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Canada 150: Picturing the Canadian Landscape. Ryerson Library Archives and Special Collections
The plains of the prairies, the forests of the interior, and the seascapes of the Atlantic and the Pacific have served as muses for Canadian artists and writers for centuries.
In Canada 150: Picturing the Canadian Landscape, photographs and ephemera of the Lorne Shields Historical Photograph Collection at Toronto Metropolitan University showcase the ways in which the natural landscape has been an essential part of the identity and history of Canada.
Incorporating extraordinary cameras from the Heritage Camera Collection and the Kodak Canada Corporate Archives and Heritage Collection, and rare books from Toronto Metropolitan University’s Special Collections, this exhibition reflects on the photographic, recreational, and artistic responses to Canada’s natural landscape by artists, enthusiasts and writers throughout the years.
Drop by the Archives and Special Collections Department, on the 4th floor of the Ryerson Library, to see the exhibition, curated by Image Arts students Bowie Fan, Gabriele Tai, Georgia Love, Justine Marasigan, and Lodoe Laura.
Over the course of its 106-year presence in Toronto, Kodak affected more than just the history of photography in Canada. In satisfying its need for cutting edge photographic manufacturing facilities, the company contributed several ambitious architectural projects to the cityscape. Through these contributions, Kodak left an indelible mark upon the city, the traces of which are still visible today.
The following history documents Kodak’s presence in Toronto from 1899 to 2005, focusing on its three central facilities on Colborne Street, King Street, and at Kodak Heights. This history was constructed from documents and artefacts contained within the Kodak Corporate Archives and Heritage Collection at Toronto Metropolitan University (Accession #2005.001). These items and more are currently on display on the 4th floor of Ryerson Library. For more information, visit Ryerson Archives and Special Collections.
Kodak’s early days in Canada
In 1888, George Eastman founded the Eastman Kodak Company in Rochester, NY. In 1899, after successfully operating on the American market for over a decade, Eastman set his sights north, dispatching Kodak employee John G. Palmer to Toronto to determine the viability of establishing a subsidiary in Canada. Palmer discovered a robust market for photographic products and, on November 8, 1899, Canadian Kodak Co., Limited was incorporated under the Ontario Company’s act. The nascent company established headquarters in downtown Toronto, embarking on a relationship with the city that would last more than a century and would constitute the heart of the company’s manufacturing operations in Canada.
Colborne Street (1899 – 1901)
From Atlas of the city of Toronto and suburbs : in three volumes, Goad’s Atlas and Plan Co., 1923. G1149.T6 G6 1923 r
Following Canadian Kodak’s incorporation in 1899, the company established premises in an existing building at 41 Colborne Street, Toronto. The property was intended to serve as an assembly and distribution centre, rather than a site of manufacturing: the fledgling company imported bulk film and photographic paper, as well as completed cameras, from Rochester for packaging and distribution in Canada. The property was leased to Canadian Kodak Co., Ltd. for 3 years at $840 per year. Consisting of four floors and a cellar, 24 ¼ x 71 feet each, the site housed the entire Kodak plant and its staff of ten. A further 7-year option on the property was offered by the owner but never taken. Largely unchanged from its original structure, the Colborne Street building still stands today.
2005.001.3.259. Canadian Kodak Co., Ltd. Headquarters (1899-1901), 41 Colborne Street, Toronto
41 Colborne Street, 2014. The original building on Colborne Street still stands today. Image courtesy of Google street view.
King Street (1901 – 1917)
From Atlas of the city of Toronto and suburbs : in three volumes, Goad’s Atlas and Plan Co., 1923. G1149.T6 G6 1923 r
The Colborne Street premises soon proved insufficient to house the rapidly growing Canadian subsidiary. With its lease set to expire in 1901, the company set out to find a new site for its operations in what was then Toronto’s manufacturing district. In September of that year, Canadian Kodak purchased an empty lot at 588 King Street for $70 per foot and hired Toronto architects Chadwick & Beckett to build a new plant. Over its 17-year tenure at this facility, Canadian Kodak began its transition to a manufacturing operation, producing its own photographic film, paper, and mounts. The company also began to import camera parts—rather than completed cameras—from Rochester for assembly and distribution in Canada. Like the Colborne Street site, the King Street premises quickly proved too small to house the growing business and two additional buildings were constructed in an adjoining lot. By 1908, the King Street factory had expanded to its full capacity and the company had grown to 108 employees. Like Kodak’s Colborne Street plant, the King Street facility still stands today, now part of a busy retail strip in downtown Toronto.
