For PR professionals seeking to engage Canada’s preeminent architecture writer, understanding Mays’ dual lens – historical erudition and mental health advocacy – proves crucial. Currently contributing to The Globe and Mail’s urban design vertical, his work dissects buildings as psychological artifacts.
“Festive architecture that defies mediocrity” – Mays’ iconic description of Libeskind’s ROM crystal, quoted in 15+ academic papers on museum design
Avoid pitching commercial real estate trends or celebrity architect profiles. Mays’ readers expect deep dives into architecture’s societal imprint, not market analyses. His award-winning career blended journalistic rigor with literary flair – successful pitches mirror this duality with data-driven storytelling.
We’ve followed John Bentley Mays’s work across four decades of transformative cultural criticism. Born in Louisiana but finding his voice in Toronto, Mays evolved from medieval literature scholar to one of Canada’s most incisive architecture critics. His 2008 return to The Globe and Mail as architecture columnist marked a maturation of his style – blending historical erudition with urgent urban commentary.
This posthumous tribute doubles as Mays’ final architectural manifesto. Analyzing Daniel Libeskind’s Royal Ontario Museum addition, he transforms steel and glass into cultural metaphor: “dramatic aluminum- and glass-clad volumes tilt and crash like jagged ice floes.” The 1,200-word piece exemplifies his signature move – using building critiques to diagnose civic identity. Mays positions the ROM’s crystalline form as both rupture and dialogue with Toronto’s staid architectural past, making technical details accessible through nature metaphors.
Mays’ 1997 memoir-review hybrid dissects Southern Gothic legacy through plantation visits and archival digging. The 2,300-word narrative interweaves slave ledger excerpts with personal reckonings, challenging romanticized antebellum myths. His methodology combines investigative journalism’s rigor with memoir’s intimacy – cross-referencing family letters against county records to trace how cotton wealth built racial trauma. The work influenced Canadian memoirists by demonstrating how personal history intersects with national narratives.
This career retrospective highlights Mays’ contrarian takes on starchitect phenomena. His 800-word critique of MAD’s “Marilyn Towers” rejects populist praise: “Somewhere between sketch and steel, Marilyn grew buxom and dumpy.” The analysis balances technical critique (material choices, sightline disruptions) with cultural commentary on Toronto’s identity crisis. Editors note how Mays’ columns directly influenced municipal design competitions by prioritizing contextual harmony over spectacle.
Mays consistently championed adaptive reuse over demolition, as seen in his 2014 series on Toronto’s Distillery District revitalization. Successful pitches should connect historical preservation to contemporary sustainability metrics, citing specific architectural elements worth conserving. Avoid generic “save old buildings” narratives – focus on demonstrable cultural value through economic or ecological lenses.
His memoir In the Jaws of the Black Dogs established Mays as a authority on depression’s intersection with creativity. Pitches could explore new research on bipolar disorder in architecture, or interview therapists specializing in artistic clients. Avoid simplistic “tortured artist” tropes – emphasize evidence-based coping strategies.
Mays’ Louisiana roots informed his analyses of plantation architecture’s psychological legacy. Pitch comparative studies of antebellum estates vs. contemporary memorial designs, focusing on materials symbolism. Ideal angles might examine how wrought iron patterns encoded social control, or how modern museums repurpose slave quarters.
At PressContact, we aim to help you discover the most relevant journalists for your PR efforts. If you're looking to pitch to more journalists who write on Architecture, here are some other real estate journalist profiles you may find relevant: