Les jardins des femmes

Les jardins des femmes Les jardins des femmes Cynthia Imogen Hammond Les jardins des femmes un exposition de Cynthia Imogen Hammond à l’École d’architecture Peter Guo-hua Fu de l’Université McGill, 15 au 25 juin 2019 Les Jardins des femmes présente le travail de l’artiste et professeure, Cynthia Imogen Hammond. Ses tableaux, réalisées entre 2017 et 2019, explorent les relations complexes et puissantes entre les jardins et les femmes qui les utilisaient et en prenaient soin, tel que le jardin du Centre culturel Caetani à Vernon, en Colombie-Britannique, le jardin du musée Colby-Curtis à Stanstead, au Québec, et le jardin de St Margaret’s Home, également connu sous le nom du Jardin Notman, à Montréal. Travaillant avec les documents d’archives, les photographies, et les entrevues, Hammond crée des peintures qui prêtent une attention particulière au passé, mais qui témoignent également de l’importance continue de ces jardins, en particulier du jardin Notman, qui attend son prochaine transformation. Cette exposition est est également une collaboration entre Cynthia Hammond et Annmarie Adams, une historienne de l’architecture à l’université McGill. Dre Adams a donné sa voix à la lutte de sauvegarder la Maison Notman au début des années 2000. Ses textes accompagnent l’exposition et cette publication. June 2019 Cover image: Cynthia Imogen Hammond, Une militante improvisée (detail), 2019. All images in this publication are © Cynthia Imogen Hammond. Graphic design: Tina Carlisi Remerciements Nous sommes reconnaissantes pour le soutien de l’Institut d’études d’art canadien Gail et Stephen A. Jarislowsky, aussi pour le soutien de l’École d’architecture Peter Guo-hua Fu de l’Université McGill. L’artiste veut remercier l’Association Récréative de Milton-Parc pour l’accueil chaleureux pendant son séjour en tant qu’artiste en résidence au coeur du Communauté Milton-Parc. L’artiste souhaite remercier tous et toutes qui ont partagé des souvenirs, des connaissances, et de l’assistance avec la série du jardin Notman: Helen Angelopoulos, Tony Antakly, Anne-Marie Boucher, la fondation Drummond, William Fong, Samantha Leger, Doreen Lindsey, Kate Marley, Nathan McDonnell, Bruce McNiven, Sarah Stevenson, et particulièrement Doug Dumais et Jason Levy. Comme les créatrices de ce projet nous voulons reconnaître que cette exposition se déroule sur un territoire autochtone, lequel n’a jamais été cédé. Nous reconnaissons avec gratitude la nation Kanien’kehá: ka comme gardienne des terres sur lesquelles cette recherche et ces peintures ont vu le jour. Ce sont les mêmes terres sur lesquelles le jardin Notman a été planté, entretenu, apprécié, abandonné et, enfin, protégé. Cynthia Hammond et Annmarie Adams Les jardins des femmes An exhibition by Cynthia Imogen Hammond Peter Guo-hua Fu School of Architecture, McGill University, 15-25 June 2019 Les Jardins des femmes presents the work of artist and professor, Cynthia Imogen Hammond. Several series of paintings, all created between 2017-2019, explore the complex and powerful relationships between historic gardens and the women who occupy and care for them, including the garden of the Caetani Cultural Centre in Vernon, the garden of the Colby-Curtis Museum in Stanstead, and the garden of St Margaret’s Home, also known as the Notman Garden, in Montreal. Working with archival documents, photographs, and interviews, Hammond’s paintings are in dialogue with the past but attest to the ongoing importance of such gardens, especially the Notman Garden, which today is on the cusp of change. This exhibition is a collaboration between Cynthia Hammond and Annmarie Adams, an architectural historian at McGill University. Dr Adams lent her voice to the collective struggle to save Notman House from development in the early 2000s. Her texts accompany the exhibition. Part I Illuminated from Within: the Notman Garden (2019) Text and captions by Annmarie Adams, with supplemental information by the artist Acknowledgements We are grateful for the support of the Gail and Stephen A. Jarislowsky Institute for Canadian Art Studies, also the Peter Guo-hua Fu School of Architecture of McGill University for supporting this exhibition. The artist wishes to thank the Recreation Association of Milton-Parc, in the heart of the Communauté Milton-Parc, for the warm welcome during her artist residency in 2019, when she developed the Notman Garden series. The artist wishes to thank all the individuals who shared memories, knowledge, or gave help in some way to her work on the Notman Garden: Helen Angelopoulos, Tony Antakly, Anne-Marie Boucher, Haley Craw, the Drummond Foundation, William Fong, Samantha Leger, Doreen Lindsey, Kate Marley, Nathan McDonnell, Bruce McNiven, Sarah Stevenson, and especially Doug Dumais and Jason Levy. As the creators of this project, we acknowledge that this exhibition is taking place on unceded Indigenous territory. We recognize with gratitude the Kanien’kehá:ka Nation as the custodians of the lands upon which this research and these paintings emerged. These are the same lands upon which the Notman Garden was planted, tended, enjoyed, abandoned and, at last, protected. Cynthia Hammond and Annmarie Adams This series of paintings by Cynthia Imogen