to be nice and steady so that the clay centers itself onto the wheel uh at which point you're ready to open it up what most people love about Clay is uh the feeling that it provides infinite possibility and opportunity it's it's uh uh it may look like mud at first glance but it's uh basically mud that can hold its shape um that can be carved it can be wheel thrown it can be uh pressed into sheets it can be uh shaped into pretty much any idea that comes to mind um provided uh it has a physical form or or it can express things without physical form in in in a different way as well it really it really is a material without much limitation except for the limitation that we provide so um it it has the opportunity to provide almost a limitless canvas for the artist all right so I've centered I've opened up the pot now I'm ready to pull up the wall just basically getting the height of the piece it took me at least um 2 years to become a proficient thrower like to to a point where I was happy with what was coming out um but at this point I've had about 15 years worth of throwing experience and can honestly say that my throwing is better now than it was in the past um although it's changed to some some some degree as well but uh uh it's definitely an ongoing process because there's always room to grow um there there's fine tuning that happens in each shape so uh the more it's it's one of those activities the more you do the better you become at it and then after you've pulled you're going to do the fine-tuning details in terms of adjusting the shape so pretty much everything starts with a cylindrical form then you sort of work your way up from there I think for most clay artists the uh process is definitely very personal um from beginning to end so we we think of an idea uh and then it's our our job to bring that idea to life into an object um or or or a sculptural piece or or what have you but uh it's a personal process it's a journey where we we have to give something a life of its own what I love about the potter's wheel is um partly just the process it's it's an enjoyable process to work with the wheel but also it provides a degree of structure um it can help you generate a shape much faster than uh building at the table um but then it's it's up to the individual or the artist to understand what they can do with that shape if it can become more than what it is if it's necessary or or if it's um if it isn't it's it's simply a beautiful shape on its own um I've been teaching here at Queen Elizabeth Park Community Cultural Center for uh roughly two and a half years or three years uh my first experience was uh to throwing actually to uh town of Oakville staff uh we had a great time and I've since taught uh kids classes adult classes um intro to Ceramics uh generally speaking though in the past i' focused more on uh or I was I was focusing more on um the one-off courses so uh we have a variety of weekend warrior workshops which are just a chance for uh parents kids or uh you know just adults whatnot to come in get an experience working in clay um without having to enroll in a full class but it it's been a ton of fun uh We've made everything from uh teapots to piggy banks to uh handmade bowls uh wheel throwing uh workshops um and we have uh tons more coming up at just this week coming we'll have a Windchimes Workshop so so there's a ton of different things happening in terms of teaching okay yeah yeah you guys you're all getting off to a good start I everybody's getting off to good start okay how's my horse coming along does that look better a little bit you have to smoo it out yeah but I'm smoothing it yeah that's that's what I've been working on yeah it's a good idea about making the shape of it okay so here I'm going to help you make a couple coils so I'm going to take some of this off do you want to do this um I've seen kids uh of all all ages and and uh backgrounds enjoying the creative process um sometimes it's about expressing an idea sometimes it's about recreating their favorite cartoon uh you name it I've seen a lot of different things come out of that place in terms of creativity from kids um but uh most importantly I think it's given them a medium to express themselves when it comes to the carved work it tends to be uh the side of myself that's a little more serious or or or classical in in the sense of uh work that's supposed to be um quiet in the sense of uh not overly Whimsical or not or not too pop culture but um more more about being uh uh classically beautiful in the sense of aesthetic aesthetically beautiful um but uh I guess I've been carving for quite some time in clay it's been it's been a while um but I guess I really only started carving uh more seriously U we'll say in about the last 10 years or so um it it is a Time consuming practice so it's not something um you can do every day uh just because you know you still have to get the other pieces made so if you're devoting a lot of time to carving it it really does slow down the rest of your practice the carving that he's doing which has I feel like a more serious feeling to it um and he's very skilled at uh at carving and at all kinds of um fine details that for me I'm Amazed by because that's something I don't have um access to the particular work that he's doing for this commission it's nice for me to see because it's kind of a return to something I haven't seen him do in a while and um I think it's really beautiful yeah um we we think of ourselves as Independent Artists working out of the same space so the studio itself actually doesn't even have a name on the front of the uh the shop this is basically where we work but we we kind of do our own thing it's really nice to have a Cooperative environment uh we're sharing a space but we're all individually our own businesses but we help each other when we need to and it's also nice when you're working long hours to have other people around um we are we're actually very different in terms of our working style although we all work in clay um it's very clear and obvious whose work is whose um but we uh you know we take advantage of the fact that we all work in the same medium and share equip uh to help ease the cost of having a studio in the