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ANNUAL CONFERENCE 2014 Society for the Study of Architecture in Canada Fredericton, New Brunswick May 28-31, 2014

CONGRÈS ANNUEL 2014 Société pour l’étude de l’architecture au Canada

Fredericton, Nouveau-Brunswick 28 au 31 mai 2014

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The SSAC would like to thank the

partners and sponsors of the 2014 conference:

La SÉAC tient à remercier les

partenaires et commanditaires du congrès 2014 :

New Brunswick College of Craft and Design

University of New Brunswick

Province of New Brunswick - Department of Transportation and Infrastructure

City of Fredericton - Heritage and Cultural Affairs Department

Fredericton Transit

Fredericton Tourism

Fredericton Heritage Trust

Christ Church Cathedral

The Van Horne Estate on Ministers Island Inc.

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Past and Presence Anniversaries are a time to look back, but also to look ahead; to reflect on where we have been, where we are, and where we hope to go. This year, the Society for the Study of Architecture in Canada marks forty years of study, scholarship, writing, teaching, learning and caring about the built environment in Canada. For four decades, we have engaged the past and present in an energetic dialogue spanning history, heritage, historiography, modernity, design and theory. As we celebrate a milestone along this extraordinary shared journey, we invite colleagues from across disciplines and across the country to join us in exploring the profound presence of our built heritage – historic and contemporary – in our communities and in our lives. The organizing committee: John Leroux Peter Coffman Nicolas Miquelon

Passé et présence Les anniversaires sont une occasion de regarder en arrière, mais aussi vers l’avant; de jeter un regard sur le chemin parcouru et de faire un bilan, afin de mieux se situer dans le présent et de tracer un itinéraire vers l’avenir. Cette année, la Société pour l’étude de l’architecture au Canada célèbre quarante années d’étude, de recherche, de publication, d’enseignement, d’apprentissage, ainsi que de sensibilisation à l’environnement bâti au Canada. Au cours de ces quatre décennies, nous avons fait dialoguer le passé avec le présent sur les champs de l’histoire, du patrimoine, de l’historiographie, de la modernité, du design et de la théorie. Tandis que nous soulignons un jalon de cette extraordinaire aventure collective, nous invitons nos collègues de toutes disciplines et de toutes provenances au pays à se joindre à nous pour poursuivre l’exploration de cette profonde présence qu’a notre patrimoine bâti - autant historique que contemporain - dans nos communautés et dans nos vies. Le comité organisateur : John Leroux Peter Coffman Nicolas Miquelon

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Welcome to Fredericton! As proud host of the 2014 Conference of the Society for the Study of Architecture in Canada, Fredericton is ready to welcome you with its rich culture, its architecture and natural beauty. The evolution of Fredericton’s built heritage and its unique character developed hand in hand with the area’s designation and growth as the Capital of New Brunswick. The landmark buildings in the city are a direct result of this governmental and administrative status, as much as the pastoral and picturesque setting on the wonderful St. John River, recently named a Canadian Heritage River. From the early and simple Loyalist vernacular dwellings to the most flamboyant Victorian mansions, or from National Historic Sites like Christ Church Cathedral to little-known Modernist gems, the sweep of Fredericton’s architecture is the most direct connection to the social and economic conditions of the past, and how that past has fashioned this exceptional city. Fredericton is fortunate to possess a vibrant, safe and very walkable downtown that is filled with historic and cultural treasures, like the renowned Beaverbrook Art Gallery, a protected multi-block historic district, the New Brunswick College of Craft and Design, two university campuses, and one of the best farmers markets in Canada. As a diverse and bilingual city, it offers a strong sense of welcome to visitors. Nearby is the storied seaside resort town of St. Andrews, which is a designated National Historic District, and the McAdam Train Station, one of the country’s most magnificent remnants of our railway glory years of a

century ago. Both of these will be among the organized outings planned for the conference, as will be a walking tour of the University of New Brunswick on the hill overlooking downtown Fredericton. Principal Venue: New Brunswick College of Craft and Design/Old Soldier’s Barracks. Set right in the centre of downtown, this National Historic Site was recently incorporated as part of the campus of the adjacent New Brunswick College of Craft and Design. A robust three-storey stone building built between 1826 and 1828 to accommodate over 240 British soldiers, the Barracks’ ordered and symmetrical design is a simple Georgian structure with stone walls and circulation via outside balconies. When the entire Military Compound was declared a National Historic Site in 1964, the barracks’ exterior was restored to its 1865 appearance, with one interior suite restored as a soldiers’ bunkroom. The Barracks is now a fully functional academic building for the NBCCD, housing the College library, classrooms, computer labs and offices. The ground floor vaulted casemates house artisan shops during the summer.

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Bienvenue à Fredericton! Fière d’accueillir le congrès 2014 de la Société pour l'étude de l'architecture au Canada, Fredericton s’apprête à vous dévoiler sa riche culture, son architecture et sa beauté naturelle. L’évolution du patrimoine bâti de Fredericton et son caractère unique peuvent être rattachés à la désignation et à la croissance de la région comme capitale du Nouveau-Brunswick. Les bâtiments qui nous servent de points de repère dans la ville sont un résultat direct de ce statut à la fois gouvernemental et administratif, autant que le cadre pastoral et pittoresque sur les berges de l’enchanteur fleuve Saint-Jean, auquel on a récemment décerné le titre de rivière du patrimoine canadien. Des premières habitations vernaculaires toutes simples construites par les Loyalistes jusqu’aux manoirs victoriens flamboyants, des Lieux historiques nationaux telle la cathédrale Christ Church en passant par des joyaux modernes moins connus, la gamme d’architecture que contient Fredericton est une manifestation directe des conditions socioéconomiques du passé et témoigne de la façon dont ce passé a façonné cette ville exceptionnelle. Fredericton s’enorgueillit d’offrir un centre-ville dynamique, sécuritaire et très facile à parcourir à pied. Celui-ci est rempli de trésors historiques et culturels comme la réputée galerie d’art Beaverbrook, un arrondissement historique protégé qui s’étend sur plusieurs rues, le Collège d’artisanat et de design du Nouveau-Brunswick, deux campus universitaires, de même que l’un des plus enviables marchés au Canada. En tant que ville diversifiée et bilingue, elle offre un accueil chaleureux aux visiteurs.

Non loin se trouve la légendaire station balnéaire de St. Andrews, un arrondissement historique désigné au niveau fédéral, et la station de train McAdam, l’un des plus magnifiques vestiges au pays qui témoigne des années glorieuses du chemin de fer au siècle dernier. Ces deux destinations figureront parmi les visites accompagnant le congrès, ainsi qu’une visite à pied du campus de l’Université du Nouveau-Brunswick, logée tout en haut de la colline qui surplombe le centre-ville de Fredericton. Emplacement du congrès : Collège d’artisanat et de design du Nouveau-Brunswick / Ancienne caserne des soldats. Situé au cœur du centre-ville, ce Lieu historique national a été récemment incorporé au campus du Collège d’artisanat et de design du Nouveau-Brunswick, situé à proximité. Un solide bâtiment de trois étages aux proportions symétriques et ordonnancées, à la structure géorgienne faite de murs de pierre et dont l’accès se fait via des balcons externes, cette caserne érigée de 1826 à 1828 avait été conçue pour loger plus de 240 soldats britanniques. Au moment où l’entièreté du complexe militaire a été déclaré Lieu historique national en 1964, les travaux de restauration ont redonné à l’enveloppe de la caserne son look de 1865, en plus d’y restaurer une section des dortoirs des militaires. La caserne est désormais un édifice académique pleinement fonctionnel du Collège d’artisanat et de design du Nouveau-Brunswick, et contient à la fois la bibliothèque, des salles de classe, des salles d’ordinateurs et des bureaux. Quant aux casemates voûtées du rez-de-chaussée, elles abritent les ateliers des artisans pendant l’été.

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Programme

Wednesday, May 28th / Mercredi 28 mai

Conference Reception / Réception d’ouverture University of New Brunswick – Sir Howard Douglas Hall – 3 Bailey Drive

17:00-19:00 Conference Registration & Reception / Inscription au congrès et réception

18:00 Historic UNB walking tour / Visite patrimoniale du campus de l’UNB

John Leroux will lead a short walking tour of the heritage buildings that line the lower campus of UNB Fredericton. An architecturally significant and attractive academic setting, we will explore a number of National Historic structures such as the 1828 Sir Howard Douglas Hall (the oldest continuously-used university building in Canada), the 1851 Brydone Jack Observatory and its incredible collection of original astrological instruments, the 1924 Memorial Hall with its stunning stained glass windows, and the overlooked Modernist gem Student Centre of 1955, among others.

John Leroux dirigera une courte visite à pied des bâtiments patrimoniaux qui forment le campus inférieur de l’UNB à Fredericton. Situés dans un environnement particulièrement remarquable du point de vue de l’architecture et du charme académique, nous explorerons un certain nombre de structures historiques nationales tel que le Sir Howard Douglas Hall (1828), le plus ancien bâtiment universitaire toujours en usage au Canada, l’Observatoire William Brydone Jack (1851) et son incroyable collection d’authentiques instruments astrologiques, le Memorial Hall (1924) avec ses impressionnants vitraux, ainsi qu’un gemme Moderne parfois oubliée, le Centre des étudiants (1955), et plus.

19:00 Welcoming Remarks & Presentation of Phyllis Lambert Prize / Mots

d’ouverture et présentation du prix Phyllis-Lambert

19:30-20:15 Keynote Address by Thaddeus Holownia, RCA / Conférencier invité: Thaddeus Holownia, RCA

Thaddeus Holownia describes himself as a “teacher, visual artist, letterpress printer and publisher,” but he is also a professor and head of the Department of Fine Arts at Mount Allison University, an avid admirer of architecture, and a most inspiring and dedicated citizen of New Brunswick. An internationally renowned photographer, his work has been the subject of significant solo and group exhibitions, both in Canada and internationally. Similarly, his photographs and bookworks have been acquired by some of the finest museums in the world, including the National Gallery of Canada, the Houston Museum of Fine Arts, the Canadian Centre of Architecture,

Se décrivant lui-même comme un « enseignant, un artiste visuel, un spécialiste de la typographie et un éditeur », Thaddeus Holownia est également enseignant et directeur du département des beaux-arts de l’Université Mount Allison, un grand admirateur d’architecture, ainsi qu’un citoyen du Nouveau-Brunswick parmi les plus dévoués et les plus inspirants. Un photographe de réputée mondiale, son œuvre a fait l’objet d’importantes expositions de groupe ou individuelles, au Canada comme à l’étranger. De même, ses photographies et ses livres d’art ont été acquis par d’importants musées à travers le monde, y compris par le Musées des beaux-arts du Canada, le Centre canadien d’architecture et de

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as well as numerous corporate and private collections. No small feat for a resident of the tiny settlement of Jolicure near the Tantramar Marshes in southeast New Brunswick. A member of the Royal Canadian Academy of Arts and a Fulbright Fellow, Holownia has consistently combined his studio work with a strong dedication to teaching and encouraging young students. As such, he twice received the Paul Paré Medal from Mount Allison University in recognition of excellence in teaching, creative activity, research and community service (in 1998 & 2006). Whether his lens has framed the sublime natural environment, our built structures and the slow decay of time, or individuals captured in a moment of reflection, one cannot remain unmoved by his images. Using large-format cameras and negatives, he has produced a constantly evolving body of work that is unique within the visual arts in Canada, revealing the magnificent and often overlooked beauty of the world.

nombreuses collections personnelles ou d’entreprises; rien de moins pour un résident du tout petit établissement de Jolicure, près du marais de Tantramar au sud-est du Nouveau-Brunswick. Un membre de l’Académie royale des arts du Canada et titulaire d’une bourse d’études Fullbright, Holownia a toujours marié son travail de studio à son dévouement à l’enseignement et à l’encouragement des jeunes étudiants. Ainsi, on lui a décerné à deux reprises (1998 et 2006) la médaille Paul-Paré de l’Université Mount Allison pour l’excellence de son enseignement, pour sa créativité, ses recherches et ses services communautaires. Que sa lentille ait saisi la sublime beauté naturelle, nos constructions et l’effet du temps sur celles-ci, ou encore des individus perdus dans leurs réflexions, ses images ne laissent personne indifférent. Utilisant des appareils et des négatifs grand format, son Œuvre a sans cesse évolué tout en demeurant unique à travers les arts visuels au Canada, révélant ainsi la beauté magnifique et souvent négligée du monde.

20:15-21:00 Reception continues / Poursuite et fin de la réception

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Thursday, May 29th / Jeudi 29 mai

08:00 Registration & Coffee / Inscription et café NBCCD Library (Barracks Building) / Bibliothèque CADNB (caserne)

457 Queen Street, 2nd floor / 457 rue Queen, 2e étage

Note: The exhibition “History, Craft and Shelter: images from the Provincial Archives of New Brunswick’s ‘Building New Brunswick’ architecture collection” is open during the entire conference in the NBCCD Gallery.

Veuillez noter que l’exposition « History, Craft and Shelter : images from the Provincial Archives of New Brunswick’s ‘Building New Brunswick’ architecture collection » est accessible pour toute la durée du congrès dans la galerie du CADNB.