2005.001.03.1.02.1. Scaife Patent Gravity Filter, W.B. Scaife & Sons, Co., 1909. This cyanotype is one of only two known surviving blueprints from the King Street premises.
2005.001.08.01.02. Letter, December 24, 1903. George Eastman authorizes John Palmer to purchase the vacant lot adjoining the existing King Street plant for the purpose of expansion.
2005.001.3.260.004. King Street premises, 588 King Street West, Toronto, frontal view, 1901-1917.
2005.001.3.260.012. King Street premises, rear view, 1926. This portion of the factory, bordering Adelaide Street, was constructed during Kodak’s King Street expansion. This image was taken nearly ten years after Kodak had completed its move to Kodak Heights.
588 King Street, 2014. Like the Colborne Street property, the King Street building still remains. Image courtesy of Google street view.
Kodak Heights (1913 – 2005)
From Atlas of the city of Toronto and suburbs : in three volumes, Goad’s Atlas and Plan Co., 1923. G1149.T6 G6 1923 r
By 1912, Canadian Kodak had outgrown its King Street facilities. That year, George Eastman visited Toronto to establish a sustainable plan for expansion. The result of his visit was the purchase in 1913 of 25 acres of farmland at Eglinton Avenue and Weston Road, Toronto, for $5,000 per acre. Soon after the deed was signed, construction began on the original seven buildings at Kodak Heights. The property was nicknamed Kodak Heights by company executive S.B. Cornell.
2005.001.06.06.1.071. George Eastman visits Toronto, 1912. Eastman and executives John Palmer and S.B. Cornell survey the land that would soon become Kodak Heights.
2005.001.03.1.05.2. South Elevation of Building 5, 1914. This architectural ink drawing on calendered cloth shows one of the original seven buildings and one of the largest buildings at Kodak Heights.
2005.001.06.01.002.4. Workers in horse-drawn buggies excavate building 7, Kodak Heights, July 27, 1914
2005.001.06.01.002.4. Constructing the bridge connecting building 3 & 5, Kodak Heights, September 20, 1915
2005.001.06.01.002.4. Kodak Heights construction, looking NE, Building 5, October 15, 1915
Meeting the Plant’s Power and Transport Needs To meet its massive energy needs, Canadian Kodak built and maintained its own Power House (Building 1) at Kodak Heights. Upwards of 50 tonnes of coal were burned every day, the smoke from which was released through a 200-ft chimney constructed by the Custodis Canadian Chimney Co. The structure soon became a local landmark.
2005.001.08.03.01.02. Drawing for Power House chimney, Canadian Custodis Chimney Co., Ltd, 1914
Canadian Kodak also contracted with the Canadian Pacific Railway Co. to extend tracks into the Kodak Heights property, allowing easy delivery of supplies and coal. The tracks ended inside the Power House, reaching the building via a custom-built trestle.
2005.001.03.1.03.3. Proposed Sidings for the Canadian Kodak Co., Ltd., Canadian Pacific Railway, 1914
2005.001.2.254.012. Rail trestle to Power House, ca. 1918
Architectural Design Challenges The manufacture of film was a complicated multi-step process that required equally complex facilities. The sensitivity of film and paper to their environment required extreme cleanliness and climate control. Many steps of this process were performed in dark rooms lit by safe lights. In addition, the production and storage of cellulose nitrate film required safety precautions that impacted the plant’s design.
2005.001.07.03.05.08. This diagram, from the 1954 promotional brochure ‘Kodak in Canada’, illustrates some of the production activities accommodated at Kodak Heights. Note dark rooms 9 through 12.
