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CONTENTS

........................................................................................................................ ABSTRACT iv

.............................................................................................................. ACKNOWLEDGEMENTS v

................................................................................................................ INTRODUCTION 1

The Question ............................................................................................................... 1

................................................................................................. The Mi Iitary Machine 2

................................................................................................................. Background 4 . . ........................................................................................................ Design Pnnciples 5

........................................................................................................... Education 5

Method ................................................................................................................ 6

DESIGN .............................................................................................................................. 11

................................................................................................................ Concept 12

Site .......................................................................................................................... 14

.................................................................................................... The Buildings -17

......................................................... ................... Navy at Home .., -19

................................................................................... Navy Abroad -20

........................................................................................ Spatial Experiences 21

......................................................................................................................... Why? 32

......................................................................................................................... How? 33

....................................................................................................................... APPENDIX -36

................................................................................................................................... NOTES 38

................................................................................................................... REFEENCES 39

.................................................................................................... Books and Articles 39

...................................................................................... Buildings and Projects -40

ABSTRACT

Recognizing the ovenvhelming influence the Canadian Navy has had not only on the

formation of Canada, but on millions of individual Canadians, there is a significant gap in

the historical education of the subject. A national Canadian Naval Museum is needed to

bnng together the millions of experiences and wealth of information that are now spread

over the country in basements, closets, naval bases, and maritime museurns. One rnuseum

should serve as a focal point for understanding the Canadian Navy.

The Canadian Naval Museum proposed here is sited in Halifax, Nova Scotia, on

MacNab's Island's Maugers Beach at the site of the existing lighthouse. This site places the

museum at the mouth of the harbour of a city founded on military naval concems and still

acting as a major naval port.

The thesis has striven to accomplish two goals. One: to develop an architechue that

can enable the museum to become part of the Canadian Naval History; and two: to offer the

civilian, veteran, and enlisted visitor to chance to see, hear, and experience in some form,

what it is to be in the Navy, and affected by it. In doing this, the forrn and composition of

the buildings adopt a strategy of engaging the visitor, of taking part in the display of the

naval history. To what extent can form, scale and material be used to achieve these goals?

ACKNOWLEDGEMENTS

SpeciaI Thanks,

1 would like to thank the various members ofthe Canadian Navy who shared insights

into their lives in the forces; Marc Comoyer and his family, for their help in providing photos

and other research material; The Artificial Reef Society for making H.M.C.S. Fraser

available for in-depth research into the Canadian naval ship; Michael Murray for his

inexhaustible fountain of knowledge when it cornes to the inner workings of a mantirne

museum. Finally, 1 would like to thank my wife, friends and family for their unfaltering

support even though al1 1 could talk about sornetimes was the military. 1 hope I am over it

now.. .

INTRODUCTION

The Question

museum's architecture can be more interactive with its proposed subject.

The experience as a whole can be manipulated by not only the exhibits but

the composition of the building or buildings. and the spaces created. The

use of form, scale, and material can have dramatic effects on the psyche. A

museum can be a flexible "biack box" while at the same time interacting

with the subject matter. The aim of this Canadian Naval Museum is to become

a part of the Navy's history, to take part in its understanding. What form and

process, then, does the design take to achieve these goals?

The Military Machine

There is a paradox that exists within some cultural institutions that we as a society take

for granted or, at times, choose to see only one side of This condition exists within a social

and architectural form that protects, strengthens, and houses its inhabitants while, at the

same time, bristles with threatening hostility, arrogance, firmness, and the ability to destroy

at will. Countries are forrned using these systems, and they are destroyed with them as well.

The war machine, or as we would rather cal1 it, the peacemaking machine, plays a

surprisingly subtle role in our socieîy. The general population knows of its existence, while

at the same time, cornes in contact with it very rarely, if ever. As the world "gets smaIler7'

we are, however, taking it for granted just as readily as we did during the second world war.

Military port culture is getting used to seeing one or two ships sail off to far off lands such

as Bosnia, the Persian Gulf, Haiti, and Somalia. Very few navies, since the 19407s, have

fired any shots in anger, yet that is immaterial. The object is the threat of military force, or

the perception of military might. The first line of defence, as one naval lieutenant put it, is

"to look mean."

