麻豆AV

Tell me how you decided to become an architect.

I guess with me the desire to become an architect runs very deep. My father is a civil engineer and we had a lot of architects and engineers around the house when I was growing up in Bucharest in Romania, as well as a lot of journals. My father was an architect - no, an engineer - who was very interested in architecture. So I remember - I still have, sort of, very vividly in my mind - images of Frank Lloyd Wright houses in magazines, and they had such a powerful impact that they made me want to design my own house and then design houses and whatnot for other people. I guess the other driving force in my own background that led me to this was the house where we lived. My grandfather had gone to University of Zurich at ETH during the First World War, and studied, in fact, reinforced concrete which was very novel at the time, then he practiced in Milan and he came back to Romania with a lot of ideas about architecture and had a house designed by a leading architect at the time. There was a cross between an Adolf Loos house and a Corb house, if that is possible. It has sort of Corb features with Adolf Loos鈥� material. So that had been, in a sense, an education itself: living in that house and being part of that house. So between those two things it led me to want to do that as I grew up. Now when I came to Canada I started university almost immediately, so it was a shock.

[1:48]

That would be when, mid-60s?

Oh no no no, I should be angry at this question. You鈥檙e making me sound much older than I am.

Age is required to come in at this situation.

Mid-70鈥檚. Well not quite mid-70s: 鈥�73. And I was 18 years old and I had just arrived and I remember going around to look at universities, and the moment I saw 麻豆AV, I said, this is where I want to be, there is no choice, there is no competition. Although part of my family in Montreal is French Canadian and, in fact, my cousin鈥檚 father was at the time the Director of University of Montreal, so you know, quite committed to education in French and to French universities. And I applied to Universit茅 de Montr茅al as well, but in my mind, there was no doubt, as soon as I saw the Roddick Gates and the buildings and the Arts Building and the whole setup, I thought it looks so romantic and wonderful, and I was just鈥�so it was totally aesthetic, it had nothing to do with reputation. I mean, I鈥檓 sorry to have to say that, although I suppose I鈥檓 lying, because in Romania, the only university we knew of was 麻豆AV. We didn鈥檛 know of Toronto, and as a faculty member now at Toronto, I shouldn鈥檛 even admit to that. But the reputation of 麻豆AV was much wider. At least in those years. I don鈥檛 know what it is like now.

[3:16]

The first person I met at the School of Architecture was Derek Drummond, and I went to see him to know whether I could be admitted, and he looked at my transcripts, and I think he was quite impressed but he felt that I needed to do something in Canada to sort of prepare myself for the school, and I did second half of second year of CEGEP or something like that at Dawson and then I applied at Architecture and Engineering and was accepted to both, but since Engineering was not my first choice, I didn鈥檛 go there. The person I worked with in first year was Bruce Anderson. I don鈥檛 quite recall the name of the person who assisted him in the studio, but he was working with ARCOP.

[4:11]

Could it have been Stan Downey or鈥�

No, no.

[4:14]

I wouldn鈥檛 remember, either. It probably wasn鈥檛 a sort of principal player at the university, he was just a鈥�

I think he was enough. I just can鈥檛 think of his name right now. I think Pieter Sijpkes was there at the time and working with Derek in the second semester. I had a hard time getting adjusted. It was a very novel experience for me, especially the collegiality amongst the students, which was practically non-existent, at least in the first year. It was quite driven, quite competitive, and perhaps not all that welcoming in some ways. And in that sense I did not have such a good year. Derek was wonderful, very warm and approachable and kind, and in a sense, he sort of allowed me to see my way through staying there. Because I just found it such a foreign experience, but the real hero of my entire stay at 麻豆AV and of studying in first year was Peter Collins, who made an amazing appearance. I remember him arriving in his robes as if we were at Oxford or something like that. And delivering his lectures: I always thought they were magnificent. Nowadays I guess I鈥檓 Peter Collins myself at University of Toronto. I play that role and I always think with great admiration of the way he was able to structure those lectures he had. They would start in a way you wouldn鈥檛 know where he was going and you had to sort of hang on to his lips and he sort of grew to a climax and at the last minute, the whole thing fell into place. It was just amazing. I thought he was spectacular. He was tough, though.

[5:59]

Did he continue to influence you? Did you have him in other years too?

Oh yeah, I took everything he offered, everything he offered. He was not a very approachable man, at least not to me. I don鈥檛 know how he was with other people. I know I was one of his very best students the entire time I was there. But he was not a chatty, sort of personal guy. I think he was quite shy. I鈥檓 not sure, but perhaps I was shy too, and we just were hemmed in by mutual shyness. So I didn鈥檛 have a real personal relationship, but his book, I mean it鈥檚 still a classic and generations of my students have read that.