2005.001.06.03.733. Employees operating Pako Corp. Filmachine, ca. 1950-1960. Due to strict environmental controls and low lighting, employees often wore clean white uniforms and carried “safe” flashlights, much like these two employees in the film processing department.
2005.001.08.03.01.01. Letter (excerpt), October 31, 1913. A Kodak plant engineer describes the result of an insurance inspection in which Associated Factory Mutual Fire Insurance deemed the plant too risky to insure unless hazardous film was produced and stored in a separate building from photographic paper.
2005.001.06.03.216. Nitrate film production table, early 20th-century. Plant design had to accommodate the production of hazardous flexible cellulose nitrate film base, which was cast on 200-ft long tables such as this one.
A New Home for Kodak By 1916, the original seven buildings of Kodak Heights were complete and the company began its move from the King Street premises—a move that would finish in 1917. Kodak Heights was a source of pride for Canadian Kodak. The facility was often opened for tours and played a significant role in the company’s marketing. The property would become Canadian Kodak’s headquarters until its closure in 2005.
Kodak Heights Expansion Kodak Heights grew steadily over its lifetime. In 1939, construction began on the Kodak employees’ building (Building 9). This 4-storey building was designed to accommodate the activities of the Recreation Club, the Department Managers’ Club, and the Kodak Heights Camera Club. It housed an auditorium, cafeteria, gymnasium, club room, locker room, and camera studio and had an adjacent lawn bowling green. The building opened in 1940. Expansion at Kodak Heights continued until the late 20th-century. By 1987, the property housed 18 buildings.
2005.001.3.271. Cafeteria, Building 9, Kodak Heights, 1948
2005.001.3.272. Ladies Lounge, Building 9, Kodak Heights, 1964
Kodak Heights Demolition and Remains On December 9, 2004, Kodak Canada announced the closure of its manufacturing operations. June 30, 2005 would be the last day of operations at Kodak Heights. In the subsequent months, most of the plant was demolished. Today, only the Employees’ Building remains.
Employees’ Building (Building 9), Kodak Heights, 2014. Photograph courtesy of author.
Kodak Heights, 2014. Photograph courtesy of author.
To learn more about the history of Kodak Canada, the history of Canadian architecture, and the history of photography, visit Ryerson Archives and Special Collections on the 4th floor of the library.
An Equity Service Group of the Ryerson Student’s Union, RyePride has been raising awareness LGBTQ rights and promoting inclusivity on campus for nearly 40 years! The group offers advocacy, education and an annual memorial bursary named for Christopher Skinner.
In anticipation of World Pride 2014, coming to Toronto this June, Ryerson Library and Archives has put together a display using items from RULA and the The ArQuives – Canada’s LBGTQ2+ Archives – to highlight just some of the campaigns and events they’ve spearheaded since their beginnings in 1977. Drop by Special Collections on the 4th floor of the library and learn more about the history of RyePride at Toronto Metropolitan University.
Visit the RyePride website or contact them for more information on the programs and services they offer: ryepride@rsuonline.ca. Have a look at the RyePride Timeline for more information on the groups history.
“Computing will most undoubtedly prove to be the most significant development to technology in the second half of the twentieth century. The extent to which Ryerson students graduate with a firm understanding of this new and exciting field, will greatly affect their ability to contribute to society.”
– L.B. Moore, Director of the Ryerson Computing Centre, 1973.
A classroom scene in the Secretarial Science program, 1962. (RG 95.1. “Secretarial Science”)
Toronto Metropolitan University began as a polytechnic institute devoted to the training of students in applied technology. This technical history has informed Ryerson’s identity and culture, playing a significant role in the way the University defines its relationship to the digital age. As we enter an era of ever changing technology and a digitally-connected society, a look back at the early days of computing at Ryerson highlights the development of a digital campus and its impact on the Ryerson way of life.
DAISY
Ryerson’s first computer centre with DAISY and connected terminals. (RG 63.72)
Always at the forefront of innovation, Ryerson’s early use of computing technology began in the 1960s when Ryerson was one of the first institutions to acquire a general purpose computer, an IBM Model 360-30, affectionately nicknamed “DAISY” (Direct Access Information System).