But as a structure, the naval vesse1 and its landbased infrastructure are both protecting

and dangerous. It îs meticulously designed to Save the lives of al1 those within its boundaries,

while at the same time to destroy al1 those around it. Its role is to be deceptive and elusive,

as welI as having its inhabitants' instructions and intents nad as clear as a bell. It is a

billboard advertising national or ideological strength while at the same time demonstrating

some Freudian principle of insecurity. The Navy is an employer and a tool; however, it is

also seen, by rnany, as an economic drain on the society and a dinosaur of an age of weak

diplomacy. In short, the destroyer, corvette, cruiser, submarine, etc., are finding fewer and

fewer niches in the Canadian society. For Lebbeus Woods, "war's violence compelled a

deeper examination of these concepts based on the relationships and the interdependency

existing between violence and creativity, destruction and construction."'

A further look into this dichotomy might deepen our understanding of the institution

as a whole. With this added knowledge we can begin to develop an architecture that might

strive to become a part of that institution. The Museum should wish to belong and be

inseparable in the qpderstanding of the navy itself.

Background

It has been repeatedly observed that Canada's population is steadily growing older.

This can be said, as well, for Canada's naval vessels. With ever increasing rapidity the

aging warships are being decommissioned, their futures uncertain for the most part. Some

are slated for scrap while others, a good percentage, are put up on the bIock for the most

imaginative, public oriented, and environmentally safe bid.

Over the past few years, the popular use for these vessels is to strip them of al1 hazardous

materials, chemicals, and conditions, tow them to attractive undenvater locations and scuttle

them. The purpose of this is to create not only a revenue generating dive park, but also to

foster the growth of marine life.

While the west Coast of Canada has been following this trend for several years, the east

coastfs experience has only just begun. In 1995, the St. Laurent Class Destroyer, H.M.C.S.

Saguenuyt was sunk just outside Lunenburg. Since then, it has proven to be beneficial to

both the economy and the marine life.

In Bridgewater, Nova Scotia, the last of the St. Laurent Class Destroyers, H.M.C.S.

Fraser, lies at dock as a Canadian Historie Site, and a "working" museum. She hosts murder

mysteries and plays, and houses a dive club and HAM Radio club. In six years, however, if

not able to support herself economically, she too is slated to be sunk. At present, in Canada,

there are three more destroyers as well as a very large support ship, H.M.C.S. Provider, that

have been, or are in line to be, decornmissioned, as well as three submarines. The question

now is what do we do with them? Very soon the market for another dive park, or artificial

reef, will have "dried up." However, the ships will keep coming. Do we then return to the

minimal retums avenue of selling the ships for scrap, or do we find another alternative?

Design Principles

Education

There is the issue of education. Despite our common abhorrence of violence it is also

natural to look at what was used to destroy and strive to understand its rationale, its power.

Lebbeus Woods wrote that "only by facing the insanity of wiIful destruction can reason

begin to believe again in itselfW3 The role of the museum dedicated to the violent aspects of

Our societies is not to encourage inhuman acts but to leam fiom the insanity of them and to

prornote self-analyses so that they may be, hopefully, prevented. "Architecture must learn

to transform the violence, even as violence has transformed ar~hitecture."~

When art and knowledge are no longer the exclusive property of the prince

and priest, but are placed directly in fiont of the astonished eyes of the citizens,

there must exist a codified fonn and a language to ensure the organised

transmission of these symbolic values."

Naval hardware, such as destroyers, enters a very different world once it is

decommissioned and the general public also welcomes in a relative stranger. However

much the public is aware of the military ship, and possibly even cornfortable with the military,

it is not intirnately aware of the actual military machine. What was once classified and

viewed at a distance is now opened up for al1 to see. It is a glimpse into a world that few

know. It is a world of near medieval crudeness and rationale, as well as one full of traditions

and unspoken d e s ofconduct. There is a strain of violence that runs deep through every

sheet of steel, aluminurn and wood, yet also a hardfast sense of honour that seems to permeate

that same metal. As Ignasi de Sola-Morales' words state above, it is a world that must be

carefully described and explained in a language that the fresh eyes of the citizens can

comprehend.

Method

The architecture of a museum which records or documents a cultural institution or

event cannot be passive. It must tell a story and interact on some level with the visitor. It

must be experiential in its depiction of the information. Unlike a museum devoted to a

specific medium such as paint, film or print, a museurn depicting a cultural event or institution

deals with thousands of separate and distinct items, items usually of a nostalgie nature. Al1

of these pieces must be seen as a whole before the overall theme can be grasped.