08:30 Session 1: Architecture of Faith ‘A’ / L’architecture de la Foi ‘A’ Co‐Chairs/coprésidents: Candace Iron and/et Jean‐Sébastien Sauvé

Room 1, NBCCD / Salle 1, CADNB The opening chapter of the 2012 book, The Religions of Canadians, edited by Jamie S. Scott, postulates that in today's Canada, churches and chapels of all denominations dominate the landscapes of the majority of communities – urban, suburban, rural, and remote, from coast to coast. The truth of this statement is easily proven through an examination of the numerous church buildings that can be found in nearly every town and city in the country. While these buildings were often historically the centre of their communities, with Canada's increasingly multicultural identity, more often than not, the socially-important role that these buildings once played to their communities have become shadowed by rising populations, lowering church attendance rates, and increasing secularity. Being representative of Canadian identity and history, Canadian church buildings are important symbols of their former and actual use. As such, this session seeks papers that examine church architecture of all types and from all periods of Canadian architectural history. Particularly welcome are papers dealing with church buildings from all denominations, their reason for existence, their social function (historical and contemporary), their relevance

Le chapitre introductif de l’ouvrage de 2012 The Religions of Canadians, sous la direction de Jamie S. Scott, postule que dans le Canada d’aujourd’hui, les lieux de culte et les chapelles de toutes confessions dominent les paysages de la majorité des communautés — urbaines, suburbaines, rurales et éloignées, d’un océan à l’autre. La vérité de cette affirmation se prouve facilement grâce à un examen des nombreux édifices religieux qui se trouvent dans presque toutes les petites et grandes villes du pays. Alors qu’historiquement, ces édifices furent souvent le centre de leur communauté, étant donné l’identité de plus en plus multiculturelle du Canada, la plupart du temps, le rôle social important que jouèrent autrefois ces édifices dans leur communauté a été éclipsé par une augmentation de la population, une diminution des taux de fréquentation des lieux de culte et une sécularisation croissante. Représentatifs de l’identité et de l’histoire canadiennes, les édifices religieux canadiens sont d’importants symboles de leurs usages passés et présents. Par conséquent, ce panel recherche des communications qui examinent l’architecture des lieux de culte de tous les types et de toutes les périodes de l’histoire architecturale canadienne.

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within contemporary, multicultural Canada, and their theoretical underpinnings.

Sont particulièrement bienvenus les articles qui traitent des lieux de culte de toutes confessions, la raison de leur existence, leur fonction sociale (historique et contemporaine), leur pertinence dans un Canada contemporain et multiculturel et leurs fondements théoriques.

Dr. Jack C. Whytock, “Liturgics and Church Architecture: A Study of a Transplanted

Scottish Kirk on Prince Edward Island”

This paper will be interdisciplinary in nature in order to contextualize the distinct architectural style of a transplanted Scottish Church community in Prince Edward Island. Thus its basic liturgics will be seen as the impetus for the use of space establishing itself in this particular ecclesiastical architectural style. Often this style has been known by two distinctive features: the raised pulpit on the long wall and the unique floor plan to accommodate the long tables. It has not been appreciated in its post-reformation Scottish context. Parallels have often been made to the New England meeting house tradition, but here we will explore what the presenter maintains to be the proper roots of this architectural expression for the context of Prince Edward Island.

The paper will also illustrate this with the last two examples to be found on Prince Edward Island and include architectural details. Brief reference will be made to usage of this architectural style globally.

In conclusion, the purpose of this paper is to highlight the post-reformation Scottish liturgical perspective which created a distinctive Scottish Reformed ecclesiastical architectural style and was transposed into certain Canadian communities.

Emily Turner, “Church Architecture for the James Bay Mission c.1850-1890” The expansion of Christian missionary activity throughout the globe in the second half of the nineteenth century led to a massive boom in church construction for non-British communities. The evangelical Anglican Church Missionary Society (CMS), which operated a vast network of missions throughout the British Empire, specifically condemned the customary Gothic Revival style as inappropriate for the missionary context because of its cultural baggage. Instead, the CMS promoted the use of vernacular forms for Christian architecture. Nevertheless, innumerable Gothic churches were erected across the global CMS mission field during this period, especially in North America. This paper will examine the churches built after 1850 in the James Bay region of Northeastern Ontario, with special focus on St. Thomas’ Church, Moose Factory, the seat of operations in the region during the principles years of the CMS mission in the region. In light of the global policy of the Society, it will examine the stylistic aspects of the James Bay churches within their cultural context and discuss their sources, their response to global traditions and their role as a mode of communication within the local settler, missionary and First Nations communities who shared them.

While discussing the ramifications of style on the development of material identity within the indigenous church and the social function of architecture in mission, this paper will also shed light on faith-based architectural planning when cultures with incompatible ideas of architecture collided in a remote and difficult environment.

Josée Laplace, « Églises, modes d’emploi: le “rituel” dans les paroisses catholiques du Québec: de Monseigneur de Saint-Vallier à Ignace Bourget » Entre le rigorisme des prescriptions du Rituel de Québec publié par l'ordre de Monseigneur de Saint-Vallier, évêque de Québec longtemps au coeur des pratiques paroissiales (1703-1840, Hubert, 2000)

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et le faste du cérémonial romain adopté dans la première moitié du XIXe siècle, les églises québécoises ont été investies sur des modes contrastés.

Il n'y a vraisemblablement pas de rite sans la création d'ambiances précises «capable[s] d'attirer la vénération des plus grossiers» (Rituel de Québec, p. 7). Aussi, nous nous attarderons à retracer, à partir de ces deux documents qui ont fait autorité dans l'administration du rite au Québec, comment leurs chapelets de bénédictions, sacrements ou ordonnances, ont pu se traduire dans l'usage et la mise en forme des églises catholiques, via la création d'environnements sensibles spécifiques. À partir de là, pouvons nous établir des liens entre ces documents et la production architecturale de ces deux périodes ?

Référence : Ollivier Hubert, 2000, Sur la terre comme au ciel. La gestion des rites par l’Église catholique du Québec (fin XVIIe – mi-XIXe siècle), PUL, Collection Religions, Cultures et Sociétés.

Loryssa Quattrociocchi, “Three Churches By Gordon W. Lloyd (1832-1905): St. John’s

Anglican Church, Strathroy, Trinity Anglican Church, St. Thomas, and New St. Paul’s Anglican Church, Woodstock, And The Ecclesiological Gothic Revival In South-Western Ontario” The proposed study will explore the influence of the nineteenth-century English Gothic Revival on the churches designed by the little-studied Canadian architect Gordon William Lloyd (1832-1905). I have chosen to examine three of Lloyd’s Anglican churches in the Gothic Revival style in the Huron diocese that have not yet been studied: St. John’s Anglican Church, Strathroy, ON (1875); Trinity Anglican Church, St. Thomas, ON (1876-1877); and New St. Paul’s Anglican Church (now the Church of the Epiphany), Woodstock, ON (1877-1879). This study will contribute to existing knowledge in three ways. First, in conducting a comparative analysis between Lloyd’s churches and those of his English architectural uncle Ewan Christian (1814-1895) who trained him, I will explore the ways in which Lloyd’s building style was shaped by the training he received from his uncle in England. Secondly, in using Lloyd’s Trinity Anglican Church, a “low” Anglican church, as one of my objects of analysis, I will investigate whether Lloyd used Christian’s low Anglican churches as models when designing Trinity Anglican. Finally, by examining the fabric of each church and comparing them to medieval and nineteenth-century Gothic models, my research will determine the extent of which Lloyd’s church building career in the Huron diocese was influenced by Pugin, the Cambridge Camden Society, and the nineteenth-century English Gothic architectural Revival.

08:30 Session 2: Teaching Architectural History in Canada / L’enseignement de l’histoire de l’architecture au Canada

Chair/président: Michael Windover Room 2, NBCCD, Salle 2, CADNB

This workshop looks to continue the conversation begun at the last SSAC conference about teaching architecture or design history in Canada. It is meant to act as a forum for educators, whether in an institutional setting or not, to share strategies and resources. Presentations could take many different forms, from teaching demonstrations to papers on pedagogy, from reports on best

Cet atelier souhaite continuer le dialogue débuté au cours du dernier congrès de la SÉAC sur le sujet de l’enseignement de l’histoire de l’architecture ou du design au Canada. L’objectif est d’y tenir un forum pour les éducateurs de tout horizon, qu’ils œuvrent dans un environnement institutionnel ou non, afin de mettre en commun les stratégies et ressources. Les présentations peuvent prendre

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practices to public outreach initiatives, from engagement with students in the class to on-site education. How are you helping to improve understanding of or raising awareness of issues affecting of the built environment?

différentes formes, allant de simulations d’enseignement à des communications sur le sujet de la pédagogie, de rapports sur les meilleures pratiques à des initiatives de diffusion publiques, de l’interaction auprès des étudiants en classe à l’enseignement sur le terrain. De quelle manière contribuez‐vous à améliorer la compréhension ou la sensibilisation aux questions qui touchent l’environnement bâti?

Dustin Valen, “How to be Modern: Teaching Architectural History at McGill, 1949-57”

At a time when McGill’s School of Architecture was reinventing itself under the rubric of modern design and the auspices of a Bauhaus curriculum, architect and Montréal native Hazen Edward Sise’s outspoken views on the virtues of being modern and backwardness of Canadian architecture were eagerly accepted. For almost ten years, from 1949 to 1957, Sise taught Modern Architectural History at McGill. Having trained in the offices of Le Corbusier and volunteered overseas during the Spanish Civil War, Sise was a passionate apostle of modern architecture whose firsthand experience of the modern movement and strong political views profoundly affected his historical hindsight. Parroting a handful of leading, contemporary historians, through the tautological representation of history and its revitalization of 20th-C architecture Sise taught history as a form of practical instruction - his goal: to transform Canadian architecture through its future practitioners. Through discussing his lecture notes, final exams, and interviews with former students, this paper explores how Sise successfully influenced a generation of practitioners, and how new modes of ‘modern’ architectural education simply repurposed the didactic goals of historical thinking by substituting one set of models for another.

Today, in an age “suspicious of synthetic historical analyses and unifying frameworks meant to illuminate the past,”(1) this paper argues how we might still learn from such a strong-minded, albeit myopic view of modern history. At a time when the history and theory of architecture is fast becoming an accessory to design education, revisiting this period of much maligned ‘modern history’ offers important insight into how different representations of the past can influence design in the present, and how historical thinking is central to our imagination.

Reference: Sarah Williams Goldhagen, “Coda: Reconceptualizing the Modern,” in Sarah Williams Goldhagen and Réjean Legault, eds. Anxious Modernisms: Experimentation in Postwar architectural culture (Cambridge, MA: MIT Press, 2001): 301-324.

Marie-Josée Therrien, “The challenges of teaching the history of architecture in a studio program” As a request from the Faculty of Design at the Ontario College of Art and Design University in 2012, I created an undergraduate course geared towards 3rd year environmental studies students: Architecture in Canada, Past and Present for which I wrote in collaboration with my architect colleagues the following summary that had to be approved by two committees : “Through a survey of architecture in Canada, this course will explore the relationship between historical developments and wider changes in socio-political, technological and aesthetic realms in architecture and the built environment. From post-contact hybrid Aboriginal architecture to the most recent manifestations of environmentally responsible design, this course will examine architecture as a cultural practice shaped by its own rules and contexts, including spatial forms, materials and discourse. The course

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will analyze the relationship between these complex contexts and contemporary architectural and associated design practices.”

The rigorous exercise of assembling a syllabus and a course reader, makes us aware of the strength, limits and the gaps of our field. As an historian, the first challenge is to maintain the chronology but avoid the “Darwinian” narrative that introduces the First nations architecture in a linear progression, from nomadic to post contact European settlements. The second goal was to help students, who are eager problem solvers but who lacked the type of research skills germane to our discipline, to develop an historical understanding of the built environment. A third related goal was to bring students to understand the relationship between heritage, place and identity.

I hope with this proposal to present the different strategies that I developed during the first version of the course. In the spirit of your proposed workshop, this would be the occasion to participate in the on-going conversation about the challenge of teaching the history of architecture in Canada for our diverse groups of students.

Nancy Duff, “Resourcing the study of Canadian architectural history: preserving our analogue past and imagining our digital future” As our analogue teaching collections slowly morph into research archives, we have an opportunity, or one might argue a duty, to preserve this material while at the same time, offering unprecedented access to it through the use of digital technologies.

This presentation will highlight some of the strategies used over the past few years to develop a critical mass of image resources for teaching, researching and studying architectural history in Canada in the digital age. Through the deliberate cultivation of relationships, careful planning of information infrastructure, and diligent guarding of legacy material, it is possible to develop a wealth of resources that can be explored and shared in ever expanding ways. Among the more intriguing possibilities is digital media’s potential for moving us beyond the use of 2 dimensional static images as the predominant means of describing works of architecture, both inside and outside of the classroom.