“Daisy” Chooses Miss Ryerson ’68”. One of the many “jobs” DAISY performed. (The Rambler, Summer 1968)
It’s difficult to imagine a world without smart phones or even personal computers, but the early days of computing at Ryerson involved the use of one centralized system that students would line up to use. Eventually this changed to include the addition of terminals throughout campus that would connect via Bell phone lines to the main computer. The main functions were academic and administration assistance, including student registration, payroll, scheduling, grades, library circulation, and the occasional selection of Miss Ryerson.
“DAISY LOVES ME” Button. Students had a hate/love relationship with the overworked computer. (RG 63.71)
DAISY was not without its quirks. Nearing the end of its life-cycle the first model would confuse library punch cards and harass students with overdue notices on books that had been returned. In 1975 DAISY took the initiative of creating a brand new Journalism class consisting of three surprised students. DAISY would be upgraded three times (1967, 1969, and up to IBM Model 360.55 in 1973 which contained 256 kilobytes of core memory and cost the annual amount of $404,00
A woman in the computer centre “batching” punch card instructions to DAISY. (RG 63.72)
The process of running a “job” or task included manually typing programming instructions into a “punch” card, feeding the card into the computer terminal, which would then process the program and data, and print out the results. This process was called “batching”, and would continue until the 1980s, when the University realized the technology was quickly becoming obsolete. The ever-increasing rate of change and the resulting obsolete formats is a factor which would continue to define digital technology into the twenty-first century.
THE YRCC
Official Opening York-Ryerson Computing Centre Program (RG 281.23)
In 1974 the Joint York-Ryerson Computing Centre established the first cooperative computing centre in Canada with the objective of sharing expertise and reducing costs. This resulted in the end of DAISY, which was dismantled and returned to the American company from which it was leased. The first of its kind in Canada, the YRCC operated with the main computer at York and connected terminals at Ryerson.
A MODERN COMPUTER CENTRE
In the late 70s, the demand for more computers and processing capabilities gave rise to student protests over the lack of computer resources. The computer centre was so overwhelmed that they implemented restrictions and quotas on accessing the computer mainframe. Each department would receive an allotment for its students to use throughout the semester; if a student ran out of credit, then they would have to petition for increased time. In 1979 the situation escalated to the point of violence, in which a student was stabbed in the arm with a pen when he attempted to use someone’s punch-card terminal.
The Beginner’s Guide to the Ryerson Mainframe, 1992. (RG 63.74)
In 1983, IBM donated $3.7 million worth of computer hardware and software to Ryerson, at the time the largest single donation to the institute. The equipment, an IBM 3033 processor, 300 terminals, five personal computers and advanced software, created an on-line interactive system and established the Ryerson Computing Centre.
TECHNOLOGY IN THE LIBRARY
Bard vs. Byte (The Ryerson Rambler, Fall 1981)
Ryerson Library was an early adopter of computer technology on campus. The early days of libraries consisted of card catalogues and handwritten entries signing out books. In the second half of the 20th century, this rapidly changed to an electronic format that would alter the way knowledge was organized and retrieved.
For Ryerson Library the shift to digital began in 1968 when the library converted the author, title and catalogue data for all books to machine-readable form, implementing an electronic circulation control system to keep track of books. Students would no longer sign out books, but punch out computer cards.
In 1978, Ryerson library became the first library in North America to operate its circulation system on-line using DOBIS/LIBIS, a computerized library system developed by IBM in Europe. DOBIS (Dortmund Bibliotek System) replaced the dated Mohawk punch-card circulation system.
The official opening of the Library’s online DOBIS/LIBIS system with former President Walter Pitman, 1978
The circulation function involved the first-time use of barcode labels affixed to books and ID badges read by an IBM optical scanner. Throughout the 80s and 90s technological advancement in the library would continue, including the establishment of its first computer lab in 1982, as well as developments in subject indexing and electronic resources.