The degree to which the artifacts displayed and stored in the museum are "precious"

is another area of importance in the understanding of the institution. Unlike paintings and

sculptures and other forms of "high art, the Naval Museum houses items of sentimentality,

of remembrance. These things, if not seen in a museum context, could very well be thought

of as scrap metal, garbage or trinkets. The point of this prograrn of buildings and spaces is

to bring significance to those items, to give thern a cohesive theme and to highlight their

importance as a unit. Like the individual sailor on a large ship, each piece is small and

relatively insignificant; however, when brought together with hundreds of other pieces,

each different in its o w way, each for a different purpose, a single entity is bom.

In art museurns, the pieces normally are complete in themselves, each' teIIing its own

story. The museum offers, in that case, a venue to view several stories. Here, though, there

is one story, one theme with many sides, on display. The architecture, then, must work with

the pieces to bring the story out. The separate artifact, i.e. the propeller, uniform, or button,

cannot speak for itself

I f the architecture must play an active role in the understanding of the subject, it must

deal with the notions of material, scale, and forrn. The architecture has to enter into the

psyche on an almost subliminal level. There are archetypal foms which work to instill

emotional responses. However, here it is important that each visitor corne away with their

own interpretation and emotional response to the subject matter. So, the archetypal forms

that are used should be able to be interpreted in different ways.

Whether we are pacifists or seasoned veterans, the role these structures have played in

the world's history cannot be denied nor forgotten. At present there are now over 100 ships

on display around the world in over 70 different rnuseums. Al1 but seven of these are in the

United States, with three ships in Canada. Does the naval museum merely open the ship

with a staff of interpreters to educate the public? This is the method of display for the

U.S.S. Missouri, which made her last voyage into Pearl Harbour on June 23,1998 to becorne

a floating museum and monument to the U.S.3 entrance into the second world war. This

approach to the subject, however, does not bnng the history to life. It simply shows the

item to the viewer, who remains detached and outside the experience. Whether the staff is

in a period unifom or not, the exhibit will always remain static. The public has only the

oppomuiity to walk through the companionways and cabins as thousands of sailors did for

many years; they do not see any tme insight into the navy itself or what it would be like to

live within its framework.

8

Movies and television have illustrated many of these aspects but, as Michael Brawne

explains,

the printed illustration, the cinema screen and the television set are onIy

able to transmit reproductions of the object, they create a new image; the

musewn is able to exhibit the object itself. Museum architecture and display

must, therefore, exploit this unique sense of irnmediacy, this direct encounter

between viewer and ~ i e w e d . ~

If this is to be a truly national museum it must have a sense of place. Just as a navy has

a home port, so too should the history of the Canadian Navy. Rather than spreading the

decommissioned ships across the country, to be displayed in whatever city can provide a

dock, there should be one primary site where several ships of varying classes can be housed.

In the U.S., several cities have at least two ships, and in New York City the Intrepid Sea, Air

& Space Museum has one of the world's largest displays of naval ships of every description.

Canada does not have the number of ships that the U.S. has, and therefore it is far more

logical to bring the remaining ships together in one museum. In addition, if every city has

a destroyer to display, then what would be the enticement to see another at another city?

The issue would become common.

A museum of this sort should strive to demonstrate, not simply display, the principles

seen on board the ships. Here, the museurn should learn Rom what it proposes to teach and

exhibit, it should become part of the process. Josep Montaner and Jordi Olivera, in their

book, The Museums of the Lust Generulion, argue that after analysing several buildings,

the great figurative value of some of these museurns is a crucial factor. The

building itself tends to become the principal object of value for the public,

which is often as interested in seeing the museurn itself as the works of art

9

it contains. This may be a reflection ofthe spirit of our times, which as far

as museurn architecture is concemed, prefers a largely pst-modemist and

hedonistic architectural dominance."

Rather than becoming a work in itself, separate from what it displays, such as Gehry's

museum in Bilbao, the Naval Museum should be of its subject: a museurn whose intent is

to unite al1 the information together as one cohesive unit that can be understood by everyone.

A stark contrast to this approach is Paolo Nestler's 1960 Museum of Technology in Munich,

and many other marine museums, where the ships and artifacts on display are static, in

glass cases or hanging in a void without context.

Adrian Dannatt, when writing about James Ingo Freed's United States Holocaust

Memorial Museum, remarks that "architecture is about time as well as space, temporal as

well as spatial duration and transformation. How a building maintains its intention through

time, then, is al1 the more relevant to a museurn with the purpose of preventing an event's

repetition."' Here, too, the Canadian Naval Museum, like the Holocaust Museum, makes

its agenda to inforrn and to educate the public of a significant part of our collective heritage,

our history. While the naval history of Canada is in no way as poignant, sorrowfùl and

dramatic as the Holocaust, it has affected a good many generations of Canadians and people

around the globe.