Laurie Brady, “A Flair for the Dramatic”

2012 marked the 200th anniversary of the birth of Augustus Welby Northmore Pugin, an extraordinary architect whose name has appeared regularly in journal issues and conference papers of this very society, regarding his influence on nineteenth-century architecture, particularly ecclesiastic, in Canada. A professional theatre troupe based in Ramsgate, Kent (the site of Pugin’s final home The Grange) performed a play about the architect, Pugin: The Man in the Wide-Awake Hat (A Gothic Adventure) in September 2013. Playwright Clive Holland, company director, aims not only to entertain but to engage his Ramsgate audience with the compelling character of Pugin, a towering figure of British architectural history who remains underappreciated locally. My presentation will explain how the play serves as a public outreach initiative regarding the built environment, as well as how it came to be, its reception, and its creative and dramatic approach to architectural history appreciation.

10:30 Coffee / Pause-café NBCCD Library (Barracks Building) / Bibliothèque CADNB (caserne)

457 Queen Street, 2nd floor / 457 rue Queen, 2ième étage

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10:45 Session 3: Canada’s Architectural Centennial Projects / L’architecture dans le cadre du centenaire de la

Confédération canadienne Chair/présidente: France Vanlaethem

Room 1, NBCCD / Salle 1, CADNB Montreal will celebrate in 2017 the 50th anniversary of Expo 67, a memorable event with its futuristic or exotic pavillons and his festive ambiance. However Expo, the international exhibition settled on the St. Lawrence River islands that welcomed visitors from around the world for a summer, wasn’t the only architectural event commemorating the Centennial of the Canadian Confederation: many permanent buildings, and several landscapings were carried out throughout Canada. In Quebec, approximately fifty cultural and leisure centers rose from signed agreements between the federal and provincial governments and municipalities or state agencies. Docomomo Quebec, that begun an inventory of this particular corpus, is seeking papers that can broaden the knowledge on these architectural production that have largely fallen into oblivion. Based on a heritage or historiographical approach, proposals can: - address the architectural program of the Centennial Commission launched across the country as a whole; - examine a particular aspect by focusing on such projects in a province; - present one case in particular.

À Montréal, en 2017 seront célébrés les 50 ans d'Expo 67, événement mémorable par son cadre bâti à la fois futuriste et exotique et son effervescence festive. Cependant l'exposition internationale aménagée sur les îles au large du fleuve Saint-Laurent pour accueillir les visiteurs du monde entier le temps d'une saison, ne fut pas la seule manifestation architecturale soulignant le centenaire de la Confédération canadienne; de très nombreux édifices et plusieurs aménagements paysagers permanents furent à cette occasion réalisés à l'échelle du Canada. Ainsi, au Québec, une cinquantaine de centres culturels et de loisirs furent construits dans toute la province dans le cadre d'ententes signées entre le gouvernement fédéral, le gouvernement provincial et des municipalités ou des organismes d'État. Docomomo Québec qui a amorcé un inventaire de ce corpus sollicite des communications contribuant à élargir la connaissance de cette production bâtie largement tombée dans l'oubli. En privilégiant une approche patrimoniale ou historiographique, les propositions peuvent traiter du programme architectural de la Commission du centenaire lancé dans tout le Canada, dans son ensemble ou d'un de ses aspects en s'attardant par exemple aux projets réalisés dans une province ou encore à l'un d'entre eux en particulier.

Elijah Karlo M. Sabadlan, “Building the New: The Role of Architecture during the Centenary of the Canadian Centennial in 1967” In 1951, the Report of the Royal Commission on the National Development of the Arts, Letters, and Sciences, commonly referred to as the Massey-Lévesque Report, defined the need to strengthen the quality of the Canadian mind and spirit — the foundations of national unity and identity. As part of this initiative, it articulated the need for new forms of architecture to challenge the “tendency toward imitative and derivative styles” (Massey 217) and to provide Canadian citizens with new cultural infrastructure across the country.

Building on this ambition, the Centennial Commission, established in 1963, introduced the Centennial Grants Program and the Confederation Memorial Projects. Both of these initiatives provided matching funds to municipal and provincial projects of a lasting nature. In total, the Federal Government invested over $70,000,000 on numerous projects of architectural merit.

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This paper will focus on four projects, which includes: Raymond Moriyama’s preliminary sketches and vignettes for the design of the Centennial Centre for Science and Technology (Toronto, Ontario); Gerald Hamilton’s impressive preliminary proposals and built version of the Centennial Museum and Planetarium (Vancouver, British Columbia); Jack Long’s Centennial Planetarium (Calgary, Alberta); and Alex Mair’s UFO Landing Pad (St. Paul’s, Alberta). As expressions of the space age, these buildings reflect upon the role of architecture in shaping Canada’s identity as a forward-looking nation.

Reference: 1. Massey, Vincent. Report: Royal Commission on National Development in the Arts, Letters and Sciences, 1949-1951. Ottawa: King's Printer, 1951. Print.

James Tristan Crawford, “The Role of Policy Advocacy in the Development of the Centennial Buildings” The period of 1951-67, beginning with the publication of the Royal Commission on National Development in the Arts, Letters, and Sciences (the Massey Report) and culminating in the celebration of Canada’s centennial year, was one of considerable change in professional practice of architecture in Canada. Rapidly improving economic conditions and major expansion of the federal government dramatically increased the construction budget of the Department of Public Works, making the already powerful institution the most significant commissioner and designer of architecture in the country. Yet many private architectural professionals felt that the department represented a conservative force that restrained the progress of architecture in a nation struggling to define its modern identity. Empowered by the conclusions of the Massey Report architects argued that their greater involvement in major public works would improve the quality and focus the identity of Canadian architecture. This advocacy was counterpart to a general feeling that the profession needed to be redefined to attain a new relevance in the post-war era. Thus private architects were particularly attached to their advocacy positions as a means to assert their professional significance in the development of national culture. In particular architects advocated for the construction of major cultural institutions, that major public building commissions should be awarded through competition, and for the integration of monumental artworks into public buildings. This paper will examine the shifting relationship between private and public architectural practice, arguing that the role of the private architect was significant in defining the conditions in national architectural culture that are embodied in the Canadian centennial buildings.

Soraya Bassil, « Quebec’s Centennial Projects / Projets québécois du centenaire de la

Confédération » By May 31st 1967, 2425 projects throughout Canada benefited from two major programs: the federal-provincial Centennial Grants Program and the Confederation Memorial Grants Program. It comprised of 568 recreational centers, 538 parks, 312 playgrounds, 188 municipal buildings, 144 libraries, 81 museums and galleries and 35 historical building restorations. Being added to that number was each Province Confederation Memorial Project. For the province of Quebec the most important building erected during the 1967 celebrations was the Grand Theâtre de Québec by the architect Victor Prus winner of an architectural competition held in 1964. As many of the important buildings erected at the time, the theater would be finished long after the festivities at the end of 1970.

Apart from the National Memorial Project, a few landscaping projects were carried out and more than fifty community centers rose throughout Quebec in 1967, about twenty more approved projects would be completed the following years. In comparison, more than 600 projects were erected in Ontario and close to 400 in Alberta. At first glance even though fewer projects were built in Quebec than in other provinces, it seems from the money invested by the Federal-Provincial Grants Programs that they were of greater importance. Docomomo Quebec, that begun an inventory of this

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particular corpus in collaboration with the Ministère de la Culture et des Communications, will be presenting their first findings and results.

10:45 Session 4: On First Nation Architecture and Planning / De l’architecture et de l’aménagement des Premières Nations

Chair/président: Daniel Millette Room 2, NBCCD / Salle 2, CADNB

This session proposes to continue a dialogue initiated at the Society for the Study of Architecture in Canada’s Annual Conference in Yellowknife in 2008. Papers with an express focus on establishing clear links between traditional design tenets and contemporary design elements are sought. What is First Nation architecture? Is there such a thing? The session aims at a dialogue that examines the ways present-day professionals or First Nation community members consider building and planning traditions, translate their significance, and transform (or not) initial meaning and intent within new buildings or settlement plans. In particular, the session seeks paper proposals that assess the successes of on-reserve projects developed within the past ten years. Papers should consider the uniqueness of the architecture or plan, whether designed by professionals, or by community members. The papers should be less descriptive and more analytical: How do these recent projects incorporate tradition within their design? And how does the whole fit within current architectural and / or planning discourse?

Ce panel propose de continuer un dialogue instauré lors du congrès annuel de la Société pour l’étude de l’architecture au Canada tenu à Yellowknife en 2008. Nous sollicitons des communications qui visent expressément à établir des liens clairs entre des principes du design traditionnel et des éléments du design contemporain. Qu’est-ce que l’architecture des Premières nations? Est-ce qu’une telle chose existe? Le panel cherche à établir un dialogue qui examine les manières par lesquelles les professionnels d’aujourd’hui ou les membres des communautés des Premières nations envisagent les traditions de construction et d’aménagement, traduisent leur importance et transforment (ou non) les significations et intentions initiales au sein de nouveaux édifices ou de plans d’établissement. En particulier, ce panel sollicite des propositions de communications qui évaluent les succès de projets développés dans les réserves au cours des dix dernières années. Les communications devraient examiner le caractère unique de l’architecture ou du plan, qu’il soit conçu par des professionnels ou par des membres de la communauté. Les articles devraient être moins descriptifs et plus analytiques : comment ces récents projets incorporent-ils la tradition à leur design? Et comment le tout cadre-t-il dans le discours actuel en architecture et en aménagement?

Daniel Millette, “The Coast Salish and Stó:lō Longhouse: On Memory, Planning and

Architectural Replication” The planning and architectural design outcomes that we see on First Nation lands are rarely representative of indigenous environmental design. The two activities were (and in some rare cases remain) contained within one set of actions whereby settlement planning and architectural design were considered within one process. What we see on many reserve lands today, therefore, is not the result of traditional design effort; it is the result of culturally benign design activity by outsiders with little knowledge of indigenous life. It can be readily argued that embedded within the indigenous

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collective memory remain long-standing design tenets connected to complex sets of environmental considerations in use prior to the European arrival. Until recently, these have been largely ignored by historians and the design professions. However, many First Nation communities are now taking on active roles in design initiatives, insisting that any outside professionals working within their lands take into account traditional design elements; some of tenets that were thought to have disappeared are in fact coming to light. This paper will briefly highlight one example of how traditional design was suppressed, altered by necessity, and then openly re-instigated within a revised memorial track.

Rebecca Lemire, “Elucidating Culture: Recent Indigenous Architecture in Canada and

Contemporary Media Constructions” In recent years, a number of First Nations and Inuit commissions have garnered international media attention for their elegant, distinct and progressive designs. Two of these projects, which can be placed within the Cultural Showcase research field as identified by Millette and Oliver, are the Torngâsok Cultural Centre by Todd Saunders Architecture and the Nk’Mip Desert Cultural Centre by HBBH Architects. In a 2012 interview concerning his commission for the Torngâsok Cultural Centre Todd Saunders stated that "The Inuit don't really have an architecture", yet his commission is based upon the traditional building forms of Inuit sod huts. This paper examines not only the inimitable architectural elements that make up the Torngâsok Cultural Centre and the Nk’Mip Desert Cultural Centre, but how the Labrador Inuit, and Osoyoos Indian Band respectively, have employed architecture to translate cultural principles, and how architects have ultimately represented these cultures in the media. Concurrent to this, I look at two examples of commissions which respond to on-reserve housing challenges, and which were considerably less publicized: The TRTL Sustainable Housing Pilot Project for the Treaty 7 First Nation and the Ross River Master Plan by Douglas Cardinal Architects Inc. These projects have not garnered the same recognition or media attention as Torngâsok or the Nk’Mip Desert Cultural Centre, perhaps because they are not as easily packaged for mainstream media consumption, and likely because the failures of First Nations housing projects are often highlighted, rather than the successes. However, these commissions represent leading-edge design work, and deserve further attention. In this paper I make a case for an increased recognition of such projects within the greater architectural community as well as the Canadian and International media landscape.

Breena Langevin, “The Church of Immaculate Conception: A Space for Religious

Inculturation?” For my Masters thesis I am exploring Christian missionary churches built or reconstructed in Canada in the 1960s and 1970s that express a fusion between Christianity and traditional Native spirituality. This fusion involves an appropriation of spiritual messages and a symbolic juxtaposition of religious imagery apparent in the architecture and visual furnishings of the church, as well as the liturgical practices of its congregation. The syncretic features of these churches can be seen as a move towards religious inculturation, which for Christianity means redefining their systems of representation and broadening their embrace.

This paper will analyze the Church of Immaculate Conception in West Bay on Manitoulin Island, a Jesuit missionary church rebuilt in 1971 after a propane explosion, which displays a syncretism between Catholicism and the traditional Native spirituality of the Anishnaabeg societies that populate the region. By examining the church as a site of ongoing colonial struggle between two co-existing cultures, I will investigate what kind of message the church conveys to the community at large and what are the potential benefits and dangers inherent in that message. By exploring the convoluted iconographic language expressed through its teachings, I argue that rather than resolving the problematic nature of missionary histories, this church acts as a space in which to negotiate the

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irreconcilable past of colonial invasion. I demonstrate how changes and adaptations in missionary ideology correspond with the emergence of a new type of post-colonial attitude that embraces Aboriginal spirituality while touting it as nationalist symbol.