city this award was actually the first that I carved so it's kind of the as much it's the first it's also the prototype for the whole series um but pretty much it's a simple carving uh predominantly a field of uh oak leaves um and you know they're they're overlapping and interwoven to some degree but um the main idea was just to kind of keep it loose and and a slightly or or more or less an organic form as opposed to a more rigid stylized carving this specific piece is going to have a simple uh treatment in the sense it's all going to be one color um so uh I'll be using the Celadon glaze on this piece first what I'll do after I've mixed it well is pour it in into the piece dump it out so I'll make sure that the entire uh uh interior of the piece has glazed then I'm going to flip it over and just dip it straight into the uh bucket for the remainder um so what's going to happen though is because there are areas of interest on the piece as in like recesses and raised portions from the carving uh the glaze will pull in different points and break on different surfaces so you'll still get uh surface variation based on the thickness of the glaze in different areas uh volunteerism is uh an essential aspect I think of any Community um we may not always give it a name uh but it exists in so many different forms whether it's just the simple Act of of helping somebody out from time to time it could be your neighbor it could be a complete stranger on the street um to actually actively signing up uh for a program uh presently I have a volunteer helping me in class and she's uh a great assistant like uh she helps in terms of keeping the workflow going I can focus on what I'm doing and know that I have somebody there to support me and lend Aid when I need it um so likewise uh any volunteer uh who steps up in in any capacity is basically saying um you know I I believe in this community I want to do my part to keep it vibrant so uh volunteerism is without a doubt one of uh the most you know important aspects of uh you know I guess community living and giving back to your community uh the idea is I want to have two colors on this piece so basically um at this point what I have to do is create a mask or a barrier and that's using liquid wax uh to preserve this color and um be able to then dip the rest of the piece into another color without having the two colors blend so uh I've got to apply again a layer of wax as a barrier taking some of these pieces out I'm happy with it it's got uh all the things that it's supposed to have the The Carving is is well accentuated by the glaze instead of um you know being masked by it uh which could have happened um the wax if you remember seeing the wax earlier did a good job of making sure there wasn't uh too much bleeding on the edges and where it is I think it's actually added a nice effect it's just kind of um uh melted in nicely without creating any be patches or anything like that so it's I'm actually really happy with this piece blazes this is the Celadon glaze also looks good color nice carving is well Vis you know well uh appropriately visible without being masked by anything all right this one was meant as the uh group group award it's why there's basically three main sections uh the idea behind these were stylized Acorn shapes or upside down Acorn shapes the uh in my mind the acorns although they're not organized uh for Compass points the idea was there's four kind of points toall directions uh in the sense of you know it's kind of Heritage is sort of where we're coming from that's the last one I do believe in you know the quality of the handmade obviously um and and for me it was very important that each of these pieces be made by myself um and handcarved um as opposed to you know maybe there there are other options to create uh relief textures I've been working uh making items out of clay for a fair amount of time now and I hopefully have uh improved over that amount of time um and uh you know I'm satisfied with these Awards I think uh I think hopefully they do the the categories Justice and and the people are the recipients are happy to receive these yeah I forgot try to live cool y I'm currently in my first of third of three years at uh at Sheridan so um it's uh kind of fun to be at that point because uh you have all great ideas and you're not limited by actual technology Sheridan College uh in the glass Department here they uh ran a bit of a competition amongst the students I submitted my design and uh then uh it got sent off um one of the things that I did before I submitted my design to the town was uh I had a talk with the uh actual professors to make sure it was doable uh it'll look not unlike this uh the central piece will actually have a a wave in it it's got this o shape to it uh when you look down on it uh that'll it'll have a name plate on there and then uh when it comes out of the mold it looks not un likee this it'll be on the end of the pipe and we just break it off and uh we put that in cool and then uh when it's done we saw it off right about here and uh uh polish the bottom so of course this one's been saw already the the process of the thing uh kind of goes like um we start out with a spike of glass we form a uh we take a gather and we form it into kind of iconical piece of glass uh then we get a couple of uh what we call gathers We Gather glass on the end of a rod and then uh we um roll it in colored powder which is basically really finely crushed glass uh with color in it uh then we melt that in uh we roll it a few times just to make sure that it's got lots of solid color on it uh what we do is we take molten glass out of the furnace and we roll it in this uh colored powder the uh glass color and it sticks it'll stick to the glass to the hot glass and then what we do is we take it over to the glory hole and uh we melt it in so the GL hole gets it nice and hot reheat the glass once it's melted in nice and neat I'll take it over to Paul there and you'll uh stick it on a piece but I want to get it pretty hot so that I don't have a I get a nice uh small Trail for him um and then we apply that onto our Spike right so we have two colors we have uh we have have two guys doing it basically uh we'll we'll lay on