THE FUTURE
Crack the code is a scavenger hunt developed by Ryerson mobile in 2010. (DOC File)
In the last quarter century Toronto Metropolitan University has paved the way for technology-driven learning. This can most clearly be seen with the new Student Learning Centre, which promises to provide an interactive environment employing the latest in digital technology. Projects such as the Digital Media Zone act as an incubator for Ryerson students to collaborate in the design and implementation of digital tools and apps. Accessible technology has placed students at the centre of e-learning, furthering the role students have in shaping their education and campus environment. These developments would not be possible without the small but significant steps taken in the 1960s towards a progressive, digital future.
An IBM 2260 terminal in the Ryerson Computer Centre, c. 1970. (RG 63.72)
Bringing together diverse artifacts and historical materials from the Ryerson Archives, #WIRED is an exhibition that highlights pivotal moments in the digital evolution of Toronto Metropolitan University.
As part of the on campus events commemorating Jack Layton’s legacy at Ryerson university and his lasting impact on Canada, the Ryerson archives have installed a display featuring items from his recently donated archival collection.
The Heritage Camera Collection more than doubled in size this past January thanks to the generous donation of approximately 500 cameras and pieces of camera equipment from Wilfrid Laurier University. The collection improves the holdings in European and Japanese manufacturers, and provides a greater selection for research in early camera designs.
1920s studio camera from the Wilhelm E. Nassau Camera Collection
“Mouse trap” camera developed by William Henry Fox Talbot, ca. 1834 (replica made 2006) from the Wilhelm E. Nassau Camera Collection (2005.006.01.01)
Watch Camera from the Wilhelm E. Nassau Camera Collection (2005.006.06.02)
Polaroid Land camera, Automatic 110A from the Wilhelm E. Nassau Camera Collection (2005.003.2.17.03)
Crystar camera (2005.006.08.64) next to Pony 135 for size comparison. The Crystar measures only 3.5 x 5.5 x 3 cm. From the Wilhelm E. Nassau Camera Collection.
Architectural models breath life into otherwise straightforward ideas on paper; they easily and quickly communicate complex design schemes, embellishments, finishes and details, and they facilitate an easier dialogue between architect and client. Well-crafted architectural models even win competitions. While these models are very rarely preserved once building is begun, the realized design in miniature form represents the very essence of the architectural practice.
From January 4th- February 13th, 2012, photographs of models taken for Canadian Architect magazine will be on display in Special Collections on the Library’s 4th floor. These images were originally captured for project announcements, and today they give us as much to discuss as the finished buildings themselves. See the process that the architect goes through when bringing his or her idea to the public, and consider some of the challenges the architect faces in communicating with that audience. Is it useful to see the detailed model superimposed onto a photograph of the existing landscape, as with the Toronto Eaton Centre image? Why do some architects choose to put contextual detail in the model itself, making tiny trees and cars on the adjacent streets? Every model has a purpose and an audience, which is perhaps even more apparent in the scenic model taken from the set design for a CBC television special [borrowed from the Robert Hackborn collection for comparison’s sake]. With this model, the purpose is to show the interior to the cameras – not the exterior to a client.
Whatever the goal with these miniature worlds, either to emulate a real three-dimensional building as closely as possible or three walls that merely suggest one, the model serves as a stepping stone to the final idea. Here the idea of architecture is on display – judge for yourselves whether the real lives up to the imagined.
Style changed forever in the 1960s (and we’re not just referring to the hemlines). Space-age design met space-age fabrics, many of which are still in use today: polyamide, polyester, acrylic, polyvinyl, and spandex to name a few. These are laboratory-brewed fibres, extruded through spinnerettes in liquid or molten petro-chemical streams. These were cheaper and more versatile than many of the natural fibres used in clothing up to this point.
The dresses currently on display in Special Collections each use an unexpected fabric to achieve their look, whether it is the plasticized cloth of this shiny-copper mini-dress, the silver lurex suit with multicolored threads from the disco-influenced 70s, or the 100% silk power suit from the 80s. Visit Special Collections today to see these fashionable fabrics produced by Canadian designers.