12:15 Barbeque Lunch (& NBCCD presentation) / Dîner barbecue (et courte présentation CADNB)

Courtyard tent, NBCCD / Tente dans la cour extérieure, CADNB

13:30 Session 5: Architecture of Faith ‘B’ / L’architecture de la Foi ‘B’ Co‐Chairs/coprésidents: Candace Iron and/et Jean‐Sébastien Sauvé

Room 1, NBCCD / Salle 1, CADNB

Malcolm Thurlby, “Tradition vs Innovations in the Roman Catholic Churches of Joseph Connolly in Ontario” This paper investigates some of the Roman Catholic churches in Ontario designed by the Irish-trained architect, Joseph Connolly (1840-1904). His work is investigated in association with the wishes of the patron(s) with the view to understanding what constituted an appropriate, even ideal, image of the Irish Catholic presence in a community. The designs span a wide range, from ‘copies’ of the churches of his teacher, J.J. McCarthy, and examples of very specific references to AW. Pugin’s churches in Ireland, to innovative designs that adopt the principles of High Victorian grandeur and permanent polychrome. The churches of St Parick’s, Hamilton (1875); St Cornelius, Caledon (1885); St Carthagh’s, Tweed (1887); Our Lady of the Immaculate Conception at Guelph (1876-88), and St Peter’s Basilica, London (1880-85), will be examined. I shall conclude with brief reference to Connolly’s churches in the Roman Renaissance and Hiberno-Romanesque styles created for patrons for whom Gothic was neither sufficiently Irish nor distinctly Roman Catholic.

Kristie J. Dubé, “Anglican Gothic Revival Church Construction in Saskatchewan (1854-1917)” Anglican church building in late nineteenth-- and early twentieth-century Saskatchewan was the product of the perceived duty of the Anglicans as purveyors of British values. From the rough conditions of the early fur trade era onto the pioneer and later railway boom era, Anglican efforts to instill Protestant Christianity alongside British ways of life are apparent. Unfortunately, the scope and exact approach of the Anglicans on the prairies is still relatively unknown. In part, this has occurred because the vast majority of the Anglican churches built on the prairies reside in areas that have since become remote and have thus remained relatively obscure. These churches, however, are only part of the story. The Anglicans also built quite a few large urban churches during the period. In fact, the story of Anglican church building in Saskatchewan can be loosely divided along these lines, namely, urban and rural. In an analysis of over one hundred Saskatchewan churches, two main church types emerge. The first and most common is the small, simple wooden rural church that remains virtually unchanged in its basic design for four decades and is indicative of resources being stretched thin. In contrast to this is the large, relatively complex brick or stone urban structure that was designed to make a statement of superiority in a competitive environment. Both types show one main goal though, to ensure that the Anglican message of British values was reaching all facets of prairie society.

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S. Holyck Hunchuck, “St. Onuphrius Ukrainian Catholic: A Study in Form and Meaning” St. Onuphrius is a small, wood-framed church built by Ukrainian Catholic settlers in Smoky Lake, Alberta in 1905-6, and then expanded under the direction of a Belgian Oblate priest, Fr Philip Ruh (ne Rioux) between 1915 and 1925. Constructed in a vernacular Byzantine style, the church’s design is based on tripartite plan featuring a domed roof over a narthex, nave, and sanctuary, and incorporates an ikonostas (ikon wall) that separates the clergy from the congregation.

These and other aspects of its form, such as an absence of an organ, fixed pews, stained glass, or Stations of the Cross, reflect some of the key distinctions between the Eastern or Byzantine Rite of Ukrainian Catholicism from those of the Latin Rite of the Roman Catholicism, while others of its traditions (such as that of a married clergy or the spatial separation of the congregation by gender) become evident only during Church religious functions.

St Onuphrius is noteworthy for several reasons which are explored in this paper. It was one of dozens (perhaps hundreds) of modest vernacular churches built by Ukrainians in the Prairies during the “Pioneer” era (1891-1939). It was also the first church built by Fr. Ruh, who went on to build some 30-40 Ukrainian Catholic churches in Canada (and whose architectural legacy has been compared by Harold Kalman to that of Dom Bellot in Quebec.) Additionally, while similar churches to St Onuphrius have since fallen into disuse, disrepair, and abandonment in situ, this church remains as an active church, albeit in extraordinary circumstances: In 1996, it was dismantled and reconstructed at the Canadian Museum of Civilization (now the Canadian Museum of History) at Gatineau, Quebec.

The current functions of the Church, as both living religious artefact – albeit in a public, secular institution -- and as architectural shorthand for the entire ethno-religious history of Western Canada, pose additional lines of enquiry that will also be explored in this paper.

13:30 Session 6: Current Research ‘A’ / Recherches actuelles ‘A’ Co‐Chairs/coprésidents: John Leroux, Peter Coffman and/et Nicolas Miquelon


Danielle Doucet, « Désir de modernité des architectes et des artistes à Montréal, 1950-1961 » À Montréal dans les années cinquante, et dans une moindre mesure ailleurs au Québec, des acteurs des mondes de l’architecture et de l’art ont collaboré afin de réaliser leur désir commun d’une ville plus colorée et humaine, en intégrant des murales aux couleurs vives à divers types d’édifices publics modernes. Notre étude doctorale révèle qu’à la faveur de l’effervescence du développement immobilier de cette période d’urbanisation, nombre d’architectes et d’artistes, soutenus par des critiques d’art et d’architecture, ont valorisé la production de murales adaptées à leur nouvel horizon d’attente social (Jauss) ou à des conventions en voie d’établissement (Becker). Parmi ces conventions partagées par l’architecte et l’artiste relevons l’esthétique moderne, aux formes géométriques de couleurs vives, et le renouvellement des matériaux ou des techniques en vue de satisfaire entre autres à l’exigence de durabilité des murales extérieures. C’est à cela que répond le travail novateur de la céramique de Claude Vermette, comme la mosaïque industrielle mise en œuvre par Joseph Iliu, ainsi que celui de Jean-Paul Mousseau avec le vitrail innovant en fibre de verre pour la luminosité accrue d’un bâtiment. Ces exemples témoignent d’une autre convention, procédurale cette fois, du fait que la commande de la murale est encore liée à la relation privilégiée architecte-artiste, qui est répétitive ou établie grâce à leurs réseaux, l’État n’intervenant dans ce processus qu’à partir de 1961.

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De sorte que la présence de ces murales modernes du passé, souvent méconnues, définit encore - pour celles qui restent - les parcours des montréalais.

Sarah Eastman, “Progress in Better Living: Eaton’s and the Toronto Subway” On March 30th 1954 Canada’s first subway opened in Toronto after years of planning. The Eaton’s department stores on Queen Street and College Street commemorated the occasion with an extensive series of window and store displays, collectively titled “Progress in Better Living.” Marketed as “Fascinating! Educational! Hilarious! Nostalgic! Featuring an unusual collection of early Canadiana!” in newspapers, the window displays featured aerial architectural models of the Eaton’s stores with cutaways exposing the subway underneath. Other displays included subway scenes and “then and now” comparisons between old and new appliances, wallpaper, and more. This celebration of the subway opening fits into an Eaton’s tradition of commemorative window displays, with previous events including Armistice Day in 1918 and coronations in 1937 and 1953. Department store windows are sites of mediation between the interior and exterior and Eaton’s frequently used theirs to illustrate events of local and global significance and to promote a modern vision. While their window displays and paper advertisements projected enthusiasm for the modern convenience of the subway, adapting to it was not seamless. There was concern about the impact of underground travel. Above ground, window displays might draw in passersby. Below ground, there were fewer visual attractions and there was concern that the stores would lose walk-in customers. How did Eaton’s, a department store with a modern identity, negotiate the introduction of the subway? Using the “Progress in Better Living” window displays as a case study, this paper will explore the relationship between Eaton’s and the Toronto subway.

Martin Drouin, « Le patrimoine et les associations de sauvegarde au Québec » En 2008, la Commission des biens culturels du Québec organisait une vaste consultation publique en vue de la révision de la Loi sur les biens culturels. Plus de deux cents mémoires et une centaine de commentaires en ligne avaient alors été recueillis. En 2011, la Commission de la culture et de l’éducation de l’Assemblée nationale du Québec tenait des consultations sur le projet de Loi sur le patrimoine culturel : plus d’une cinquantaine de mémoires furent reçus.

Lors de ces deux exercices, des associations ont décidé de prendre la parole pour exprimer leurs visions, leurs doléances et leurs espoirs pour la sauvegarde du patrimoine au Québec. Il s’agit d’un corpus extrêmement riche pour le champ des études patrimoniales. La communication veut présenter un bilan de l’apport des associations de sauvegarde à ces deux consultations publiques et mettre en lumière quelques enjeux qui émanent du discours de ces associations.

15:15 Bus & site tours (2 options) / Autobus et visites (2 options)

St. Anne’s Chapel of Ease NHSC & Government House NHSC / LHNC de la Chapelle-St. Anne of Ease et LHNC de l’Ancienne-Résidence-du-Gouverneur

St. Anne’s, the Anglican Parish Church of Fredericton, was built in an astonishing nine months between 1848 and 1849 to fulfill the need of a proper place of worship while the nearby Christ Church Cathedral was being built. This National Historic Site is considered to be the finest and most significant Gothic Revival church of its size and kind in North America, and survives

St. Anne, l’église paroissiale anglicane de Fredericton, a été bâtie en un temps record de neuf mois entre 1848 et 1849 pour accommoder les besoins d’un lieu de culte convenable pendant que la cathédrale Christ Church, non loin, était en construction. Ce lieu historique national du Canada est considéré parmi les meilleurs et les plus représentatifs exemples d’églises néo-

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virtually unchanged in the last 150 years. It was designed by Frank Wills (1822-1857), the young English architect of Christ Church Cathedral, and was intended by Bishop Medley that it would become a model for all other parish churches in New Brunswick. The sum result is a most graceful structure, acknowledging both its English medieval antecedents and its more contemporary 19th century function as a medium for expounding Medley’s architectural principles in North America. The official residence of the Lieutenant-Governor of New Brunswick, Government House replaced its predecessor destroyed by fire in 1825. Its grand Palladian design with Neoclassical-influenced elements expresses the influence of British architectural vogue and colonial politics in early 19th century New Brunswick. The building was commissioned by Sir Howard Douglas, an inspired and popular Lieutenant-Governor, who hired military officer James Woolford as architect. Until the 1890’s, it played a central role in the social and political life of the province, hosting state dinners, balls and parties, as well as 14 Lieutenant-Governors. In 1890, the decision was made to close Government House and the building would periodically stand vacant, host a Deaf and Dumb Institute, act as a military hospital for veterans, and accommodate the RCMP from 1932 until 1990. All three levels of Government supported a restoration of the structure in the late 1990’s, and since 1999 it has once again become the home of the Lieutenant-Governor. It is a National Historic Site and the most visited Vice-Regal residence in Canada; by a wide margin.

gothiques de sa catégorie en Amérique du Nord, en plus de n’avoir pratiquement pas été modifiée depuis les 150 dernières années. Donnant le mandat de la conception au jeune architecte anglais Frank Wills (1822-1857) également derrière la conception de la cathédrale Christ Church, l’évêque Medley avait pour aspiration que St. Anne devienne un modèle pour toutes les églises paroissiales au Nouveau-Brunswick. Le résultat est une structure des plus gracieuses, qui témoigne à la fois de ses antécédents médiévaux anglais et de sa fonction – plus contemporaine et ancrée dans l’esprit du XIXe siècle – soit celle d’implanter les principes architecturaux de Medley en Amérique du Nord. La résidence officielle du gouverneur de la colonie du Nouveau-Brunswick est venue remplacer sa prédécesseure, détruite par un incendie en 1825. Son architecture palladienne flamboyante aux éléments d’influence néoclassique exprime l’influence de l’architecture britannique en vogue et des politiques coloniales au Nouveau-Brunswick au début du XIXe siècle. L’édifice est une commande de Sir Howard Douglas, un gouverneur à la fois visionnaire et populaire, qui embaucha l’officier militaire James Woolford comme architecte. Jusqu’aux années 1890, l’édifice joue un rôle central dans la vie sociopolitique de la province, accueillant des dîners mondains, des bals et autres événements, en plus de servir de résidence à 14 gouverneurs. En 1890, la Résidence du Gouverneur ferme ses portes et demeure vacante de façon périodique, accueillant tantôt un institut pour les sourds-muets, servant tantôt d’hôpital militaire pour les vétérans, et hébergeant la GRC de 1932 à 1990. Les trois paliers de gouvernement ont contribué à sa restauration à la fin des années 1990, de sorte que la Résidence du Gouverneur a repris ses lettres de noblesse en 1999. Un lieu historique national du Canada, il s’agit aussi de la résidence vice-royale de loin la plus fréquentée au pays.

