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INFORMATION TO USERS This manuxript has been repmduced fmthe microfilm master. UMI films the text directly from the original or caqy suknitbd. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. 8rokm or indistinct print, oolored or poor quality illusbations and photographs, print bleedthrough, substandard margins, and impper alignment can adversely affed reprodudion. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthor&ed copyright material had to be removed, a note will irrdicade the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, begiming at the upper left-hand corner and continuing from left to right in equal sedions with small wedaps. Photographs included in the original manuscript have been reproduoed xerographically in this copy. Higher quality 6. x 9" Mack and white photographic prints are availabb for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI diredfy to order. Bell 8 Howelf Information and Learning 300 North Zeeb Road, Ann Arbor, MI 48108-1346 USA 800-521-0800 "The Big Ladies' Hotel": Gender, Residence, and Middie-Class Montreal A Contextual Analysis of the Royal Victoria College, 1899-193 1 Deborah L. Miller School of Architecture McGill University, Montreal July 1998 A Thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements of the degree of Masters of Architecture (c) Deborah L. Miller, 1998 National Library BiMiothbque nationale du Canada Acquisitions and Acquisitions et BibliographicSewices senricesbibliographiques 395 Wellington Street 395, rwWdling(on OttawaON KlAONs Ottawa ON KIA ON4 Canada Canada The author has granted a non- L'auteur a accorde une licence non exclusive Licence allowing the exclusive pennettant a la National Library of Canada to Bibliotheque nationale du Canada de reproduce, loan, distribute or sell reproduire, preter, distribuer ou copies of this thesis in microform, vendre des copies de cette these sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur format electronique. The author retains ownership of the L'auteur conserve la propriete du copyright in this thesis. Neither the droit d'auteur qui protege cette these. thesis nor substantial extracts fiom it Ni la these ni des extraits substantiels may be printed or othewise de celle-ci ne doivent etre imprimes reproduced without the author's ou autrement reproduits sans son permission. autorisation. Abstract This thesis analyses tbe architecture of tbe Royal Victoria College (Bruce Price, 18%- l899), a purpose-built women's residential college of McGiil University, Montreal, and its fmt extension (Percy Nobbs, 1930-193 1), as material evidence of the rhetorical construction and negotiation of gender. A contextual analysis of the original RVC reveals the gender signrficance of the building's relationship to its affiliate institution (McGiil), to aii &an geography (Phillips Square), and to a commercial typology (the railway hotel), while a spatial analysis examines the sigtuficance of its women occupants as 'architects', and of changes to the budding over time. The thesis concludes that the building served as an important site in turn-of-thecentury gender negotiation-ne that helped to contest "separate spheres" rhetoric and that stands as evidence of womn's active participation in the shaping of spatial relations and social identities. Cette thi%e porte sur I'architectum du Coll&geRoyal Victoria B Mona(Bruce Price, 1896- 1899) et son extension (Percy Nobbs, 1930-193 1). un Mfice de l'Universitt5 McGill conp pour abriter une dsidence colldgiale pour femmes. La thhanalyse I'Wfice en tant qul&idence driellede la rbCtorique de construction pour fernmes et des negotiations de genre. Une analyse contextuelle de I'6di.fice original du CRV discute de la relation du dit bgtiment avec son institution affiWe (McGill), avec la gbgraphie urbaine (cam5 Phillips) m la typologie commerciale (19h6telde la gare) et ce, du point de wede I1etudedes genres (ou identit6 f6minine). L'analyse spatiale examine la signification des fernmes qui mupaient le CRV cornme si elles en dtaient les architcctes et p&nte les changements apportes au bitiment au fd des ans. La conclue que le Mtiment a dt6 un Lieu important au tournant du sibcle en ce qui a trait B la negotiation des genres- exemple qui a aid6 2 contester la Mtorique des "sphhs s6pades"et qui a dtC le thoin de la participation active des femmes dam le fqonnement des relations spatiales et des identites sociales. Table of Contents .. Abstract ...................................................................................................... u ... Table of Contents ........................................................................................... IU Acknowledgments .......................................................................................... v List of Figures ............................................................................................... vi .......................................... Introduction .......................................... I I . Footprints and Shadows: Women and McGill. 1884- 1899 I . Institutions: Space and the Single Woman ................................................... 7 I1 . Perspectives and Prototypes: A Contextual and Genealogical Analysis 2 . Geographies: Campus Greens. Commercial Grids. and Gendered Connections........ 16 a . The Home of Fun and Knowledge: McGill University .............................. 16 b . Axes to Grind: Union Avenue ........................................................... 24 c . An Oasis of Gracious Living: Phillips Square ......................................... 26 d. The Good, Moral Christian Life: Christ Church Cathedral .......................... 30 e . To Delight, Instruct and Inspire: The Montreal Art Association Gallery ........... 33 f . Migrating to Brighter Things: Henry Morgan's Colonial House ................... 44 g . The House of Birks: Henry Birks and Sons.................... ... .............. 56 h . A Place of Resort for the Cultivated Mind: Notman's Photographic Studio ..... 59 i . New Systems of Living: The Sherbrooke' Apartments .............................. 65 3 . Typologies: Railway Stations. Residential Suburbs and Resort Hotels- The Piles of Bruce Price ....................................................................... 70 a. The Spirit of the Conqueror: The Railway Terminal ................................... 71 i . Beats All Creation: Windsor Terminal ............................................. 73 b . The Spirit of Refinement: The Luxury Hotel ........................................... 81 i . The Apex of Elegant Living: The CPR Hotels .................................... 87 . * 11. The Rustic and the Refined: Tuxedo Park ......................................... 88 iii . Comfortable and Daring: The Banff Springs ................ ................. 92 iv . The Centre of Modem. Everyday Life: The Chateau Frontenac ............... -98 v . To a Discriminating Public. Luxury and Comfort Without Ostentation: The Viger Station and Hotel ......................................................... 106 111. The Three "R's":Residence. Resistance and Redesign ........................................... 3 . Morphologies: Design and Use of the Royal Victoria College ............................. 115 a . A Big Ladies' Hotel: The Original Royal Victoria College. 1899 .................... 116 b . The Best Downtown Club in the City: The West Wing Extension. 193 1 ........... 139 Conclusion ................................................................................................... 154 Figures ....................................................................................................... 155 Bibliography ................................................................................................. 223 Acknowledgments Many people contributed to this work, and my thanks are heartfelt. To my thesis advisor, Annmarie Adams, who provided both inspiration and guidance, I am most deeply indebted. I am also much indebted to the staff at the McGilf University Archives, who provided not only willing assistance and useful oma at ion, but interest and encouragement. Gorden Bwr, Robert Micbel, Phcbe Chartrand, Jane Kingsland, Bruce Dolphin, Odile Bowbigot and David Poliak desewe special mention for making visits to the archive both productive and enjoyable. I am grateful as well to the archivists and librarians at the Canadian Architecture Collection, McGill University; the Blackader-Lauterman Library of Architecture and Art, McGill University; the Rare Books and Special Collections Division of the McLeman Library, McGill University; the Centre Canadien d'hhitecture / Canadian Centre for Architecture, Montreal; the Canadian Pacific Archives, Montreal; and the Notman Photographic Archives at the McCord Museum of Canadian History, Montreal. I am also grateful for the assistance of H~MPilon at tbc Trinity College Archives in Toronto. Research at the Trinity archives was funded by a grant from the McGill Centre for Research and Teaching on Women. Special thanks are due too to Maiiia King and Helen Dyer for administrative assistance at the McGill School of Architectwe.
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