For the Record: The First Women in Canadian Architecture

By Joan Grierson

When Marjorie Hill graduated in 1920 as Canada’s "first girl architect," she was entering a profession that had been established in Canada just 30 years earlier. For the Record, the first history of women architects in Canada, provides a fascinating introduction to early women architects, presented within the context of developments in both Europe and North America.

Profiles of the women who graduated from the School of Architecture at the University of Toronto between 1920 and 1960 are illustrated with photographs of their work and include archival material that has never before been published.

The final chapter on contemporary women in architecture showcases contributions by leading women architects across the country, from Halifax to Vancouver to Iqaluit. For the Record also provides current information on schools of architecture in Canada and includes a list of other resources to encourage young women who are thinking of pursuing careers in architecture.

• Language: English
• Publisher: Dundurn
• Release date: Mar 31, 2008
• ISBN: 9781770706415

Joan Grierson

Joan Grierson graduated in 1948 from the School of Architecture at the University of Toronto and holds a master's in product design from the Chicago Institute of Design. The For the Record Committee organized an exhibit profiling 28 women architects who graduated from the University of Toronto between 1920 and 1960 and spearheaded the development of this book. Grierson lives in Toronto.

Book preview

FOR THE RECORD

FOR THE RECORD

THE FIRST WOMEN IN CANADIAN ARCHITECTURE

Edited by Joan Grierson

and the For the Record Committee

Copyright © Joan Grierson 2008

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise (except for brief passages for purposes of review) without the prior permission of Dundurn Press. Permission to photocopy should be requested from Access Copyright.

The Photo Credits on pages 130–31 constitute a continuation of this copyright page.

Care has been taken to trace the ownership of copyright material used in this book. The author and the publisher welcome any information enabling them to rectify any references or credits in subsequent editions.

J. Kirk Howard, President

Library and Archives Canada Cataloguing in Publication

For the record : the first women in Canadian architecture/edited by Joan Grierson and the For the record committee.

Includes index.

ISBN 978-1-55002-820-1

1. Women architects—Canada—History. 2. Women architects—Canada—Biography. 3. University of Toronto. School of Architecture—Graduate students—Biography. I. Grierson, Joan II. Title.

NA1997.F67 2008                     720.92                      C2008–900380–2

1 2 3 4 5      12 11 10 09 08

We acknowledge the support of the Canada Council for the Arts and the Ontario Arts Council for our publishing program. We also acknowledge the financial support of the Government of Canada through the Book Publishing Industry Development Program and The Association for the Export of Canadian Books, and the Government of Ontario through the Ontario Book Publishers Tax Credit program and the Ontario Media Development Corporation.

Editor: Meg Taylor

Design: Counterpunch/Peter Ross

Printer: Friesens

Opening photographs:

page 1 (left) Residence of Lawren Harris, Toronto, 1933, Alexandra Biriukova, Architect; (right) Royal View Apartments, Edmonton, 1954, Wallbridge and Imrie, Architects.

page 2 (left) Harvie House, Calgary, 1953, Wallbridge and Imrie, Architects; (right) District Office for the Ministry of Natural Resources, Midhurst, Ontario, 1974, Natalie Liacas, Architect.

page 3 (left) Silvano Color Lab, Toronto, 1979, Joanna Ozdowski, Architect; (right) Daymond House, Guelph, 1991, Joan Burt, Architect. pages 18–19 Plan for an infirmary at the Sir James Whitney School for the Deaf, Belleville, Ontario, 1972, Natalie Liacas, Architect.

Printed and bound in Canada

www.dundurn.com

Dundurn Press

3 Church Street, Suite 500

Toronto, Ontario, Canada

M5E 1M2

Gazelle Book Services Limited

White Cross Mills

High Town, Lancaster, England

LA1 4XS

Dundurn Press

2250 Military Road

Tonawanda, NY

U.S.A. 14150

To women in Canadian architecture,

past, present and future

CONTENTS

Foreword by Eva Matsuzaki

Preface

A SHORT HISTORY OF EARLY WOMEN IN ARCHITECTURE

WOMEN GRADUATES IN ARCHITECTURE

1920 TO 1960, UNIVERSITY OF TORONTO

1920s

1930s

1940s

1950s

Epilogue

WOMEN IN ARCHITECTURE TODAY

Appendices

A The Story Behind the Exhibit by Blanche Lemco van Ginkel

B The Original Exhibit by Mary Clark and Lennox Grafton

C Survey of Canadian Registered Women Architects 1997–1998

D Canadian Schools of Architecture

Selected Resources

Acknowledgements

Photo Credits

Index

FOREWORD

The older I get the more I appreciate those who went before me. The more I learn of their lives and their work, the more I am amazed by their accomplishments and can’t help but wonder how they did it. We may not be able to retrace the how of much of it, but books such as this tell us what they did, and we can draw inspiration and courage from the stories of the women profiled here.

Who encouraged these pioneering women to enter a male-dominated field like architecture? Who told them they could do the job just as well or even better than men? Who mentored them if they wanted to juggle family and career? Maybe it was a family member or someone at school or in the office, or maybe no one did – maybe they just knew they could. But most of us have relied on good advice at crucial points in our lives, and we all need encouragement to be patient, to persevere against the odds.

Where were the role models for women in the 1960s when I decided on a career in architecture? They were few and far between. It was my Latvian immigrant parents, Osvalds and Marta Pupols, and my upbringing in New York City that told me to follow my dream. After that, what can I say? I jumped into the deep end of the pool.