Canada, however, has not given the R.C.N. (Royal Canadian Navy) a balanced share

of the curatonal attention. Halifax's Naval Base exhibits an overflowing coIlection of poorly

labelled artifacts in a building that is far too small. Meanwhile, the Nova Scotia Maritime

Museum dedicates perhaps less than an eighth of its space to the topic. Canada, one of the

10

three main players in the Battle ofthe Atlantic, has only three ships on display, one of these,

H.M.C.S. Fraser in Bridgewater, N.S., only barely. Toronto's Ontario Place and Halifax's

waterfront exhibit the destroyer H.M.C.S. Haida and the corvette H.M.C.S. Sackville

respectively. Three ships in three very separate areas strive to give the sense of history that

cornes with a nation that has seen the sailing of more than 495 ships since 1910.

DESIGN

Suwivors Study of charged space and void. Acrylic on canvas. Robert Billard, 1998.

Site Site Map: Halifax Harbour. Here we see the Iink made between Halifax's downtown core, in the upper lefi, and the site on MacNab's Island, in the bottom right corner.

The Buildings

The Hall of Recruitment

Material: concrete.

Scale: from large to small in a dramatic downward sweep that funnels visitors fiom

the feny into the Main Gate.

Forrn: solid and massive, the Hall of Recruitment greets the visitor in a matter-of-

fact mapner with brutal honesty.

The Main Gate

Material: concrete.

ScaIe: small at ground level but opening up very large at the top.

Form: an inverted cone with four doors. A steel staircase spirals up to the doors

that lead to the ramparts of the Wall of Reality.

The Wall of Realitv

Material: steel, primed red and aIlowed to weather.

Scale: massive

Fom: a mammoth wall that towers ever higher toward the bridge to MacNab's

Island proper. Within is gallesr space. Visitors can walk along its "ramparts"

from the ferry to the MacNabls Island park.

The Courtvard

Material: concrete paving stone.

Scale: shielded and dwarfed by the wall.

Fom: enclosed.

The Dry Dock

A working shipyard used to maintain the ship on display.

The Shivs

Decornmissioned naval ships that in turn have a finite lifespan with the museurn.

Eventually they will be decommissioned fiom the museurn and replaced with "new"

ones.

Navy at Home

CANADIAN NAVAL MUSEUM CANADIAN NAVAL MUSEUM

CANADIAN NAVAL MUSEUM

MAIN LNEL

CANADIAN NAVAL MUSEUM

SECOND LEVEL THIRD LEVEL

Navy Abroad

CANADIAN NAVAL MUSEUM - M E NAW ABROAD

MAIN LEVEL

CANADIAN NAVAL MUSEUM - THE NAW ABROAD

SECOND M L

The Main Gate: an inverted concrete cone open to the sky

Navy at Home: just within the wall. Approaching the main entrante.

The GrandHall: withintheNavyat Home mainbuilding -

The Main Reception Area: beyond are the bookstore and resta'urant.

View fiom Lighthouse: overlooking the wall and the Navy Abroad.

The Exhibit Courtyard: shielded by the wall.

The Bndge to the Tools of the Trade Exhibits: passing over the Great Hall.

The entrance to the passage to the Navy Abroad building.

Between the Wall and the Navy Abroad building.

Entering the Navy Abroad Exhibit. Issues of scale, contrast and form

The IMAX Theatre.

The Sanctuary: a steel cylinder "in tension".

. .

Leaving the Navy Abroad building and passing through the wall.

Connection Study of space and focused energy. Acqdic on canvas. Robert Billard, 1998

Why?

If the Canadian Naval Museum proposed in this thesis had the opportunity to voice

its ambitions it should want to belong, to be a part of al1 that is housed within its borders.

Unlike so many other museurns which act solely as boxes to house precious items, this

museum strives to become an equal to those items.

A goal of this thesis was to offer the visitor a chance to "experience," in some manner,

what it is to be in the navy. A logical extrapolation of that goal is that each visitor may

corne out with their Qwn interpretation of the subject. It is expected that the very nature of

the museurn be questioned.

It can be argued that this museum's purpose is no different than that of the destroyer,

"to look mean." Its presence at the mouth of the harbour could be seen as intimidating and

aggressive, or out of place in its defensive stance. To house al1 of these things together, and

to give the whole such a large sense of significance, only serves to perpetuate the questionable

notion that a navy is important and necessary. It could be argued that this museum, by so

thoroughly becoming a part of what it displays, does not question the entire collection. It

does not ask itself whether a navy and a military in general is a good thing for a people; it

does not question the use of force.

