Building New Brunswick takes us on a journey through time and place to discover this province&#146s architectural legacy. Beginning with the homes of the Mi&#146kmaq and Maliseet, we move forward through the past: Acadian and Loyalist settlement, colonial and post-colonial periods, both post-World War eras, and on into the 21st century. A wealth of photographs, engravings, and architectural renderings complement the text. Examining domestic buildings, public architecture, commercial structures, bridges, and industrial sites, this beautifully designed book documents the history of the province&#146s architecture and the many influences contributing to its visual landscape. Building New Brunswick will be published to coincide with a major exhibition on New Brunswick architecture, also curated by John Leroux, scheduled to open at the Beaverbrook Art Gallery in Fredericton in June 2008.

Building New Brunswick: An Architectural History

Arts & Photography

Smith, Stuart

Leroux, John

Hughes, Gary

Leavitt, Robert

Architecture

Goose Lane Editions

In this book John Leroux and Thaddeus Holownia explore the rich architectural heritage of St. Andrews, New Brunswick. From the site of the first attempt at permanent European-based architecture in Canada on St. Croix Island in 1604 to the rational grid of streets developed upon the arrival of the United Empire Loyalists in the 1780s, from modest wooden Cape Cod cottages and mercantile buildings to refined Georgian manors and grand Shingle Style summer homes, St Andrews exhibits an impressive diversity of styles, building materials and techniques. St. Andrews Architecture attempts to articulate the social history of this town, demonstrating how architecture can unmistakably expresses the spirit of a place and of the people who built it.

St. Andrews Architecture, 1604-1966

Holownia, Thaddeus

Gaspereau Pr

Founded as an academy for boys in 1839, Mount Allison University has grown into one of Canada’s most highly-revered undergraduate institutions. The vision of excellence that motivated its founders had a tremendous impact on the university’s success, influencing not only the characteristics of its academic program but also the arrangement of its campus and the quality of its architecture. The Sackville, New Brunswick campus is not only richly diverse and aesthetically beautiful, beloved by many, but also emblematic of the broader development of architecture in the Atlantic region. 
In A Vision in Wood and Stone, art historian and architect John Leroux collaborates with photographer Thaddeus Holownia to chronicle the story of Mount Allison’s campus, charting its development from a few wooden structures to its present diversity of building materials and architectural styles. At the heart of their lavishly illustrated study is a conversation about the nature of architectural change and its role in the formation of the campus. Whether spurred by the calamity of fire or by the visionary (or sometimes revisionary) impulses of the university’s leadership, Mount Allison’s architecture has been repeatedly transformed, each new building expressing both the localized needs and aspirations that animated its construction and aspects of the global events and aesthetic movements that informed its design. 
 Leroux and Holownia demonstrate how architecture can record the complex story of an institution’s development and embody the hopes and dreams of a community.

A Vision in Wood & Stone: The Architecture of Mount Allison University

A portrait of a lost Saint John.
From the 1950s through the 1970s, cities throughout North America engaged in disruptive periods of massive "urban renewal" of older, poorer areas. Neighbourhoods were razed to make way for freeways, housing projects, public amenities, sports arenas, and subdivisions. Planned communities replaced older urban neighbourhoods that had evolved over generations.
Ian MacEachern worked for CHSJ-TV in Saint John from 1962 to 1966, and he witnessed the profound transformation of Canada's oldest city as it was buffeted by the forces of reconstruction and modernization. He also recorded the life of the city, its neighbourhoods, its residents, and social life in more than a thousand photographs. Like the documentary photographic works of Walker Evans, Dorothy Lange, and Henri Cartier-Bresson, MacEachern's photographs show an extraordinary power in their honest depictions of fleeting moments and a raw humanity.
For The Lost City: Ian MacEachern's Photographs of Saint John, architectural and social historian John Leroux has selected seventy-five black-and-white photographs drawn from MacEachern's exceptional archive and written an accompanying essay that examines the recent history of Saint John and the effect of urban renewal on civic architecture, historic neighbourhoods, and community structure.
The Lost City will accompany a touring exhibition, curated by John Leroux and organized by the Beaverbrook Art Gallery, that will open in Saint John in the fall of 2018.