Olena Vivcharyuk, photographer
Renée Munn, photographer
Renée Munn, photographer
The dresses in this exhibit were taken from the Fashion Research Collection at Toronto Metropolitan University, a collection of costume items, accessories, flat textiles and paper patterns donated to the School of Fashion for use in teaching and research. The collection consists of about 4,500 items of mid-twentieth century men’s, women’s and children’s clothes and accessories and illustrates many of the social, cultural, technological and economic influcences on style made or worn in Canada. It contains designs by leading Canadian figures such as Beate Ziegert, Ira Berg and Pat McDonagh, as well as internationally famous names such as Sonia Rykiel, Christian Dior, Calvin Klein, Givenchy, Diane von Furstenberg, Perry Ellis, Laura Ashley, Thierry Mugler and Valentino. There are also pattern and reference books, magazines and articles which are not duplicated in the Ryerson Library catalogue, making this a rich and valuable resource for fashion education.
Taking a vacation this summer or just dreaming of one? Either way you can fantasize about the lovely pictures you’d take with one of the cameras on display in Special Collections. Visit us on the 4th floor of the Ryerson Library this summer to see a rotating display of cameras from the past.
First up: Kodak through the years, featuring still and motion-picture cameras from the company’s early years right up to the Advantix point and shoot system popular in the 1990s. Film projectors like the Kodascope (see below), are also on display.
The Kodak No.1 Brownie camera, ca. 1900-1916 Kodak Canada Corporate Archives & Heritage Collection (2005.001.7.005)
Kodascope Model B 16mm film projector, 1927-1929 Kodak Canada Corporate Archives & Heritage Collection (2005.001.7.166)
Photographs from Flora and Flutterbyes: Nature as Inspiration and Decoration currently on display in Special Collections, April 21 – June 8, 2011. Specimens courtesy the Cambridge Butterfly Conservatory.
The Ulysses Butterfly on green turf in the display case.
The idea for the springtime butterfly theme emerged from the same cocoon as another great exhibit idea: the Ryerson student-curated “With Us at Every Age: Selected Animal Photographs from the Mira Godard Research Centre” (runs April 13 – May 7, 2011 at the IMA Gallery as part of the CONTACT Photography Festival). The student exhibit explores human-animal relationships through photography, and it includes the traditional and heart-warming portraits we expect to see of people and pets (cats and dogs included), but also draws attention to some of our more irrational relationships. The exhibit invites us to consider our creation of rare to absurd animalia: a toy stork in a children’s window display or a bear rug on a wall, and shows us images of aging with pets (and pet-themed ceramics). The use of photography as the medium works to both invite the viewer into these intimate worlds, yet provides a safe distance from which to consider the animals we have not treated so well.
For all the birds, reptiles and mammals that are showcased, we couldn’t help but notice a distinct avoidance of that other class of animals we see daily: insects. Though hardly the type of creature to develop a lasting bond with, these misunderstood and sometimes repellant animals also inhabit our homes and inform our relationships with each other. In some cases, as with the butterfly, the insect is seen as a source of inspiration and enjoyment. The butterfly’s colours are copied for our clothes, its pattern in flight informs our social graces, its taste for the most vibrant and delicate flowers expresses a certain model of femininity, and its ability to withdraw from the world and transform helps us describe our desire for second chances. The butterfly is so familiar, but unlike the subjects in “With Us at Every Age,” how many have we ever seen? Using both photography and preserved specimens, we invite you to browse the 4th floor display and be inspired by nature.
The butterfly specimens were borrowed from the Cambridge Butterfly Conservatory, where at least 2000 free-flying tropical butterflies and moths are on exhibit throughout the year. Bred in Costa Rica or the Philippines, these vibrantly-coloured species metamorphose on arrival in Canada inside equally colourful chrysalides (also know as pupae), and flit about their business in an indoor rainforest as part of an effort to preserve butterfly populations through a sustainable form of agriculture. Here they offer us a fascinating look at the incredible variety of species in the wild.
The Ulysses Butterfly (left) and Blue Morpho see from both angles (dorsal – purplish colouring / ventral – spotted brown)
The Monarch Butterfly, the most familiar butterfly in Canada.