In contrast, however, one might wonder whether the asking of these questions is the

job of the museum or the job of the visitor. Should not a rnuseum's role be to lay out al1 of

the information and aHow the visitor the opportunity to make a more inforrned decision?

Military personnel are not bom into service, they make a choice. They, for the most part,

see an opportunity, or make a goal for themselves and enlist. Despite al1 of the Navy's

promotional tools there is no misunderstanding of what it is and does. The role of this

museum is to take that understanding one more step.

For the miIitary to be constantly asking itseIf whether it shouId be or not would

undermine its very ability to be effective. The navy trains its people to not question and to

follow orders while on the job; however, it is in the best interest of the navy to let the

prospective recmits see what is in-store for them as members of the Forces. This way, those

that make that choice have a clearer understanding of what they are getting into, and the

Navy gets a more prepared individual. In addition, this is, after all, a museum to display,

enliven, research and honour what the Navy has been to Canadians over the past 90 years,

As a client, the Canadian Navy has these purposes in the forefront of the program's objectives.

This is not to Say that there should be no reflection on Our faults and misdeeds, and that

there should be a blind acceptance of what the Navy is and does, but merely that the

museum is of the Navy and therefore it is up to the visitor, as in life, to sort through the

information to find their own take on the subject.

Finally, one could make an argument that this museum is too eariy, that perhaps the

Canadian Navy must first reach a point where it has a better understanding of itself This

museurn could be for a more enlightened navy of the near, or perhaps distant, fiiture. This

way, proponents of a more overtly self-analytical curatorial approach could sculpt a museum

more vocal and less passive in its dissemination of information.

How?

This museum, as designed, leaves the notion of information giving (rather than

information gathering) up to the individual exhibits within the buildings. It has looked

toward the architecture of the buildings and the site to set the stage for a more intemal

understanding of what the navy is. As in life, it is very possible for the exhibit to be saying

one thing, while the space is saying something completely different.

Here this approach has been taken to give a balanced view of the navy. While the sign

in the Main Gate may be inviting and joyful in its beckoning for you to enter, the inverted

concrete cone that squeezes around you yet opens to the sky high above is saying something

completely different: Are you sure? The Wall of Reality looms ever higher around the inner

sanctum of the Navy ut Home, both protecting those within fiom the unknown and effectively

obliterating the world outside, removing al1 visual links to the civilian world.

The disjointed and chaotic spaces of the Navy Abroad work against the expected

freedom of finally being outside the wall. The windows offer slight and fleeting glimpses of

the civilian world while the visitor is held within the alien landscape. Despite the seemingly

random arrangement of walls and ceilings, there is a prescribed path for the visitor that

takes them through a world unknown to them, at times harsh, at times gratieing.

Onboard the ships, the visitor is met not only with the cramped quarters and stark

existence, but also with the realities of life aboard these machines: the sounds, smells, of

everyday life as well a5 the violent moments of ripped and bent metal.

Al1 of this is in stark contrast to the faceless cubes of the Navy At Horne, where the

journey begins and ends. Here, the visitor ascends through the buildings as they move out

toward the ships and finally out to the Navy Abroad in a manner meant to be reminiscent of

the enlisted person's ascension through the ranks and training and the ultimate test of their

knowledge in action.

The architecture is meant to complete the story begun by the artifacts. It is hoped that

the emot ional response tnggered by the architecture takes the understanding of the collection

to a higher plane where the visitor can then make up their own thoughts on the subject

matter. Ifthe visitor leaves the rnuseum angry, sad, happy, proud, enlightened, or thoughtfùl,

then the rnuseum as a single entity has made an impression and has instilled a response in

an individual. For a visitor to leave a museum with nothing but a receipt, the museum has

failed in its objective,

Four alternate sites were looked at prior to choosing MacNab's Island.

1. Navy Island Cove in the Bedford Basin was niled out due to its size and limitai arrangement of ships. In addition its visual remoteness made it less attractive as a site.

2. Dartmouth Cove Iocated directly across fiorn downtown Halifax. Its radial may of ships and proximity to the downtown did not lend themselves to the aims of the museum.

3. Middle of harbour. Did not offa a balanced view of the navy. 4. MacNab's Island site. Arrangement of ships was true to the navy's fom. Site is prominent and

yet remote.

How the museum deals with the land was not the focus of this thesis, however, some

interesting issues did develop.

