The red maple leaf is the quintessential symbol of Canada and the flag that popularized it throughout the world was designed in the 1960s as a result of government legislation aimed at creating a vital, new Canadian national identity through objects, events, and building projects. Made in Canada looks at the development of Canadian craft, design, and culture through ambitious government programs meant to reinforce the country's identity as a modern, sophisticated, and autonomous nation. As well, it documents the demise of a singular notion of modern life and its replacement with a focus on personal identity and consumerism. Changes in the 1960s included the building of modern airports, first space satellite, and new national symbols such as the maple leaf flag. Canadians embraced this heightened sense of individuality and demanded products that were equally individual. As a result pop culture objects sat on cool furniture influenced by Scandinavian modernism while handmade crafts reflected a growing concern with environmental issues. Expo 67 was the turning point - one final expression of optimism before Canada was rocked by social change and varied struggles for identity. Made in Canada examines national dreams and expressions of individuality in thoughtful and illuminating essays. Contributors include Sandra Alfoldy (NSCAD University), Paul Bourassa (Musée des beaux-arts de Québec), Brent Cordner (designer and educator, Toronto), Douglas Coupland (artist and author, Vancouver), Bernard Flaman (Government of Saskatchewan), Rachel Gotlieb (freelance curator and writer, Toronto), Michael Large (Sheridan College Institute of Technology and Advanced Learning), and Michael Prokopow (Design Exchange).

Canada is a country of massive size, of diverse geographical features and an equally diverse population—all features that are magnificently reflected in its architecture. In this book, Rhodri Windsor Liscombe and Michelangelo Sabatino offer a richly informative history of Canadian architecture that celebrates and explores the country’s many contributions to the spread of architectural modernity in the Americas. A distinct Canadian design attitude coalesced during the twentieth century, one informed by a liberal, hybrid, and pragmatic mindset intent less upon the dogma of architectural language and more on thinking about the formation of inclusive spaces and places. Taking a fresh perspective on design production, they map the unfolding of architectural modernity across the country, from the completion of the transcontinental railway in the late 1880s through to the present. Along the way they discuss architecture within the broader contexts of political, industrial, and sociocultural evolution; the urban-suburban expansion; and new building technologies. Examining the works of architects and firms such as ARCOP, Eric Arthur, Ernest Cormier, Brigitte Shim, and Howard Sutcliffe, this book brings Canadian architecture chronologically and thematically to life.

Houses for All is the story of the struggle for social housingin Vancouver between 1919 and 1950. It argues that, however temporaryor limited their achievements, local activists pplayed a significantrole in the introduction, implementation, or continuation of many earlynational housing programs. Ottawa's housing initiatives were notalways unilateral actions in the development of the welfare state. Thedrive for social housing in Vancouver complemented the tradition ofhousing activism that already existed in the United Kingdom and, to alesser degree, in the United States.

Identifies and summarizes thousands of books, article, exhibition catalogues, government publications, and theses published in many countries and in several languages from the early nineteenth century to 1981.

Featuring six decades of outstanding work by Ontarios design-craftspeople in colour and black and white photographs.

Korinek shows that rather than promoting domestic perfection, Chatelaine did not cling to the stereotypes of the era, but instead forged ahead, providing women with a variety of images, ideas, and critiques of women's role in society.

The first collection of scholarly essays on women and art in Canadian history.

If resort life is what you crave, the long ramble in the Charlevoix region of Quebec offered by Philippe Dubé's book provides the desired change of scene. Using many photographs and illustrations of the elegant resort homes of the area, the people who built and inhabited them, and the tourists who flocked there during the summer, Dubé captures both the untamed beauty and the unique history of this remote resort region. From the introduction: Charlevoix sits on the north shore of the St Lawrence River in a fertile valley first colonized by the merchanys of Québec. Its early development under the French Régime was sporadic, but in due course the commercial climate improved. In 1762 Messrs John Nairne and Malcolm Fraser, officers of the Regiment of Fraser Highlanders, began work on their respective properties of Murray Bay and Mount Murray, granted by Governor James Murray. In their time the area was already renowned for its scenery and picturesque way of life, and vistitors would come from countirs far off as Scotland to stay for several months. Ever since, Charlevoix has fascinated travellers and charmed summer vacationers searching for peace and quiet. The locals, for their part, have welcomed outsiders. For over two centuries, then, Charlevoix has been a meeting place for the rural culture of the French and the urban culture that is by tradition predominantly Anglo-Saxon.