The Lost City: Ian MacEachern's Photographs of Saint John

Photography & Video

Winner, Canadian Museums Association Award for Outstanding Achievement (Research) and APMA Best Atlantic-Published Book Award 
Longlisted, First Nation Communities READ Award 
The story of an overlooked group of cultural visionaries 
The “Micmac Indian Craftsmen” of Elsipogtog (then known as Big Cove) rose to national prominence in the early 1960s. At their peak, they were featured in print media from coast to coast, their work was included in books and exhibitions — including at Expo 67 — and their designs were featured on prints, silkscreened notecards, jewelry, tapestries, and even English porcelain. 
Primarily self-taught and deeply rooted in their community, they were among the first modern Indigenous artists in Atlantic Canada. Inspired by traditional Wabanaki stories, they produced an eclectic range of handmade objects that were sophisticated, profound, and eloquent. 
By 1966, the withdrawal of government support compromised the Craftsmen's resources, production soon ceased, and their work faded from memory. Now, for the first time, the story of this groundbreaking co-operative and their art is told in full. Accompanying a major exhibition at the Beaverbrook Art Gallery opening in 2022, Wabanaki Modern features essays on the history of this vibrant art workshop, archival photographs of the artisans, and stunning full-colour images of their art.\nWla atukuaqn na ujit ta'nik mu ewi'tamuki'k tetuji kelulkɨpp ta'n teli amaliteka'tijik 
Wla “Mi'kmewaqq L'nue'k amaliteka'tijik” tlo'ltijik Elsipogtog (amskweseweyekk i'tlui'tasikɨpp Big Cove) poqji wuli nenupnikk wla amaliteka'tijik 1960ekk. Je wekaw wutlukowaqnmuwow ika'tasikɨpp wikatikniktuk aqq ne'yo'tasikɨpp ta'n pukwelk ta'n wen nmitew — je wekaw Expo 67 — aqq ta'n koqoey kisi napui'kmi'tipp tampasɨk koqoey eweketu'tij stike' l'taqnewi'kasik, napui'kn misekn, wi'katikne'ji'jk, meko'tikl kuntal, kaqapitkl l'taqa'teke'l, aqq wekaw akalasie'we'k eptaqnk. Nekmow na kekina'masultijik aqq melki knukwi'tij ta'n tett telayawultijik, nekmow na amskewsewa'jewaqq l'nu'k tel nenujik ujit ta'n teli amaliteka'tijik ujit Atlantic Canada. Pema'lkwi'titl a'tukuaqnn ta'n sa'qewe'l, ta'n wejiaqel a'tukuaqnn Wabanaki, l'tu'tipp kaqasi milamu'k koqowey toqo eweketu'titl wutpitnual tetuji moqɨtekl, ma'muntekl, aqq weltekl. 
Wekaw 1966ekk, kpno'l pun apoqnmuapni wla amaliteka'tikete'jɨk jel kaqnma'tijik ta'n koqoey nuta'tipp, amuj pana pun lukutipnikk, aqq tel awantasuwalutki'k. Nike', amskwesewey, wla a'tukuaqn tetuji msɨki'kɨpp wla wut lukewaqnmuwow etel kaqi a'tukwasikk. Wije'tew meski'k neya'tmk Beaverbrook Art Gallery pana'siktetew 2022al, Wabanaki Modern na pema'toql wikikaqnn ujit ta'n pemiaqɨpp wla tetuji wulamu'kɨpp kisitaqnne'l telukutijik, maskutekl sa'qewe'l napuikasikl toqo nemu'jik etl-lukutijik wla lukewinu'k, aqq sikte wultek aqq welamu'k ta'n koqoey kisitu'tij.\nL'histoire d'un groupe de visionnaires culturels ignorés 
Un groupe d'artisans mi'kmaw d'Elsipogtog (autrefois Big Cove) au Nouveau-Brunswick se fit connaître à travers le Canada au début des années 1960. À l'apogée de leur renommée, les Micmac Indian Craftsmen firent l'objet d'articles dans des publications d'un océan à l'autre. Leur travail figura dans des livres et des expositions — dont Expo 67 à Montréal — et leurs œuvres graphiques furent reproduites sous forme de gravures et de sérigraphies, et elles ornèrent de la papeterie, des bijoux, des tapisseries et même de la porcelaine anglaise. 
En grande partie autodidactes et solidement enracinés dans leur communauté, les Micmac Indian Craftsmen furent parmi les premiers artistes autochtones modernes au Canada atlantique. En s'inspirant de récits traditionnels wabanakis, ils fabriquaient à la main une gamme variée d'objets raffinés, évocateurs et porteurs d'un sens profond. 
En 1966, toutefois, le gouvernement retira son soutien. Les Craftsmen perdirent leur financement, la production cessa peu après et leur œuvre finit par être oubliée. Une nouvelle publication relate maintenan

Wabanaki Modern | Wabanaki Kiskukewey | Wabanaki Moderne: The Artistic Legacy of the 1960s “Micmac Indian Craftsmen” | Ta'n Koqoey ... 1960 (English, French and Micmac Edition)

Hassencahl-Perley, Emma

History & Criticism

Michael Smith: Sea of Change | Mer mouvante (English and French Edition)

Tousley, Nancy

A botanical garden should be more than a repository of plants: it should be a place for people to enjoy the natural world and to participate in learning and research. The creators of the K.C. Irving Environmental Science Centre and Harriet Irving Botanical Gardens at Acadia University understood this, giving students a building and gardens for both quiet relaxation and study. The Centre and Gardens took nearly three years to research and design, and a further two years to build. Now, twenty years after completion, the Centre and Gardens are maturing, and being nurtured by a dedicated team for the enjoyment of generations to come. Landscape architect Alex Novell and architectural historian John Leroux tell the story of the design, construction, and features of the Centre and Gardens at Acadia. Lavishly illustrated with full-colour images, A Natural Balanceis both an indispensable book for anyone interested in the plants and trees of the Acadian forest and a visual record of a spectacular instance of North American collegiate architecture.

A Natural Balance: The K.C. Irving Environmental Science Centre and Harriet Irving Botanical Gardens at Acadia University

Crafts, Hobbies & Home

Novell, Alex

Gardening & Landscape Design

The K.C. Irving Environmental Science Centre & H. Irving Botanical Gardens

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