Historic Marysville NHSC (19th century mill town) /

LHNC de l’Arrondissement-Historique-de-Marysville (ville industrielle du XIXe siècle)

Located in the northeast end of Fredericton along the Nashwaak River, several miles from the center of the city, Marysville was named a National

Située dans le secteur nord-est de Fredericton aux abords de la rivière Nashwaak, à plusieurs kilomètres du centre de la ville, Marysville a été

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Historic District in 1997 for being one of Canada's finest and most intact 19th-century mill towns. The huge brick cotton mill, brick tenements lining the streets and elaborate mansions looking down from the hill above open a rare window into life in a 19th-century industrial town. Marysville was carefully planned for a common purpose by Alexander (Boss) Gibson, who named the town after his wife Mary. He arrived in 1862 and bought a lumber mill, and making his fortune in that endeavour, in the 1880s he built a massive red brick cotton mill, 56 brick duplexes and single tenements built for his employees and their families within easy walking distance to the mill, and larger homes of managers and the Gibson family on the other side of the river, overlooking the town. The brick tenements and the mill were designed by the American architectural firm of Lockwood and Greene – a prominent Boston firm specializing in the designs and planning of industrial towns. Taken as a whole, the remaining collection of brick industrial architecture in Marysville is one of Canada’s most significant late-19th century urban/industrial landscapes. While a number of Marysville’s “Gibson era” structures have either been demolished or severely altered, the remaining group and their siting layout still maintain a robust integrity that imparts a strong spatial sense of the former bustling cotton mill town.

désignée lieu historique national du Canada en 1997 car il s’agit de l’un des plus complets et des meilleurs exemples de ville mono-industrielle du XIXe siècle associé à une filature de coton. L’immense filature, les immeubles de brique qui longent les rues, ainsi que les grandes demeures cossues qui surplombent le secteur, nous offrent un rare aperçu de la vie dans une ville industrielle du XIXe siècle. Marysville a été soigneusement planifiée dans un objectif singulier par Alexander (Boss) Gibson, qui nomma la ville d’après sa femme Mary. Fraîchement arrivé en 1862, il acquiert une scierie et fait fortune, avant de construire une énorme filature de coton en brique rouge, 56 habitations simples ou jumelées pour ses travailleurs et leurs familles, à distance raisonnable de la filature, de même que de plus grandes demeures pour les cadres supérieurs et la famille Gibson de l’autre côté de la rivière, sur une colline au-dessus du niveau de la ville. Les logements de brique et la filature ont été conçus par la firme américaine Lockwood and Greene, une importante firme de Boston spécialisée dans la conception et l’implantation de villes industrielles. En perspective, ce qu’il subsiste de la collection d’architecture industrielle de brique de Marysville est l’un des plus importants paysages urbains/industriels de la fin du XIXe siècle. Tandis qu’un certain nombre de structures de Marysville de la « période Gibson » ont été démolies ou lourdement modifiées, la concentration de bâtiments restants et leur emplacement conservent une forte intégrité qui traduit bien l’esprit de cette ville de compagnie autrefois grouillante d’activité.

18:30 40th Anniversary Celebration event & dinner / Souper et célébration du 40e anniversaire de la SÉAC

Centennial Building – 670 King Street /Édifice du Centenaire – 670 rue King

Opened on March 4, 1967 as New Brunswick's official Centennial project, the six-story office building was meant to contain the bulk of the expanding provincial civil service. Constructed with a rich material palate of polished black

Inauguré le 4 mars 1967 en tant que projet du centenaire officiel du Nouveau-Brunswick, cet édifice à bureaux de six étages devait servir à héberger la fonction publique provinciale en expansion. Intégrant à sa construction une riche

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granite, stainless steel, travertine marble and Wallace Sandstone, as well as large murals by New Brunswick's finest artists, the building catered to the cultural as well as the functional. It is acknowledged as the finest International Style building in New Brunswick. This special commemorative event will mark the 40th anniversary of the Society’s founding in 1974; honour its founder, Martin Eli Weil; and celebrate the SSAC’s continuing contributions to Canadian architecture and architectural history and conservation over the 40 years since. Speakers will include Peter Coffman, Christopher Thomas, Jesse Weil, Rhodri Windsor-Liscombe, Luc Noppen and Steven Mannell.

palette de matériaux comme que le granit poli, l’acier inoxydable, le marbre travertin et le grès Wallace, de même que de larges murales conçues par les meilleurs artistes du Nouveau-Brunswick, cet édifice était à la fois un véhicule pour la culture et le fonctionnalisme. Il est reconnu comme le plus bel exemple d’édifice de style International au Nouveau-Brunswick. Cet événement commémoratif spécial soulignera le 40e anniversaire de la fondation de la Société en 1974; honorera son fondateur Martin Eli Weil; et célèbrera les nombreuses contributions de la SÉAC à l’architecture canadienne, à l’histoire de l’architecture et au domaine de la conservation depuis les 40 dernières années. Peter Coffman, Christopher Thomas, Jesse Weil, Rhodri Windsor Liscombe, Luc Noppen et Steven Mannell seront parmi les intervenants.

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Friday, May 30th / Vendredi 30 mai

07:00 Old Board Meeting / Dernière rencontre du Bureau de direction Location to be determined / Emplacement à déterminer

08:00 Registration & Coffee / Inscription et café NBCCD Library (Barracks Building) / Bibliothèque CADNB (caserne)

457 Queen Street, 2nd floor / 457 rue Queen, 2e étage

08:30 Session 7: Architecture of Faith ‘C’ / L’architecture de la Foi ‘C’ Co‐Chairs/coprésidents: Candace Iron and/et Jean‐Sébastien Sauvé


Steven Mannell, “Architecture Shapes/ Shaped by Faith Practice: Three Canadian Religious Buildings of the Late Twentieth Century” This paper will consider the relationship between faith practices and built form in three religious buildings of the second half of the twentieth century, each designed in a moment of self-conscious reconsideration and adjustment of faith practices in the face of changing social conditions. The Beth-el Synagogue in St. John’s NL (Cummings & Campbell, 1956-59) is the first purpose-built place of worship for faith group whose emergent presence in Newfoundland society coincides with post-war emergence of modernity. The architecture of the synagogue embodies a free abstract improvisation on visual and organizational motifs drawn from Jewish tradition. Holy Redeemer Catholic Church in Charlottetown PE (Alfred J. Hennessey, 1962-64) also gave tangible architectural presence to a formerly marginal faith community. Its design phase coincided with the Second Vatican Council, and its form is a direct translation into architecture of the worship reforms promoted as a modernization of the faith. Both these mid-century buildings propose, to different degrees, architecture of social progress and the modernization of faith. By contrast, Our Lady of the Rosary Catholic Church in Scarborough ON (Kearns Mancini, 1987-90) is the product of the early efforts of John Paul II to reconnect the faith to pre-modern tradition and practice, through creation of strong links between the parish and an isolationist ethnic identity. The built forms are self-consciously archaic, giving expression to the notion of the church as a bulwark against social progress.

Marie-Dina Salvione, « Heureuse histoire d'une sauvegarde réussie. L'église

évangélique Hosanna feue la Christ Memorial Lutheran Church (Roger D'Astous, 1964-1965) » L'objectif de cette communication est de présenter la Christ Memorial Lutheran Church qui fut construite par l'architecte Roger d'Astous entre 1964 et 1965 à Montréal. Cette église est une réalisation tardive et remarquable de l'architecte souvent reconnu comme un des «bâtisseurs d'églises» les plus prolifiques au Canada. À ce titre, il réalisa une dizaine de projets d'églises dont trois sont protestantes.

Vacante depuis l'an 2000, la Christ Memorial fut sauvée de la démolition en 2004 grâce à la vigilance de Docomomo Québec, ainsi qu'à l'intervention du Conseil du patrimoine de Montréal qui déposa un mémoire arguant sa valeur architecturale. Durant cette période d'abandon, le bâtiment sérieusement dégradé vit souvent son intégrité physique menacée. Le miracle opéra en 2005 lorsque la

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communauté évangélique canado-coréenne Hosanna devint acquéreur de l'édifice et prit la décision de respecter et de réparer son enveloppe sculpturale.

L'église Christ Memorial Lutheran fit l'objet d'une étude de cas dans le cadre de notre thèse de doctorat sur l'éclairage naturel dans l'architecture sacrée moderne. Il s'agit d'un édifice remarquable où le béton et la lumière règnent en maître et prêtent à l'intérieur son caractère expressif. Notre communication présentera le travail d'analyse que nous avons mené afin de décrire ses qualités architectoniques et lumineuses inédites. Étant donné la situation actuelle précaire du patrimoine religieux moderne au Québec nous croyons qu'il est impératif de diffuser cette connaissance et de rappeler enfin qu'il existe bel et bien des histoires de sauvegarde patrimoniale qui, comme celle-ci, eurent un dénouement heureux.

Hagit Hadaya, “Synagogues in the Maritimes“

According Stuart Rosenberg, author or The Jewish Community in Canada, the “Jews of the Atlantic Provinces, like the Maritimers themselves, are “different.” Their numbers are small; their influence is not as apparent as it should be. Canadian Jewish history, as well as the history of Canada, began in the Maritimes, only to fall behind Quebec and Ontario in importance, wealth, and numbers. But no less than the provinces themselves, the Jews of Nova Scotia, Newfoundland and New Brunswick abide.”

This paper will look at the range of synagogues that have been built in Atlantic Canada, the events that created them, and in some cases, led to their demise.

Caitlin Charbonneau, “Threatened Religious Sites And the Preservation Of Heritage

Values: Adaptive Reuse Of Ontario Churches” Adaptive reuse of religious places is a relatively new practice that is drawing the attention of the heritage conservation community, however, the spirit of reusing and recycling spaces has always been a part of our heritage. The best-case scenario is for a place of worship to remain as such, but when that cannot happen there are examples of effective adaptive reuse models. An exploration of the increasing challenges to sacred heritage is driven by the desire to explore and understand debates surrounding threats to and subsequent adaptations of churches, specifically in Ontario, Canada. This discussion will be enhanced by the exploration of two adaptive reuse projects in Ontario: Saint Brigid’s Centre for the Arts in Ottawa, a former English Catholic Church, and Victoria Lofts in Toronto, once the Victoria-Royce Presbyterian Church. Both examples are part of the evolving practices of religious heritage conservation and adaptive reuse.

08:30 Session 8: Power representations and self-representations in the colonies /Représentations de pouvoir et de soi dans les colonies Co‐Chairs/coprésidentes: Agueda Iturbe‐Kennedy and/et Rosalie Mercier-Méthé

Room 2, NBCCD / Salle 2, CADNB The recent celebrations of the origins of New France and of its institutions brought about a renewed interest in the architecture of that period. Its form and stylistic influences are no longer the main topic of study. Indeed, putting the architecture into context and analysing its role within an overseas society make a valuable contribution to the cultural and social history of

Les célébrations récentes des origines de la Nouvelle-France et de ses institutions ont amené un intérêt renouvelé pour l’architecture de cette période. La forme et les influences stylistiques de celle-ci ne sont plus désormais les principaux objets d’études. En effet, la mise en contexte de l’architecture et l’analyse de son rôle au sein d’une société outre-mer permettent d’enrichir l’histoire

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the colonies. While the pre-eminence of certain topics — buildings of power and religious constructions — can be observed, as a result, there is a recurring renewal in the approaches and conclusions reached. We propose to address the current studies dedicated to colonial architecture of the 17th and 18th centuries in Canada from the perspective of representations. Domestic architecture, garden art, defensive architecture and urban scenery, whether lasting or short-lived, contribute to the ambition of individual representation of dignity and power, as that of the absent king, for whom local administrators act as representatives. Furthermore, proposals can focus on collective representations, as well as on current representations and reinterpretations of past architectures, both French and English.

culturelle et sociale des colonies. Tout en constatant une prééminence de certains sujets – les édifices de pouvoir et les constructions religieuses –, il en découle un renouvellement récurrent des approches et des conclusions tirées. Nous proposons d'aborder les recherches actuelles consacrées à l’architecture coloniale des XVIIe et XVIIIe siècles au Canada sous la perspective des représentations. Architecture domestique, art des jardins, architecture défensive et décor urbain pérenne ou éphémère participent de cette ambition de représentation individuelle de dignité et de puissance, comme de celle du roi-absent dont les administrateurs locaux se font les représentants. Les propositions peuvent par ailleurs porter sur les représentations collectives, comme sur les représentations et réinterprétations actuelles des architectures du passé, tant françaises qu'anglaises.

J.-R. Thuot, “Building Houses, Building Identities: Searching Elites by Reconstructing

Landscapes in Rural St. Lawrence Valley, 1730-1930” These past few years, many studies on preindustrial Quebec rural communities have established the great variety of the social tissue, arguing the presence of an organized elite spread throughout different social groups. If socioeconomic and institutional patterns of reproduction of that elite have been sorted out, not much has been written on the diversity of material conditions, particularly on domestic architecture. Fewer will accuse a particular twist of the French Canadian historiography, based for a long time on the tradition paradigm which characterized the New France period as a sort of golden age; towards the material environment of the French speaking communities, this meant that most of the greater buildings had been constructed before 1800, torn down by the industrial revolution by 1930.

