In the Scale of a Reserve // Canadian Centre for Architecture

The land surrounding Burrard Inlet, in British Columbia’s Lower Mainland, is part of the unceded territories of the Coast Salish Peoples. On the inlet’s south shore lies the city of Vancouver, while across the water four reserves line its north shore . . . These overlapping geographical, legal, and urban conditions are part of what might be called the scale of the reserve.

Settler Colonial Modern // Canadian Architect

Writing about modernism in colonial contexts, architectural historian Gwendolyn Wright proposes that “the physical environment became a strategy for enforcing common values while maintaining difference within a conjoint modern world.” In Canada, little else exemplifies this statement so strongly as the century-long experiment known as residential schools.

Book Review: Race and Modern Architecture // Canadian Architect

In recent months, the horrific death of George Floyd at the hands of Minneapolis police and the Black Lives Matter protests that followed have prompted widespread reflection on the roles of race and racism in architecture. These events have spurred institutional statements, calls for action, and the sharing of syllabi and reading lists on architecture and race. Race and Modern Architecture: A Critical History from the Enlightenment to the Present is a timely addition to these efforts.

Settler Colonialism, Residential Schools, and Architectural History // Active History

We spent six hours a week in our first term learning about the Holocaust from one of the world’s foremost experts on Auschwitz, even as a powerfully tangible reminder of Canada’s own genocidal history stood, silently, a half-hour away. I’d visited Auschwitz, or Oswięcim, as it’s known in Polish, the summer before starting university. It wouldn’t be until graduate school that I would walk through the doors of the Mohawk Institute.

Constructing the Image of a Nation // The Site Magazine

Questions of agency, land rights, and culture arose again and again in the McCord’s retrospective on nineteenth-century photographer William Notman, yet neither Notman’s work nor the exhibition framing it provided any easy answers.