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.
The fragments of this exhibition add up to an archive that attempts to answer a question: without the witness, how do we determine truth?
As Waterloo-based artist John Hofstetter told me, “you don’t ‘squeeze in’ Newfoundland.”
A group called Friends of 48 Ontario is pushing to reanimate the 106-year-old structure, which was home to the Royal Canadian Legion Branch 50 for half a century and is now owned by the City of Kitchener.
The main building at the Woodland Cultural Centre is one of fewer than a dozen former residential schools for Indigenous children left standing in Canada. A campaign called Save the Evidence aims to preserve it as a museum – the first of its kind.