Our demonstration wishes to propose another look at the evolution of landscapes in the rural St. Lawrence valley by two ways: on one hand, by showing the great variety of buildings – and the importance of the renewal of the structure park – and secondly, by trying to circle a domestic architecture of the distinguished men and families, sensible to all sorts of cultural influences that took place in Canada after the British conquest and the American revolution. The project, consisting on reconstructing parts of the landscapes from 1730 to 1930 in the countryside of the northeastern part of the Montreal region, was certainly ambitious but possible through the mobilization of numerous sources. On the first hand, the notarial records, the censuses and the material witnesses; and on the second hand, drawings, plans and pictures of the analysed region. Information about the people that live and give life to these structures is the necessary mirror to question the emerging landscapes.

The gathering of this material gives an outlook of the evolution of the new forms of architecture for each historical period – Conquest (1760), Rebellions (1840) and the Crisis (1930), pointing out the social networks that much contribute to transform the built environment.

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Rosalie Mercier-Méthé, « Divisions internes et divisions sociales dans les villes du Canada colonial » Lorsque Louis XIV a pris en main le développement de la Nouvelle-France en 1663, il a commencé à y nommer ses représentants, soit le gouverneur général et l’intendant. Autour de ces hommes provenant de l’aristocratie gravitait une société privilégiée composée de nobles, de bourgeois et de marchands. À partir de l’étude de la répartition des espaces intérieurs en milieu urbain (Québec, Montréal et Trois-Rivières), le but de cette présentation sera de comprendre comment les membres de l’élite utilisaient leur résidence pour manifester leur situation sociale ou celle souhaitée.

En effet, pour répondre au mode vie aristocratique, il était primordial pour une résidence de posséder un aménagement intérieur spécifique. Les différentes pièces étaient organisées de façon à former un appartement. Celui-ci était constitué de pièces en enfilade structurant l’intimité de l’occupant et le parcours du visiteur. Un appartement de base comprenait une antichambre, une chambre, un cabinet et une garde-robe. L’aristocrate devait aussi se dissocier de l’activité marchande, ce qui n’était pas le cas du bourgeois. L’analyse exhaustive des inventaires après décès de l’élite urbaine donne un aperçu des divisions intérieures des résidences coloniales et de l’utilisation des pièces. Les demeures habitées par des nobles étaient souvent constituées d’un plus grand nombre de pièces destinées à l’occupant et à ses visiteurs, alors que dans la maison du bourgeois la moitié des pièces pouvaient servir de magasin et d’entrepôts de marchandises. L’emplacement des pièces de prestige était dans certains cas plus stratégique chez la noblesse. Ce sont donc quelques pistes de réflexion qui seront développées grâce à l’étude des inventaires après décès, source encore peu exploitée par les historiens de l’architecture.

Agueda Iturbe-Kennedy, « Économie et ornement : un débat architectural aux portes

de la Nouvelle-France » Cette communication vise à explorer la transposition de questions architecturales aux conditions coloniales d'Ancien Régime par l'étude des préoccupations liées à l'ornementation des portes de ville. En effet, la réalisation du Pré Carré français donne naissance à un débat architectural dans les années 1680. Vauban plaide alors en faveur de l'ornement des portes de ville à des fins de propagande du Roi-Soleil et de dissuasion de l'assaillant, tandis que le ministre de la Guerre, Louvois, l'incite à se concentrer sur la fonction défensive de ces espaces pour réaliser des économies au détriment de l'ornement.

À l'aune du règne de Louis XV, ce même débat s'exprime en Nouvelle-France par les vue divergentes de deux ingénieurs militaires contemporains. Passés dans la colonie en 1616 et 1624, Gaspard-Joseph Chaussegros de Léry et Etienne Verrier réaliseront des portes de ville au caractère architectural et ornemental contrasté à Québec, Montréal et Louisbourg. Par l'étude de leurs écrits, de leurs correspondances avec le Ministre de la Marine et de leur réalisations architecturales, nous explorerons le dialogue établi entre économie et ornement dans cet espace névralgique d'accueil et de représentation de l'ancrage territorial français que sont les portes de ville de la Nouvelle-France. Cette étude permettra de s'étendre plus amplement sur la fonction dialectique du décor urbain.

10:30 Presentation of Martin Eli Weil Award / Présentation du prix Martin-Eli-Weil


11:00 Coffee / Pause-café NBCCD Library (Barracks Building) / Bibliothèque CADNB (caserne)

457 Queen Street, 2nd floor / 457 rue Queen, 2ième étage

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11:15 Session 9: Current Research ‘B’ / Recherches actuelles ‘B’ Co‐Chairs/coprésidents: John Leroux, Peter Coffman and/et Nicolas Miquelon


Susan Ross, “Flotsam, Jetsam and Derelict: The Classifications of Architectural Waste” In maritime law, flotsam, jetsam and derelict, identify three categories of shipwreck waste, based on potential residual value.(1) Could such a system be a useful model for classifying architectural waste? What values would inform such a system?

Material culture, heritage conservation and environmental design each contribute a distinct understanding of architectural waste.(2) But these parallel discourses suggest diverging value systems, where waste can be cultural artifact, building feature, and or re-cycled material. While salvaging can give value to materials reused on other sites as part of an environmental ethic, this is at cross-purposes with the principle of integrity associated with preserving materials in situ. Place and intention are thought to communicate historic or aesthetic value that only endures in a specific site. But dislodging an artifact from its original context can also shift meaning and create new value.

This paper will explore the classification of architectural waste with reference to recent Canadian and international examples. This will include buildings used as ‘quarries’, salvaged materials reused in situ or in new contexts, and artist-curator practices that collect and re-interpret architectural waste.

References: (1) Transportation Canada, “Receiver of Wreck,” www.tc.gc.ca/eng/marinesafety/oep-nwpp-wreck-541.htm. (2) Gay Hawkins and Stephan Mueck, editors, Culture and Waste, The Creation and Destruction of Value, 2003; Parks Canada, Standards and Guidelines for the Conservation of Historic Places in Canada, 2nd edition, 2010; Bill Addis, Building with Reclaimed Components and Materials: A Design Handbook for Reuse and Recycling, 2006.

Marie-Josée Therrien, « La conception d’écoles pour et en collaboration avec les

communautés de l’Arctique : les réalisations de Clive Clark (Ferguson Simek Clark) » L’architecture non traditionnelle des régions de l’Arctique du XXe siècle a fait l’objet de nombreuses critiques. Il n’est pas étonnant que l’échec des utopies modernistes, combiné à l’idéologie militariste de la Guerre froide qui a mené à la création de villes mal adaptées aux paysages humains de cette région, alimente un scepticisme qui encore aujourd’hui empreint le discours des architectes et des usagers. Mais le désenchantement qui s’en suivi a aussi entrainé les architectes à reconsidérer leur rôle en tant que concepteurs d’espace. Des hameaux imposés dans un paysage hostile, accueillant une population déplacée souvent contre son gré et qui n’avait pas été consultée dans le processus, les architectes ont dû apprendre à collaborer avec les communautés de cet extrême nord qui, en partie sédentarisées, ont formé de nouveaux réseaux à l’intérieur d’environnement urbain en constante évolution.

Cette communication analysera quelques-unes des écoles conçues par Clive Clark (Ferguson Simek Clark) qui, de 1978 à 2000, travailla dans les Territoires du Nord West et le Nunavut. Clark, un diplômé de l’université de Toronto ayant complété sa formation chez le Danois Arne Jacobsen et résidé à Iqualuit entre 1994 et 2000, fait partie de cette génération d’architectes qui a approché la conception bâtie depuis la base, dans un rapport dialogique plus respectueux des traditions Inuit, Dene et autres. Basée sur des entrevues avec l’architecte, des plans et des photographies, la communication élucidera les contextes de la production de ces espaces éducatifs et confrontera ces exemples aux plus récentes initiatives du même type afin de mettre en perspective les acquis et les

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leçons (parfois oubliés) qui profitent aujourd’hui aux intervenants engagés dans la planification et la construction du milieu bâti de cette région.

Jenni Pace, “Mediating the Future through SITEʼs Highway ʼ86 Processional”

Will humans ultimately apply our technologies to the evolution or degradation of urban experience? For Expo ʼ86 in Vancouver, the architectural collaborative SITE constructed an environmental “park” that rose out of False Creek and ascended skyward. Its asphalt surface was encrusted with hundreds of vehicles, from trucks and planes to boats, bicycles and even snowshoes. This interactive space offered freedom from long lines and enclosed pavilions and, although there are no physical traces of its existence, it persists in collective memory as an open question. In some ways it functions as a “counter-monument,” as Young characterized the new Holocaust memorials of the 1980s, prompting questions of collective ambivalence and personal accountability.

I propose to situate Highway ʼ86 Processional as an emblem for investigating claims of public engagement in the ongoing redevelopment of the southern and eastern banks of False Creek. I will consider how the Expo themes of “transportation and communication” have been extended and rebranded in efforts to produce a high-density, globally oriented hub where creative innovation and natural resource extraction serve one another in harmony.

11:15 Session 10: Current Research ‘C’ / Recherches actuelles ‘C’ Co‐Chairs/coprésidents: John Leroux, Peter Coffman and/et Nicolas Miquelon


Jessica Mace, “Picturesque Gothic in Upper Canada: the fanciful houses of John G. Howard (1803–90)” Despite the fact that Gothic Revival houses had come into fashion beginning in the mid–eighteenth century in England, the only known examples of such houses in Upper Canada are few. Beyond this, they appear to have only existed in the context of the town of York, which was incorporated as the City of Toronto in 1834. The conservative nature of the province is exemplified by the ubiquity of classically planned and modestly embellished houses that dominated the built landscape. The first Gothic Revival house to break the stylistic standstill was Holland House in York which was only begun in 1831 or 1832. This house has been attributed, at least in part, to the English–trained architect John George Howard (1803–90). This paper will discuss Howard’s contribution to Holland House in relation to his British training and to his other works in the city. Through the examination of his experiences and influences in England, as well as his unexecuted Gothic designs in Upper Canada, this paper will also suggest that Howard was responsible for possibly the only other Gothic house built near Toronto; Castlefield of 1835. Overall, this paper will explore this understudied architect and will seek to shed new light on the development of the Gothic Revival in British North America.

Patricia Glanville , “Landscape Intangibles – A Qualitative and Quantitative Study of

Landscapes and Places” Perceptions within cultures express a common theme that landscapes and places convey “sense of place” or “genius loci”. This notion has been demonstrated in early cultures and described as a place between heaven and earth or the horizon that separates the two. The idea that places inherently possess characteristics that physically and emotionally move people can be interpreted through observation of their physical attributes, but also through their phenomenology. Measuring phenomenology by way of quantifying intangibles can be used as a tool for measuring the immaterial

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values people project onto places. The measurements can then be used to evaluate the assets within the cultural landscape or place, and as they change over time. There are landscapes all around us that are not valued for their intangibles and are threatened due to development. Measuring the intangibles lends credibility to the notion that places contain values that are not visible.

Examining intangibles can be conducted by examining physical qualities that may elicit certain reactions. In landscapes this is different from buildings as landscapes can be more subtly described, often having less obvious or less intentional attributes. Buildings are generally designed to suit a purpose and often to elicit an intentional, intelligible message while landscapes, especially natural landscapes, which have existed for millennia, have characteristics that are subconsciously sensed. Here the landforms are simple, yet, the intangible feeling conjured can be described as palpable. Also within the natural landscape purpose-built landscapes can be found, witness the many solar constructs across northern Europe such as at Newgrange, County Meath, Ireland, while contrasted with, for example, the subtle appearance of the landforms at Tara, County Meath. In each case, the effect on people could be either positive or negative, and can affect quality of life and well-being. Of the more negative reactions a place may be described as unsettling while of positive reactions, a place may be described as comforting or even possessing a spiritual quality.

The author has conducted a study to measure peoples’ reactions to both built spaces which often included landscape elements. An instrument (self-perception tool) was derived which helped measure reactions of groups of people, each to seven sites in western Canada. The spaces were familiar and for spiritual use, which made it more likely to elicit an emotional response. Peoples’ reactions were then cross-referenced within variables to statistically determine what features and elements positively and negatively impacted the groups as a general whole. Therefore this same methodology can be applied study natural landscapes.

Measuring and quantifying what causes emotional reactions to phenomenological aspects of a place helps to indicate the value people as a group place on types of spaces, beyond the physical, qualitative, or economic characteristics. Additional examples to which this research could be applied will be given.

The paper discusses the places examined and the observations found regarding the intangible characteristics that describe “sense of place” and affect well-being. The result of the research can be applied to help protect and conserve cultural places as valued, and as such, social and economic assets.

Louis Martin , “Building Myths or How to Preserve the Social Content of Architecture”

In order to address the issue of “past and presence” in Canadian architecture, I propose to compare two works by Melvin Charney (1935-2012): "Le trésor de Trois-Rivières (1975)" and "Les maisons de la rue Sherbrooke (1976)". Both works were conceived as critiques of the traditional conception of the architectural monument as a commemorating device in the form of a building. As monuments, Charney’s installations were meant to commemorate and preserve something he called “the social content of architecture”. My paper will examine what they commemorate and how they preserve.

With these installations, Charney displaced the traditional idea that preservation in architecture is the conservation of existing buildings, and this at the time of the rise of historic preservation in the 1970s. Architecture, or more precisely the architectural figure, may 1) preserve the memory of a "heroic" yet anonymous construction and 2) reveal that the meaning of the city is not restricted to its existing traces (memory), but resides in the idea that the city is a collective project and the construction of collective space. Concerning the question of preservation, Charney shows the efficiency of the mythical speech in the creation of a meaningful architecture.