[6:37]

Which one are you referring to? Concrete? Or the other one?

The other one, the principles.

[6:44]

The principles. There鈥檚 one to do with law?

The best one, the concrete one, was not superseded for a very long time, and he made - there鈥檚 a book now that works that may supersede it but the principles hasn鈥檛 been superseded, and I don鈥檛 think will, it鈥檚 an amazing book. So, in a sense, the friends I made were the ones who like me were sort of enraptured by Peter, and those of us who had a more academic interest in the field as well tended to be in the same classes and follow him around which, in a sense, also opened up to me the rest of the university, because I went and started taking courses in fine art which was an opportunity to be in another building. Now let me tell you, perhaps you remember, but the building where the school of architecture was then was not exactly鈥�

[7:41]

McConnell Engineering Building鈥�

That鈥檚 right. The engineers were right next door and we took a lot of courses with them. And I remember a few of the engineering profs, especially Selby. Do you remember him? I liked him. He was a character.

[7:53]

He was a character. I believe he鈥檚 still alive because I saw him quoted recently. I鈥檓 sure it was David, it was David Selby.

David was his name?

[8:01]

Yeah.

He was very good. I liked the way he presented. We had a structures course with him, and it was an intelligent way to talk about structures as an idea, rather than try and make you fill out tables and work out beams, which is what people tried to make us do later, which was a total loss. I mean, we would not go to classes for the whole term and then read the thing at the end for one evening and then get an A in the course, so it was a bit of a joke. But the interest I developed in history of architecture and theory led me to fine art which was an opportunity to see this amazing building and sort of be in the building which is the sort of core of the campus. And of course I didn鈥檛 use that opportunity as much as I should have because, tired from studio, I would most of the time fall asleep as they were showing wonderful slides in fine art.

[8:53]

Because I suspect that you still got in on a charrette, like a lot of working overnight and so forth. They don鈥檛 let you get away from it today. They don鈥檛 get away from that.

That鈥檚 part of the thing. I think in a way, that鈥檚 what binds, you know, it鈥檚 the glue for the students.

[9:05]

Do you remember - I don鈥檛 think Stuart Wilson had any influence on your career鈥�

No, I never took a course with him. He was making that A-frame house, and the people who were making that house with him had a kind of subterranean existence. I don鈥檛 know where they lived, and I know he was a kind of weird bird but I never said boo to him and he never said boo to me and it was just fine by both of us.

[9:28]

Was Gordon Webber around then or - ?

No, not a name I know.

[9:32]

And John Bland was still the Director of the school, I guess, or was it Derek?

Derek was, most of the time I was there, and Norbert Schoenauer, as well. John Bland, this is my one regret, I have to say, never having taken his course in History of Canadian Architecture. I think he would have done much for me, especially my more historical direction I鈥檝e taken now. So I missed that course. But I took Schoenauer鈥檚 course in housing which was a merit course. The design courses were interesting. When I look back at them I have mixed feelings about them. The design studios that I took, which were Derek, Bruce, and Bruce again for my thesis year, Rad Zuk, McClosky - did you know him?

Brian McClosky?

Brian McClosky. Who else did I have - Vikram? Is he still there?

Yeah, Vikram, he鈥檚 still there.

Anyway, and I think Derek again, maybe a couple of times. It was a very peculiar moment in the sort of later 70鈥檚 - I graduated in 鈥�77 - so if you think back to what鈥檚 happened since then and what happened just before that, there was a kind of cusp for a change in direction and in the way we were making architecture, thinking about it, and I think, our professors too were confused, and so were we. And I think it was a very difficult time to be a student then.

So were you there then, during the strike, the student strike? Wasn鈥檛 there a strike 鈥� a walk-out on the part of the students 鈥� well, I guess that was before you went to university.

Yeah, might have been.

Yeah, okay, because they were endeavoring to change the curriculum.

Yeah, I don鈥檛 know about that. I don鈥檛 think that the students, when I was there, knew much. Even the journals, it was all, you know, you had on the one hand early Charles Moore stuff coming up, and on the other hand, very hi-tech, sort of Olivetti buildings being built. And you know, this whole sort of Japanese traditional Kenzo Tania, those kinds of guys. So there was that sort of late modernist, big muscle macho architecture on the one hand, and there was this other side that was just beginning to rise. And I guess as a student I had more affinity with that side that was beginning to rise, so my drawings were watercolour, and they were hand-drafted - there were not so heavy markers and strong lines and that kind of thing. And that didn鈥檛 always go down well at crits, but I was part of a group that sort of enjoyed that aspect, as we did in Gerry Tondino鈥檚 sketching classes. And for a long time I thought there was something wrong with me, and afterwards I realized there was nothing wrong with me, it was something wrong with the others. Because in some way history proved us right, not that my work was spectacular - I don鈥檛 suppose it was - it was just that, what we wanted to be doing was a little different than maybe what our professor felt or had been used to doing or what their own affinities led them to. It was an interesting moment. Now as a historian, I鈥檓 very glad that I went through that time because I experienced first hand that transition from what we called modernism to what we call post-modernism on my own skin, and I know how it happened, but in a professional world, it was a difficult moment.