We were six women in the entering class.map of sixty at the School of Architecture at Cornell University in 1961. Life at school was collegial, but there were no female faculty or adjuncts in those five years. None. Four women in my class.map dropped out within the first two years, leaving only two of us to graduate in the class.map of forty.

The university dorms had curfews for women (but not for men), and all female students were required to live in residence. Life in the architectural studio included the usual late nights. Staying out all night (part of the night was not an option) meant risking financial aid and other penalties. Luckily I had the support of residence staff, who would warn me of scheduled fire drills when each person was counted, and I’d be sure to work in my room on those nights. Survival by stealth.

At my first job in an architect’s office (summers and later full-time) at Eero Saarinen and Associates/Kevin Roche, John Dinkeloo and Associates, the staff of eighty-plus included only three professional women when I arrived: one technician, one foreign-trained architect and one interior designer. Again, there were no real role models, so I just kept swimming.

In 1974 when my husband and fellow architect, Kiyoshi Matsuzaki, and I began working with Arthur Erickson Architects in Vancouver, I met my first and still-active role model, Cornelia Hahn Oberlander, landscape architect. She showed me how to balance a robust professional career, family and volunteer work – all the while maintaining good humour and a positive outlook.

During the design and construction of the C.K. Choi Building for the Institute of Asian Research at the University of British Columbia in the mid-1990s, I had the exceptional experience of working with a mostly female team. We were determined to take the concept of environmental responsibility as far as it could go. Energy and resource conservation was a primary concern, but the design solution also created a healthy and desirable place to work. Virtually every workstation has a large window that opens and its own temperature controls. Odourless paint, carpets laid without glue and constantly circulating fresh air eliminated the usual toxins found in buildings.

I am convinced that we blossomed in the exceptionally supportive atmosphere that grew out of our weekly gatherings. The result was an environmentally sustainable project well ahead of its time. We all declared our love for nature and our responsibility to future generations. Some of the many sustainable design practices followed in the C.K. Choi Building include the use of recycled building materials, natural ventilation and lighting, and stormwater retention (rainwater storage for irrigation). Water resources are further conserved with composting toilets and a greywater system, which is used to irrigate the surrounding landscape.

At the induction ceremony for newly registered architects in British Columbia in December 1989 a few women spoke of the unreasonable hurdles they had encountered in their education and registration paths. We wondered how widespread these experiences and sentiments were. After some phone calls, eighty women packed into a small meeting room to share their stories – and to demand change. We organized a Saturday workshop in the spring of 1990; with over 100 attendees, this was the beginning of Women in Architecture B.C., a group that is still active. That initial workshop identified common wishes for mentors and support systems that women could easily access, especially for those working in isolation. Over the years this group has been an advocate for change in the professional institutes; provided seminars, tours and newsletters; published the book Constructing Careers: Profiles of Five Early Women Architects in British Columbia in 1996; and curated several exhibits.

In 1998, when I became the first woman president of the Royal Architectural Institute of Canada, the RAIC Board agreed to support workshops that would provide a forum for women to exchange information and ideas for change. We asked participants to offer specific recommendations to schools, to professional organizations and to architectural practices on how to make our profession more welcoming to women. From all regions, we heard the need for more female faculty at schools of architecture, more flexibility for women balancing family and careers, more networking opportunities. In many sessions we discussed the possibility of a national organization of Women in Architecture, perhaps under the umbrella of the RAIC. But that remains on our wish list.

As women architects around the world gain in prominence, it’s important to acknowledge the women who came before us and to celebrate their trail-blazing courage, passion for design and downright pigheadedness. This is our inheritance. The publication of this book is one more step toward reclaiming our past.

Eva Matsuzaki

Vancouver, October 2007

Since 1984, Eva Matsuzaki has been a principal of Matsuzaki Architects Inc., an award-winning leader in environmentally sensitive design. From 1985 to 1990, she served as an Adjunct Professor in the School of Architecture at the University of British Columbia. From 1974 to 1984, she worked as an associate with Arthur Erickson Architects. Matsuzaki is a founding member of Women in Architecture B.C. and an advocate for women students and practitioners. She was the first woman president of the Royal Architectural Institute of Canada, elected in 1998.

Born in Riga, Latvia, Eva Matsuzaki (née Pupols) holds a B.Arch. degree from Cornell University. After graduation in 1966, she worked in the office of Eero Saarinen and Associates/Kevin Roche, John Dinkeloo and Associates in Connecticut before moving to Vancouver in 1972.

MANSONS CONSTRUCTING THE CITY WALL, Cité des Dames, Collected Works of Christine de Pisan, fifteenth century, British Library.

PREFACE

Vitruvius, Palladio, Christopher Wren, Thomas Jefferson, Frank Lloyd Wright and Le Corbusier – these are just a few of the many great architects who have been recognized over the centuries. Many kings but no queens. There is a legend that Jane Wren, daughter of Christopher Wren who was charged with the rebuilding of London’s churches after the Great Fire of 1666, was responsible during her brief life for work on three Wren churches in east London. By the late nineteenth century, a few women architects had appeared but it was not until the second half of the twentieth century that women entered architecture in significant numbers.

This book is about women in architecture, yesterday and today, and about the establishment in Canada of the profession itself. Prior to 1890, architectural training in Canada was acquired through apprenticeship.