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12:45 Luncheon (hot lunch), AGM / Dîner (repas chaud), AGA Room 1, NBCCD / Salle 1, CADNB

14:30 Session 11: The Eclipse of Canadian Architecture? / L’éclipse de l’architecture canadienne ?

Chair/président: Rhodri Windsor‐Liscombe Room 1, NBCCD / Salle 1, CADNB

Is the eclipse of Canadian architecture from influential international surveys of twentieth-century architecture and urbanism due to its idiosyncratic qualities or to a lack of “promoters” who have championed it? Has architectural practice and history in Canada remained relatively ignored beyond and even within its borders because of deep regional divisions that have weakened the strength of an overarching national narrative? Is its “marginal” role to be found in its early history based on French and British imperial ambition? Recognition of distinct idiom and process came haltingly in the aftermath of the First World War as well as the emergence of advanced construction method in Canada. Yet, even the earliest international acknowledgement of substantive Canadian design achievement focused on commissions which involved foreign architects or imported architectural ethos, notably the Toronto City Hall and Habitat/Expo'67. And the celebration of Canadian links for such celebrated internationally commissioned architects as Frank Gehry or Carlos Ott serves to underscore the complexity of the factors and issues attaching to the re-assessment of Canadian architectural reputation abroad. Papers that answer some of these questions and raise others regarding different aspects of architecture and historiography in Canada are encouraged.

L’éclipse de l’architecture canadienne dans les enquêtes internationales influentes sur l’architecture et l’urbanisme du vingtième siècle est-elle due à ses caractéristiques particulières ou au peu de « défenseurs » à en avoir fait la promotion? La pratique et l’histoire architecturales au Canada sont-elles restées relativement négligées au-delà et même au sein de ses frontières en raison de profondes divisions régionales qui auraient affaibli la force d’un narratif national global? Son rôle « marginal » doit-il être trouvé dans ses débuts basés sur l’ambition impériale française et britannique? La reconnaissance d’un idiome et d’un procédé distincts est apparue, de façon hésitante, au lendemain de la Première Guerre mondiale de même que de l’émergence de méthodes avancées de construction au Canada. Pourtant, même les toutes premières reconnaissances internationales de réussites canadiennes importantes en design se sont concentrées sur des commandes auxquelles participaient des architectes étrangers ou un éthos architectural venu de l’extérieur, notamment l’hôtel de ville de Toronto et Habitat/Expo 67. Et la célébration des liens canadiens d’architectes mandatés aussi célébrés à l’international que Frank Gehry ou Carlos Ott souligne la complexité des facteurs et des enjeux se rattachant à la réévaluation de la réputation de l’architecture canadienne à l’étranger. Les communications qui répondent à certaines de ces questions et qui en soulèvent d’autres concernant différents aspects de l’architecture et de l’historiographie au Canada sont invitées.

Rhodri Windsor‐Liscombe, “Colonizing Modernism”

"Colonizing Modernism" endeavours to realize the deconstructive, critical potential of digital media in examining two supposedly diametrically opposed systems of thought and practice: late British imperial colonial policy and the Modern Movement in architecture, planning and design.

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The collaboration between Windsor-Liscombe and McDonald began through mutual association with the Centre for Digital Media. The objective was to present research on the media of modernization shared between the two regimes, centred on their shared if radically different interest in aircraft: as means to enhance communication or assert power, and as the air-view, a novel means to understand and correct problems in patterns of urban settlement. This trajectory enabled a comprehensive, global perspective on the appropriation for colonial purpose and legitimation of Modern design, and linked into the situating -- and thus closer analysis of interests and factors at work -- in the colonial uses of Modernist design. This analysis was placed in the virtual reconstruction of a vital nexus of both regimes, namely the Modern Architectural Research Group exhibition in London in 1938. The overlay of media materials, open sourced and open access strategy, illuminates the conscious and suppressed components at play in each worldview.

Michael Windover, “From the inside out: Looking at Coverage of Canada in Surveys

from Interior Design at Eaton’s” Beginning in the 1920s and 1930s the T. Eaton Company promoted the adoption of modern design in Canadian homes. To head up the modernizing initiative, the company hired a Parisian designer, René Cera. This episode, which saw the support of a French moderne mode in Canada and was aimed at a middle-class market, provides a crucial chapter in exploring the production and reception of interior design in Canada. The importation of expertise says perhaps less about the quality of design in Canada and rather more about a perceived superiority of European design, in terms of meeting and shaping popular taste from the perspective of Eaton’s management. Taking up interior design in department stores (an aspect of the built environment overlooked in international surveys of architectural history) adds to the conversation about the eclipse of Canadian design in surveys in important ways: First, it highlights the internationalism of design practice in Canada as well as the complicated relationship between taste-making and innovation. Second, it asks us to reconsider the agenda of international surveys – perhaps Canadian design has been left out because it doesn’t answer the limited questions asked by the survey. And third, it signals potential for rethinking the form of surveys. By focusing on the case of Eaton’s interior design, this paper endeavours to suggest not only reasons for the lack of attention paid to Canadian design but also ways that focussing on Canadian production might change the nature of surveys.

Tanya Southcott, “The valuation or ’heritagisation’ of vernacular residential buildings

in Canada” The identity of a place – be it a city, a region, a country – is often rooted in its built environment, in the structures that give form to the routines of the people who live there. Typically examples of vernacular domestic architecture, these buildings are rarely celebrated in international architectural surveys, let alone surveys of architecture in Canada. Increasingly, however, they are celebrated locally as heritage objects, unique to a particular place.

This paper asks how the process of valuation or ‘heritagisation’ of vernacular residential buildings in Canada can inform broader discussions about a national architecture by looking at examples taken from Canada’s largest urban centres, typically the source of more celebrated architectural landmarks. The Toronto Bay and Gable House, the Montreal Triplex and the Vancouver Special are all the subject of studies and monographs that describe them as heritage rather than architecture. This paper asks under what circumstances these unique buildings have come to be recognized, promoted and valued in this way. In each case, what political and social forces did this process respond to, and can it be traced to a broader, national agenda? Finally, how has this discussion influenced the local discourse of heritage preservation around these houses, and thus shaped how the public views architecture in Canada?

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14:30 Session 12: Company Towns in Canada /

Les « villes de compagnie » du Canada Chair/présidente: Lucie K. Morisset

Room 2, NBCCD / Salle 2, CADNB This session aims to document and analyze a key component of Canada’s built landscape and identity: “company towns”, which are single-enterprise planned communities, mostly located around a resource-based industry, where one company commissioned an urban plan, built housing for its workers, and set up recreational, commercial, institutional or community facilities. Fairly well explored from a social angle, at least since the seminal work of Rex Lucas (1971), company towns remain on the sidelines of the history of architecture in Canada. The inventories compiled after the first de-industrialization, including the “Single-Enterprise Communities in Canada: A Report to Central Mortgage and Housing Corporation,” which celebrated its 60th anniversary in 2013, seem to have been neglected. Yet, while a second wave of closings seems to be finishing the rest of them off, the legacy of company towns seems even more important with large parts of Canada’s North becoming more and more dedicated to mining industrialization. Under this heritage theme, this session will examine the planning and architecture of Canadian company towns considering the hypothesis that, in the Canadian context specifically, the need for a stable workforce prompted companies to try to create a sense of belonging through the built landscape. From case studies picked from among some 250 company towns built in Canada, papers in this session will investigate urban planning and housing trying to understand their impact and legacy on the territory, within the community or in the Canadian built landscape, both in terms of circulation of models of social appropriation.

Cet atelier veut documenter et analyser un ingrédient déterminant du paysage construit et de l’identité au Canada : les « company towns », c’est-à-dire les ensembles mono-industriels planifiés où une compagnie a fait réaliser un plan urbain et construire des habitations pour ses travailleurs, et mis en place des équipements récréatifs, commerciaux, institutionnels ou communautaires. Assez bien explorées sous un angle social, au moins depuis le travail fondateur de Rex Lucas (1971), les villes de compagnie canadiennes sont restées en marge des corpus de l’histoire de l’architecture au Canada. On trouve, en effet, peu de suites aux inventaires nés de la première désindustrialisation, tel le « Single-Enterprise Communities in Canada. A Report to Central Mortgage and Housing Corporation » qui d'ailleurs, en 2013, célébrait son 60e anniversaire. Pourtant, tandis qu'une nouvelle vague de fermetures d'usines semble menacer les dernières d'entre elles, l'héritage des villes de compagnie paraît encore plus déterminant sur les pans entiers du Nord canadien maintenant voué à l'industrialisation minière. Sous cet angle de l'héritage, cet atelier veut interroger l'urbanisme et l'architecture des villes de compagnie canadiennes en considérant l'hypothèse selon laquelle, dans le contexte canadien plus spécifiquement, le besoin d’une main d’œuvre stable aurait incité des entreprises à vouloir créer de l’appartenance au territoire par l’entremise du paysage construit. À partir de cas d’espèce parmi les quelque 250 villes de compagnie construites au Canada, l’on voudrait ainsi investiguer particulièrement les projets urbains et l’habitat en tentant de comprendre leur impact et leur legs sur le territoire, au sein de la collectivité ou dans le paysage construit canadien, tant au plan de la circulation des modèles que de l’appropriation sociale.

Lucie K. Morisset, “Identity on the Land. Company Towns in Canada”

This paper is intended to present and launch a 5-year SSHRC-funded project on Canada’s numerous company towns and their heritage in the country’s landscape and territorial identity.

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The research focuses on single-enterprise planned communities, mostly around a resource-based industry, where one company commissioned an urban plan, built housing for its workers, and set up recreational, commercial, institutional or community facilities. Its aim is to study the urban planning, architecture and housing of these company towns in order to provide an overview of the pan-Canadian situation and to identify the particularities of these settlements, which have marked the territory and history of Canada, as well as the Canadian imagination over time.

As a matter of fact, though recent literature regarding company towns points to a new infatuation with them, at a time when a second wave of closings seems to be finishing the rest of them off, with the exception of a few case studies, little is known about the urban and architectural fabric of Canadian company towns. The research aims to fill this knowledge gap, along with the gap in expertise when heritage issues supersede the plant activities that are the driving force behind company towns. In fact, given the major changes that are affecting the landscape of company towns (their disappearance and the new northern towns), the research also wishes to ensure a re-examination of scientific issues regarding the Canadian landscape, and with respect to the history of urbanism, to create a reference framework for establishing heritage policies and support for heritage development.

The research, conducted by myself with Luc Noppen as co-researcher and Marc De Caraffe as collaborator, needs the participation of students and colleagues from around Canada. It is hoped that this presentation will interest some of them, for example to enrol in a PhD thesis either at UQAM or locally, under a co-supervision, or to plan a course, a conference, a seminar that would bring to Canada’s company towns the global and long-term research and mobilization effort that we wish to initiate.

Cette communication vise à présenter et à officiellement inaugurer un projet de recherche, soutenu par le CHRS pour les cinq prochaines années, sur les multiples villes de compagnie du Canada afin de saisir leur héritage paysager et territorial.

La recherche cible ainsi les ensembles mono-industriels planifiés, où une compagnie a fait réaliser un plan urbain et construire des habitations pour ses travailleurs, et mis en place des équipements récréatifs, commerciaux, institutionnels ou communautaires. Elle vise à étudier l'urbanisme, l'architecture et l'habitat de ces villes de compagnie afin de dresser un premier tableau d'ensemble pan-canadien et d'identifier quelles sont les particularités de ces établissements qui ont marqué la conquête du territoire, jalonné l'histoire et émaillé l'imaginaire canadien.

En effet, bien que la littérature témoigne d'un nouvel engouement pour les «company towns», à l'heure où une seconde vague de fermetures semble avoir raison des dernières d'entre elles, celles du Canada restent, hormis quelques cas d'études, assez peu connues, surtout en ce qui a trait à leurs dimensions urbanistiques et architecturales. La recherche veut combler cette lacune des savoirs, qui en est aussi une de savoir-faire dès lors que les questions de patrimoine se substituent à l'activité des usines qui animaient les villes de compagnie. De fait, compte tenu des changements importants qui affectent le paysage des villes de compagnie (disparitions et nouvelles villes du nord), la recherche aspire aussi nourrir un redéploiement des problématiques scientifiques sur le paysage canadien et en histoire de l’urbanisme ainsi qu’alimenter la constitution d’un cadre de référence pour l’élaboration de politiques patrimoniales et un soutien à la mise en valeur.

La recherche, menée sous ma direction, avec Luc Noppen au titre de cochercheur et Marc De Caraffe en tant que collaborateur, espère la participation d’étudiants et de collègues de partout au Canada. L’on souhaite que cette présentation intéresse, qui à entreprendre une recherche doctorale dans le contexte du projet, à l’UQAM ou sous une codirection locale, qui à imaginer un cours, à préparer une conférence ou à mettre en place un séminaire : il s’agit de constituer, autour des villes de compagnie du Canada, un effort de recherche et de mobilisation inscrit dans le temps long, à la hauteur de leur importance territoriale et identitaire.