[13:15]

You mentioned somebody was there when I was there, which is quite a few years ago, and who just retired, that was Maureen Anderson. I think, everybody, in some way or other, she had an influence on so many, whether it was a calming and pacifying influence on so many students at the time鈥�

Yes, she was lovely. And the thing that was so amazing about her is that she remembered us all, which made you feel like you were, you know, you mattered to somebody. And now as a professor, I know that I don鈥檛 forget students. I may forget temporarily their names, but when they call me up or send me a postcard, it gives me great joy. Of course, when you鈥檙e a student you think you鈥檙e invisible.

You鈥檙e anonymous?

You鈥檙e anonymous, yes. But she had that ability to seem to care, and she did indeed care, and occasionally I talked to her on the phone for references or whatever I needed, you know, when I was doing my PhD, and she was always so warm and so helpful. So I think she sort of translated perhaps a side of the school that the men - because it was all men鈥�

[13:52]

Yeah, it was, and it still is basically all men鈥�

Well, except for Annmarie Adams.

[14:19]

Annmarie Adams, that鈥檚 right. And there鈥檚 a few temporary, part-time professors.

Well, it鈥檚 the same in Toronto. I was the only female faculty - permanent faculty - they had. And in the end, I moved to the Fine Art department, so you know鈥�

[14:32]

I wanted to ask you, because you just sort of en-passant mentioned Gerry Tondino. Gerry is still active, he is still giving. You have any memories of Sketching School?

Absolutely. One of them, which was a terrific one, actually, was in the Maritimes. We went to Nova Scotia, and a bunch of us camped together, and it was just one of those amazing things where it rained absolutely all the time and we were cold, sketching, and wet and damp, and then when we got into our tents we were still damp and cold. It was just awful, but it was one of the nicest memories.

[15:05]

Which you鈥檙e probably not prepared to do today?

Well, I鈥檇 be a fool if I did. It was wonderful to see. It was a wonderful part of Canada which I haven鈥檛 seen since.

[15:18]

Let me ask you one of the things that I鈥檓 always interested in hearing, but a lot of people don鈥檛 talk about it, but of your classmates, do you keep in touch with any of them, or do you see any of them on a regular basis?

No, only one, who was and still is my best friend, and after whom I named my daughter Julia. That鈥檚 Julia Parker. We met at the first party that was given for entering the School of Architecture and we鈥檝e stayed close ever since and sometimes we don鈥檛 see each other for years but the moment we see each other, it鈥檚 as if we picked up where we left off. One of the trips - talking of trips, and sort of going to Nova Scotia - that marked my future career was a trip we took with Peter Rose to Yale, going through or along the Hudson River and into Connecticut, Newport and other places along the way. I remember we went to Olana, Frederic Church鈥檚 house on the Hudson River, and it was an amazing trip. Peter didn鈥檛 teach at the School of Architecture but he was young and keen and offered us - I think we were in the fourth year at the time - to take us on a sort of self-sponsored trip to show us some of the American vernacular architecture. He was fresh from lectures by Scully and, you know, a great admirer of Charles Moore, when Charles Moore was just about to publish his book on the place of houses, and I went on that trip and Alan Orton went on that trip. He became the sort of glue of my year. He鈥檚 the one who keeps us in touch such as we are. Julia Parker went, Bonnie Maples went, a whole bunch of people went. We were two cars, I think, so it wasn鈥檛 extraordinarily large but it was an extraordinary moment, I think, for all of us, to encounter another way of looking at things. Because back at the studio we were still in that sort of post-Place Bonaventure mentality of big, powerful buildings and expressing structure. If I hear that word one more time, I鈥檓 going to throw up. It was so amazing to see that kind of whimsicality that people were allowing themselves to do at Yale, for instance, or in the houses that Peter took us to. So it was a great antidote. It came perhaps a bit late or perhaps we weren鈥檛 able to assimilate it at the time. It took a while to digest all that stuff, and in my own work it took me a while and in some ways led me to be more interested in history than building and sort of understand how we came to be the way we were. But it was a very important thing and it was a wonderful memory.