one color then we'll flip it over and we'll lay on the other color so we have um the basically three rods of color together right because we don't want the glass to cool off too much after after he's done it uh after he's formed his spiky bit there um we don't want the glass to cool off too much and we don't have to reheat it over and over and over again uh so uh it it takes two of us with bit rods to form two colors just so that we can um put the one color on and then put the next color on uh and then go and and melt them together because if we put one color on and then he melts it together then we put another color on and he melts that in it could melt in uh in in kind of a weird uh blurred shape so if we put them both on at the same time then they melt at the same rate and that makes it uh much more crisp and nicer and so now uh we laid the color on the center bit and we just have to melt the color in so it becomes one smooth pattern because if there's any uh seams or anything where the color is when we plunge it into the middle it's going to catch bubbles there so that'll be little imperfections in the design um then we'll melt them together so that they're smooth uh without a lot of uh edges cuz if we have a lot of edges we'll trap air and uh we didn't want a ton of extra bubbles or or um special design of bubbles so we we wanted to make sure that um it's all nice and smooth then what we do is we extrude it out a bit uh lengthwise and give it a Twist nice slow twist and that gives it kind of that uh Helix of color in this you can see a spike color but it has this nice uh you know about two revolutions worth of color and a two revolutions of twist in the color um then it's we put a bit of a wave into it so it looks kind of more like a flame so this puts a nice B then we have a graphite mold mold that's made out of a big CH block of graphite uh it's a two-part mold so it splits in half basically I'll uh get a ladle of glass out of the out of the furnace a big label of glass and we pour that into the mold so it's full and then uh the the guy who form the spike with a Twist in it um plunges that into the mold so we plunge it straight down into the mold we let it cool off a little bit so that it firms up because the glass is kind of like taffy you know U after a few minutes uh we wait a little bit longer and it seizes up a little bit more it's still flexible but not uh solid just doing this to cool the edges here set it up a bit then we pull it out of the mold and we flash it in the glory hole and that's to uh even out the heat but also the flame in the glory hole will polish the one end so this this end here gets its uh gets its smooth surface from what we call Flame polishing and so we have to let it completely set up before we put it away otherwise if we put it away too hot it's going to deform when it's in the analer the the internal heat in it will actually like deform the piece yeah slump the heat actually moves kind of slow and the internal heat will come out to the external part of the uh of the uh piece and then when it sits on the grading in the annealer because the shelves are great uh it can actually take on the shape of the grading if it was too like if it becomes too hot and the analer itself isn't that hot even though it feels like it you stick your head in there it feels like it go but uh uh it's not hot enough to actually deform but the interior of the piece could be 3 4 500° warmer than the actual exterior and then that soaks out to the outside yeah the anas are at like 500° and these furnaces are at like 2,000 something yeah uh then we uh wait uh for a while to until it seizes up as soon as it stops moving then we'll break it off and we'll put it in the annealing oven and now we're just creating a stress point in the glass if you like this is a really cool part now so if I hit the glass all the vibrations are going to stop at that one point uh then it'll sit in the annealing oven for about 57 hours and that cools down slowly and what it does is it takes all the stress out of the glass uh because all the forming uh that we do uh causes uh inconsistent Heating in it looks like we're back do you agree we're back anybody going to tell us second recording in progress all right Council has resumed a public session having uh gone into a Clos session to deal with confidential items 8.1 and 8.2 uh because those matters could be considered in the absence of the public under the terms of the municipal act because they deal with information explicitly supplied in confidence to the municipality or local board by Canada a province or territory or a crown agency of any of them a position plan procedure criteria or instruction to be applied to any negotiations carried on or to be carried on by or on behalf of the municipality or local board and advice that is subject to solicitor client privilege including Communications necessary for that purpose uh we need a a a mover for the motion to receive the report from the legal department and I'll look for that counselor Longo thank you any objection there being none that's carried we need a mover for a report sorry that the confidential District verbal update from the legal department be received and uh councelor shei thank you very much any objection there being none that carries we now need a motion to rise and Report because we're in Committee of the whole councelor eler thank you any objection there being none I Rise and Report the committee of the whole has met and made recommendations on conf confidential items 8.1 and 8.2 and Heritage minutes 9.1 may I have a mover and seconder for the report please councelor Chisum and councelor Nanda thank you any objection there being none the report is adopted uh council is there any new business that anyone would like to share not seeing any would you would two of us move and second the consideration on reading of the confirmatory byw councelor has the theal and counselor shei thank you uh any objection there being none the confirmatory bylaw is considered read and passed and that ends the work of this meeting thank you everybody for your time and your diligent questions and your good work together it's been terrific working with you and we're done for now for