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Elijah Karlo M. Sabadlan, “Exploring the Physical and Intangible Cultural Resources of Port Union, Trinity Bay North, NL” Culture of Outports is livable communities. One of them is the Historic Port Union District in Trinity Bay North, Newfoundland—the commercial headquarters of the Fishermen’s Protective Union (FPU) and the Fishermen’s Union Trading Company (FUTC). An invaluable precedent for architecture and town planning, this paper will discuss the historic evolution of Port Union as a unique union-built town in Canada, and explore their physical and intangible cultural resources.

Sir William H. Ford Coaker, the founder of the FPU, used the architectural language and planning principles of a typical autonomous company town. Port Union retains the legibility of Coaker’s original plan as he envisioned it—with separate commercial and residential zones, hierarchy in housing typologies, a railway infrastructure for importing supplies and shipment of saltfish to regional and international market, to name a few.

The paper will also look at a series of case studies to discuss opportunities for adaptive re-use of heritage buildings—the FPU Hotel, the Union Electric Building, and the duplex residences—with minimal intervention to their existing conditions. Finally, it will also introduce the principles of the Culture of Outports program, and reflect on its role in facilitating community engagement activities, fostering community-driven initiatives, and establishing a framework for future expansion within these small communities.

Dr. Brad Cross, “A Familiar Future? City Planning and Housing at Alcan’s Industrial Town of Kitimat, B.C. in the mid-20th Century” This study examines the expression of some mid-20th century ideas of progress, modernity and the frontier through city planning, community design, and architecture As a new industrial town on the Northern British Columbian frontier, Kitimat’s design and its housing concepts were crucial to the recruitment and retention of workers and management for Alcan’s megaproject of the 1950s and 1960s. On the one hand, Kitimat’s town plan by Clarence Stein suggested a modern approach to community design for the automobile age. On the other hand, Alcan wished to reproduce a familiar lifestyle of suburban comfort resituated to a remote location. The success of Kitimat would ultimately be measured in the town’s ability to support a new aluminum smelter and become a regional centre for economic development. Would innovative planning and familiar suburban housing stock work to make the future familiar?

Marianne Charland, “’The Other Arvida’: Characterization of the residential built

environment 1950-1975 - An update” (Présentation en anglais) La communication suggérée fera état de l'avancement de mon projet de maîtrise sur la caractérisation du cadre bâti résidentiel d'Arvida construit entre 1950 et 1975. Mon travail de recherche tente entre autres de mesurer l'influence de la ville de compagnie sur les nouveaux quartiers voyant le jour en ses marges à cette époque, l'expression du règlement d'urbanisme sur le territoire, et l'apport de concepteurs, de contracteurs et de promoteurs immobiliers dans la création de standards résidentiels réinventés pour cet « Autre Arvida ». La période étudiée commence lorsque la compagnie qui a donné naissance à la ville se retire des activités de planification et de construction de résidences pour ses employés, et se termine avec la fusion municipale qui a fait disparaître le nom « Arvida » de la carte.

Dans ma communication, les notions d'identité architecturale locale, de manières d'habiter et de mémoire du territoire de cette célèbre ville planifiée seront confrontées par la présentation de quelques réalisations de l'époque visée. Il sera notamment question de l'étude particulière d'une maison construite en 1961, ainsi que de son dessinateur, Paul Deraps. Celui-ci est alors non

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seulement très impliqué dans la création de nouvelles formes architecturales au Saguenay-Lac-Saint-Jean, mais aussi investi dans la poursuite de la qualité architecturale résidentielle à Arvida.

Cette communication sera l'occasion de présenter un premier état de la question sur ce sujet de recherche.

17:00 Exhibition closing reception / Exposition et réception de fin du congrès

“History, Craft and Shelter: images from the Provincial Archives of New Brunswick’s ‘Building New Brunswick’ architecture collection”

NBCCD Gallery /Gallerie du CADNB

19:30 Bishop John Medley Lecture / Exposé sur l’évêque John Medley Presented by Dr. Malcolm Thurlby of York University, and co-presented with

Fredericton Heritage Trust / Présenté par le Dr. Malcolm Thurlby de l’Université York, en collaboration avec Fredericton Heritage Trust

Christ Church Cathedral / Cathédrale Christ Church Christ Church Cathedral and St Anne’s Chapel, Fredericton, rank amongst the top ten Gothic Revival buildings of the 1840s worldwide. The products of the patronage of Bishop John Medley and his architect, Frank Wills, both buildings have been much discussed in the literature on Canadian architecture. That the design of the Cathedral is based on the 14th-century church of St Mary at Snettisham (Norfolk, UK) is well known. Yet other aspects of the English background of the buildings created by Medley and Wills are little explored. This lecture investigates works by Medley and Wills in Exeter and the county of Devon in the early 1840s as a ‘training ground’ for their work in Fredericton and elsewhere in New Brunswick. Particular attention will be paid to Medley’s Chapel at Oldridge, St Andrew’s at Exwick - on which Frank Wills worked with local architect, John Hayward – and Medley’s additions to the church of St Thomas, Exeter. The significance of ‘correct’ Gothic design for the image of the Anglican Church in Fredericton is explored, and includes reference to the churches at Newcastle and Maugerville, and others in New Brunswick.

La cathédrale Christ Church et la chapelle St. Anne de Fredericton se classent parmi les dix édifices néogothiques les plus en vue des années 1840 et ce, à travers le monde. Le fruit du patronage de l’évêque John Medley et de son architecte, Frank Wills, ces deux bâtiments ont largement été discutés dans la littérature sur l’architecture canadienne. Nous savons, par exemple, que le design de la cathédrale s’inspire de l’église du XIVe siècle St. Mary de Snettisham (Norfolk, R.-U.). Toutefois, d’autres aspects des antécédents anglais de ces bâtiments créés par Medley et Wills n’ont pas fait l’objet d’autant de recherches. Cet exposé se penchera sur les travaux de Medley et de Wills à Exeter et dans le comté du Devon au début des années 1840, comme « terrain d’entraînement » pour leurs oeuvres à Fredericton et ailleurs au Nouveau-Brunswick. Une attention particulière sera donnée à la chapelle de Medley à Oldridge, St. Andrew’s à Exwick – des constructions sur lesquelles Frank Wills a travaillé avec l’architecte local John Hayward – ainsi que les additions de Medley à l’église de St. Thomas, Exeter. Il sera également question de l’importance du style gothique « approprié » pour l’image de l’Église anglicane de Fredericton, de même que des références aux églises de Newcastle et Maugerville, et à d’autres églises du Nouveau-Brunswick.

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Saturday, May 31st / Samedi 31 mai

Bus trip to historic St. Andrews-by-the-Sea / Visite d’une journée en autobus à St. Andrews-by-the-Sea

(Registration required / Inscription requise)

Taking in the scenic and historic sights of this very walkable National Historic District, we'll be visiting Sir William Van Horne's summer estate, Minister’s Island, with its Maxwell-designed collection of late 19th and early 20th century buildings. We'll also explore Greenock Presbyterian Church (1824), the Edward & William Maxwell-designed 'Tillietudlem' (1910), the St. Andrews Blockhouse (1813), among other sites; or else or folks are free to wander on their own through the town at their leisure. To make the visit more engaging, everyone will be provided a complimentary copy of "St. Andrews Architecture: 1604-1964" by Gaspereau Press with its maps and images of the town's built heritage. By late afternoon, we'll depart for the nearby village of McAdam as we take a group tour of the stunning Chateaux-style McAdam Railway Station NHSC (1900). Following this we'll all enjoy the closing Banquet at the Station's restored dining hall. Following the good times, the bus will return everyone safely to Fredericton.

En empruntant les routes pittoresques et historiques de cet arrondissement historique national, nous visiterons la résidence d’été de Sir William Van Horne, l’île Minister et sa collection de bâtiments de la fin du XIXe siècle et du début du siècle suivant, conçus par les Maxwell. Nous explorerons également l’église presbytérienne Greenock (1824), ‘Tillietudlem’ (1910) conçu par Edward et William Maxwell, le blockhaus de St. Andrews (1813), et bien plus. Les participants pourront également visiter l’arrondissement à leur guise, à pied. Pour rendre la visite encore plus attrayante, tous obtiendront un exemplaire gratuit de l’ouvrage St. Andrews Architecture: 1604-1964, publié aux éditions Gaspereau, qui contient des cartes et des images du patrimoine bâti de l’arrondissement. En fin d’après-midi, nous nous rendrons en autobus au village de McAdam, où nous aurons droit à une visite de groupe de l’époustouflant lieu historique national du Canada de la Gare-du-Canadien-Pacifique-à-McAdam (1900). C’est à cet endroit, dans la salle à manger restaurée de la station, que nous tiendrons notre banquet de clôture du congrès 2014. Enfin, après les festivités, notre autobus ramènera tous et chacun à Fredericton.

08:00 Depart by bus for St. Andrews / Départ en autocar pour St. Andrews

10:15 Arrive in St. Andrews - Tour of Van Horne’s Minister’s Island / Arrivée à St. Andrews Visite de l’île Minister Van Horne

12:00 Lunch in Town (on your own) / Dîner en ville (non-inclus)

13:30 Tours of Maxwell Home “Tillietudlem”, Greenock Church & Blockhouse (or folks can wander on their own) / Visite de la demeure “Tillietudlem” des Maxwell, de l’église Greenock et du blockhaus (ou visite libre)

15:15 Free wander time / Temps libre

16:30 Bus to McAdam / Autocar vers McAdam

17:30 Arrive at McAdam – Group tour of McAdam Railway Station NHSC / Arrivée à McAdam - visite de groupe du LHNC de la Gare-du-Canadien-Pacifique-à-McAdam

18:00 Closing Banquet at Station / Banquet de clôture du congrès à la station

21:30 Depart by bus for Fredericton / Départ de l’autocar et retour vers Fredericton

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Schedule at a glance

Wednesday 28 Thursday 29 Friday 30 Saturday 31

7:00 Old Board Meeting

8:00 Registration & Coffee Registration & Coffee

8:30 Architecture of

Faith 'A' (Rm 1)

Teaching Architectural

History (Rm 2)

Architecture of Faith 'C' (Rm 1)

Power and self representations in the colonies

(Rm 2)

Bus trip to historic St. Andrews-by-

the-Sea

9:00

9:30

10:00

10:30 Coffee Break

Martin Eli Weil Prize

10:45 Canadian Architectural Centennial

Projects (Rm 1)

On First Nation Architecture and Planning

(Rm 2)

11:00 Coffee Break

11:15 Current Research 'B'

(Rm 1)

Current Research 'C'

(Rm 2)

12:00

12:15 BBQ Lunch and NBCCD

presentation

12:45

Hot Lunch and AGM

13:00

13:30

Architecture of Faith 'B' (Rm 1)

Current Research 'A'

(Rm 2)

14:00

14:30

The Eclipse of Canadian

Architecture (Rm 1)

Company Towns in

Canada (Rm 2)

15:00

15:15

Bus & Site Tours (2 options)

16:00

16:30

17:00 Registration and reception Exhibition Closing Reception

17:30 Free time

18:00 UNB Walking Tour

Free time

18:30

40th Anniversary Celebration event and dinner

19:00 Welcome Remarks & Phyllis-

Lambert Prize

19:30 Keynote: Thaddeus Holownia

Bishop John Medley Lecture

20:00

20:30 Reception continues

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Aperçu du congrès

Mercredi 28 Jeudi 29 Vendredi 30 Samedi 31

7:00 Rencontre du bureau de direction

8:00 Inscription et café Inscription et café

8:30 Architecture de la Foi 'A'

(salle 1)

Enseignement de l'histoire de l'architecture

(salle 2)

Architecture de la Foi 'C'

(salle 1)

Représentations de pouvoir et de soi dans les colonies (salle

2)

Visite d'une journée en

autobus à St. Andrews-by-the-

Sea

9:00

9:30

10:00

10:30 Pause-café

Prix Martin-Eli-Weil

10:45 Architecture dans le cadre du centenaire

de la Confédération

(salle 1)

De l'architecture

et de l'aménagement des Premières Nations (salle

2)

11:00 Pause-café

11:15 Recherches actuelles 'B'

(salle 1)

Recherches actuelles 'C'

(salle 2)

12:00

12:15 Dîner BBQ et courte présentation

CADNB

12:45

Hot Lunch and AGM

13:00

13:30 Architecture de la Foi 'B'

(salle 1)

Recherches actuelles 'A'

(salle 2)

14:00

14:30

L'éclipse de l'architecture canadienne

(salle 1)

Les "villes de compagnie" du Canada (salle 2)

15:00

15:15

Autobus et visites (2 options)

16:00

16:30

17:00 Inscription et réception

Exposition et réception de fin du congrès

17:30 Temps libre

18:00 UNB Walking Tour

Temps libre

18:30

Souper et célébrations du 40e anniversaire de la SÉAC

19:00 Mots d'ouverture et Prix Phyllis-

Lambert

19:30 Conférencier invité: Thaddeus Holownia Exposé sur l'évêque John Medley

20:00

20:30 Fin de la réception

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