gross amount of the grain received in the elevator during the crop year" such surplus shall be sold for the benefit of the Board' was denied by the Anglin court of the SCC. They ruled that the federal government had encroached into provincial jurisdiction. In 1971 and in the era of the Canadian Wheat Board (CWB), the power of the federal government to declare a private grain elevator works constructed after the passage of the legislation as "works for the general advantage of Canada", thus gathering them under its control under section 92.10.c of the BNA Act, was contested in the Supreme Court. The Fauteux court ruled it be intra vires. In 1975, a private rapeseed elevator was declared by the Laskin court to be a "grain elevator" and thus under the control of the CGC and CWB. In 1980, the defendant corporation in a case of illicentious sale of grain contended in front of the Laskin court that its employee, the manager of a grain elevator, could not be compelled to testify against it by virtue of an extension of the right to silence. It failed and a trial de novo was ordered. The court held, grosso modo, that the employee was not bound to the body corporate to such an extent, and the doctrines about self-incrimination did not apply. Building Architecture Ernest J. Smith of Smith Carter was the principal architect of the Grain Commission's current headquarters, nicknamed the "mushroom building", the structure itself is a notable example of a Canadian skyscraper displaying Brutalist elements. The building's "extended cap" was designed because of a space needed between the upper and lower floors for specialized mechanical equipment used to transport grain to an upper-level flour mill and test brewery. Smith remarked on the challenges involved:Mixing two different functions in a vertical building is difficult. Normally construction would be separated horizontally. In this case, we worked out two separate modules for offices and lab space, [and] found we needed greater depth in the lab and rationalised the present form. Sculpture in the forecourt In 1976, John Cullen Nugent's No. 1 Northern, a large steel abstract sculpture was unveiled, a work intended to be a metaphor for fields of wheat, represented in multi-layer rectangular shapes and painted the "brilliant" yellow of harvest wheat, and designed to represent Canada's hardy top grade, red spring wheat hybrid of the same name. The work