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.
This exhibition at the Canadian Centre for Architecture proposes a timely rereading of postmodernism that moves beyond the period’s self-generated theories, stylistic commonplaces, and images.
Wherein we discuss a complete re-enchantment with technology and the “laboratory,” and how scientists have been working as pseudo-architects all along.
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.
Conference paper on residential school architectures in Canada, USA, Australia, and New Zealand at SAHANZ 2017.
As a gateway building, Lazaridis Hall is dramatic yet effortless, distinguishing itself from its surroundings and creating visual openness with continuous glazing at grade.
Installation on animal food production and the agricultural landscape at Grow Op 2017, the Gladstone Hotel’s annual urbanism, landscape and contemporary art exhibition.
The fragments of this exhibition add up to an archive that attempts to answer a question: without the witness, how do we determine truth?
Night Light Path presents a playful approach to the typically solid and uniform appearance of street lights.
As Waterloo-based artist John Hofstetter told me, “you don’t ‘squeeze in’ Newfoundland.”
Magdalena Miłosz 