[18:01]

You have any comments about the university or the program of teaching in retrospect? You have experience at the University of Toronto and there are things that you see that should perhaps change or maybe have changed at 麻豆AV now?

Well, I think - and this might not be a very popular statement to make - but I think what they have at Toronto, which if excessive can be a problem too, is they have a lot more transient faculty. And that is good because people get a lot more options or angles to look at things. We tended to have a very stable faculty. I think they were all tenured or tenure-track or something. And there wasn鈥檛 enough room to rejuvenate, and I think even for the faculty that is there a long time, it is good to have new blood in, just to update themselves and keep them into other things. So I think that is the difference, and perhaps 麻豆AV must be doing it too now. I don鈥檛 know. I haven鈥檛 been back there for a while.

[19:01]

They鈥檙e bringing in a lot of casuals and assistant professors. They鈥檙e also continuing to bring in, I guess, visiting critics, which you probably remember when you were at 麻豆AV too?

Yes, and I do so many of them nowadays.

[19:11]

Do you?

Oh, yes.

[19:14]

Do you remember any of the people - I know we鈥檙e jumping around in subject matter - but do you remember any of the people who were at your crits at 麻豆AV from outside - Ray Affleck?

Ray Affleck I remember, and I remember, at the time, that someone told us we were going on, don鈥檛 worry about your colours, you can鈥檛 tell one from the other, and in fact he was sitting with a green sock and a blue sock. Who else was there? I don鈥檛 remember the names, actually. Perhaps they weren鈥檛 names that have stood the test of 20 years or whatever it is. They were frightening and I think still frightening, and I try my best to be kind but you get carried away with the fun of the moment. So I do remember very well what it is was like for me when I do crits, and I鈥檝e done crits here, at Waterloo, and in the States, and it鈥檚 fun for the critic but it is sometimes a horrific experience for the other side.

The other aspect that has changed somewhat since the years when I was at 麻豆AV, and it鈥檚 more significant at Toronto, I think, is the teaching of architectural history and theory and connecting architecture to the other - to the sort of culture of various disciplines around, which brings me to what I did afterwards. For a while I practiced, and I practiced for about 10 years with various offices in the city: known people, Peter Hamilton, Gordon Ridley, Tony Kemp, I worked for Let Smith, who designed the theatre鈥�

[20:55]

Les Smith, did you say?

No, Let Smith, he did the Festival Theatre at Shaw and so forth. And I enjoyed that, but there came a moment when I realized that I wanted a little more. Because the more successful you become in this profession - perhaps you鈥檝e experienced that too - the more you get away unfortunately from what you previously liked to do best, which is design. Meeting with clients, meeting with the city, dealing with contractors and so on, which is fun for a while, but in the end I thought I needed a bit more than that and that鈥檚 what turned me towards academics. And I did my PhD at University of Toronto but in the department of Fine Art because I had already done architecture, so I wanted another angle into visual culture. Then I taught in the States.

[21:46]

Whereabouts in the States did you teach?

I taught at Oberlin College.

I don鈥檛 know that college.

It鈥檚 a private college in Ohio. It鈥檚 a very famous one, one of the sort of 鈥渢op鈥� private colleges in the States, in the Art department, and that was a lovely experience. And University of Toronto had a job 鈥� a cross-appointment 鈥� between the School of Architecture and Fine Art, and that鈥檚 the job I applied for and had, and that鈥檚 where I鈥檝e been ever since.

How many years has that been?

Well, I鈥檓 on sabbatical, so that makes it six or seven years.

Just very briefly, tell us, your sabbatical is taking you to Rome?

My sabbatical is taking me to many places. Right now, in two days, I鈥檓 leaving for Rome for a month, and then I return and I go to L.A. for a board meeting of the Society of Architectural Historians. I鈥檓 on the board of that, and then almost as soon as I get back, I go to Berlin to give a paper in Potsdam 鈥� this new forum, this Einstein forum. I鈥檝e never been to Berlin, so I鈥檓 looking forward to seeing it.

So you really now are doing things you like to do, even though they are not necessarily design, but you鈥檙e very close to architecture...

Well, I am. And I do it by proxy nowadays. Because I do a lot of crits, both at the School of Architecture here and at Waterloo and abroad. So I enjoy that very much and I have a lot of architect friends and I do private crits on their buildings, and I guess the last building I built was about ten years ago. So, you know, it鈥檚 not that far away.

So if I had to sum up the whole story of your career today, you鈥檇 probably have some regrets, but overall it鈥檚 been a happy experience?

No, I have no regrets.

No regrets?

No, I was happy as a clam.