A. There is no attempt to tread lightly on the land. Military architecture rarely leaves

a small footprint and usually actively refoms the land to suit its purposes. In keeping

with this military heritage, the site was carved and reshaped to meet the program.

B. With such an intervention into the landscape, it is interesting to delve into the ideas

of the "scar" in the landscape as in Lebbeus Woods' work. As well, if the museum were

to fail and al1 that was left was the heavily sculpted landscape, what kind of a statement

would that make? M,acNabts Island is already dotted with World War One and Two

fortresses. Their rearrangement of the landscape says a great deal about our military

history. Would the umatural shoreline left by the naval museum cany with it as poignant

a memory?

38 NOTES

1. Lebbeus Woods, Radical Reconstruction (New York: Princeton Architectural Press, 1997), 18.

4. Josep Montaner & Jordi Olivc~as, The Museums of the Last Generation (New York: St. Martin's Press, 1 986), 7.

5. Michael Brame, The New Museum (Washington: Frederick A. Praeger, 1965),7.

6 . Montaner & Oliveras, The Museums ofthe Last Generation, 24.

7. Adrian Dannatt, "United States Holocaust Mernorial Museum," in James Ingo Freed, Architecture in Detail (London: Phaidon Press Ltd., 1995),6.

REFERENCES

Books and Articles

Aloi, Roberto. Musei, Architettura - Tecnica. Milano: Industrie Grafiche Italiane Stucchi, 1962.

Bonner, Kit. "San Francisco's Graveyard of Ships. " Challenge Naval History Series (Spring 1998): 77,80-83.

Brawne, Michael. The New Museum. Washington: Frederick A. Praeger, Publishers, 1965.

Commonwealth of Pennsylvania Departrnent of Public Instruction, Division of Industrial Education. Ship Erection. Bulletin 349. Hamsburg: Departrnent of Public Instruction, 1942.

Cranston, Bobby. 75th Anniversary Naval Service of Canada, A Pictural History. Halifax: The 75th Anniversary Publishing Company, 1985.

DarIington, Captain Robert A., and Commander Fraser M. McKee. The Canadian Naval Chronicle, 1939-15: The Successes and Losses oftlze Canadian Navy in World War II. St. Catherine's: Vanwell Publishing Limited, 1996.

De Rooij, Ir G. Practicd Slzipbuilding, A manual for the construction of sea-going rnerclzant slzips and war-slzips. Haarlem: N.V. De Technische Uitgeverij H. Starn, 1953.

Henderson, Justin. Museum Architecture. Gloucester: Rockport Publishers, 1998.

Historic Naval Ship Association. Historic Naval Ships, A Guide tu more than 100 Classic Warships on Public Display. Conoga Park: Challenge Publications, Inc., 1998.

Linenthal, Edward T. Preserving Memory, The Struggle to Create America's Holocaust Museum. New York: Viking, Penguin Group, 1995.

Liston, Ronald L. 'The Sleeping Fleet " U s NA W 2000, Challenge Naval History Series (Spring 1998): 36-43.

Macpherson, Ken, & John Burgess. The Ships of Canada's Naval Forces 191 0-1981. A complete pictorial lzistory of Canadian warslzips. Toronto: Collins Publishers, 1 98 1.

Maritime Command. The Nuvul Vision, Charting the Course for Canada's Marine Forces into the 21st Century. Halifax: Maritime Command Public Affairs, 1994.

Montaner, Josep, & Jordi Oliveras. The Museums ofthe Last Generation. New York: St. Martin's Press, 19 86.

Mowatt, A.J., Chaplain, R.C.N. West About with HMCS St. Laurent. Portsmouth: Gale & Polden Ltd., 1964.

Perks, Lt. (N), and Lt (N) Brent Travis, eds. The Navy in Halifax 1995. Ottawa: Capital Military Publishers, 1995.

Woods, Lebbeus. Radical Reconstruction. New York: Princeton Architectural Press, 1997.

Woods, Lebbeus. Wur and Architecture. New York: Princeton Architecturai Press, 1993.

Buildings and Projects

Centerbrook. Nauticus, National Maritime Center, Norfolk, Virginia (1988-94).

Freed, James Ingo. United States Holocaust Memonal Museum, Washington (1 993).

Mendini, Alessandro. Groninger Museum, Groningen, Netherlands (1 990-94).

Woods, Lebbeus. Sarajevo: Parliament BuiIding, Elektroprivreda Building, Unis Towers, High Houses (theoretical projects, 1992).