Hammond explores the layered history of a site framed by Sherbrooke Street West, rue Clark, and rue Milton in Montreal. This property has served as a grand residence, a long-term care home, and more recently a technology hub. In the late twentieth century, it became the centre of intense activism and public debate. The neoclassical house at 51 Sherbrooke Street West, designed by architect John Wells, takes its name from its most famous occupant, the photographer William Notman (1826-1892). After Notman’s death, philanthropist and suffragist Julia Drummond (1860-1942) and George Drummond (1829- 1910) bought the house, adding a rear wing: St Margaret’s Home. Designed by architect Andrew Taylor and opened in 1894 as a home for “incurables,” the ensemble became a care facility and residence primarily for older women in 1920. Taylor also designed the Macdonald-Harrington Building, the location of the Jardins des femmes exhibition. St Margaret’s Home relocated in 1991, leaving the future of the Notman House, St Margaret’s, and the 150-year old garden uncertain. In the intervening 27 years, Communauté Milton-Parc activists fought to save the house, the former institution, and the garden from development. With regard to the latter, the arguments pointed to the rarity of extant gardens from the city’s Square Mile, as well as the presence of almost fifty species of rare trees, and the paucity of green space in the area. In February 2018, the City of Montreal agreed to expropriate the land to preserve it as a public park. The garden presently sits locked behind a chain-link fence, somewhere between abandon and preservation. As part of Hammond’s work on gendered landscapes, the Notman Garden series explores the complex and powerful relationships between historic gardens and the women who occupy and care for them. Collectively, the series does not only speak to the rich past of this unique site in Montreal; it also points to the site’s potential re-use as a green space for aging Montrealers. Hammond believes that this special urban landscape should be redesigned as a garden for the elderly - and indeed, this was its purpose for decades. The Notman Garden series reminds us that a garden for the elderly would be a rare and beautiful addition to the quartier VilleMarie, as well a direct homage to the site’s century of use by older Montrealers. 1 Our Chosen Kingdom, 2019. Acrylic gouache, acrylic, and pencil on canvas. 24 x 48” St Margaret’s Home was both a healing and a social space. Here, residents gather around a pink bloom, which fills the space with joy and fragrance. The residents occupy institutional beds, wheelchairs, and chairs, and each figure holds or wears a flower. The arched structure below, inspired by Andrew Taylor’s ward interior, frames trees and shrubs that would have been found in the garden about 1900: (left to right) lilac, silver maple, coffee tree, yew, horse chestnut, and honeysuckle. (AA) Artist’s notes: The title of this work is a fragment of a phase from Julia Drummond’s first official address to the Local Council of Women of Montreal (1894), in which she states, “Home will ever be our chosen kingdom.” As a “home”, St Margaret’s was clearly a place of care for women in the last stages of their lives. The trees depicted in this work would have given much-needed shade and cooling during the summer months, while the flowering trees and bushes would have filled the ward and private rooms with sweet scent and - seen from the windows - beautiful colour. (CH) 2 3 Three Sisters, 2019. Acrylic gouache, acrylic, and pencil on canvas. 36 x 48” St Margaret’s Home was run by a sisterhood of Anglican nuns, a rarity in Catholic Montreal. In this work, three Anglican sisters pose behind purple hollyhocks, which were ubiquitous in the garden of St Margaret’s Home. The sisters’ habits disappear into the dark background of the painting, which recalls the tradition of photographic printing. (AA) Artist’s notes: When I first visited the Notman Garden in October 2018, it was shaded by a canopy of mature trees, and sheltered on two sides by substantial buildings (the former St Margaret’s Home to the south, and a 14-storey apartment building to the west). With the late fall sunshine illuminating the bright fall foliage all around the garden, I was struck by the quality of light. The garden was darker than its surroundings, but not sombre. On the contrary, the relative darkness brought every leaf, every colour, into relief. I wanted the paintings in this series to echo this rich darkness and vivid colour, which left me with the impression that the garden was illuminated from within. (CH) 4 5 Shade and Solace (Garden Party), 2019. Acrylic gouache, acrylic, and pencil on canvas. 36 x 48” The Diggers and Weeders Garden Club of Montreal planted and maintained the landscape surrounding Notman House and St Margaret’s Home for thirty years, until St Margaret’s Home moved to Westmount in 1991. In this painting, Hammond collides the patterns of plants, flowers, tomatoes, balloons, dresses, sky and windows to capture an atmosphere of festivity. St Margaret’s Home enjoyed a long annual tradition of garden parties that, judging from a collection of photographs preserved by the Drummond Foundation, were much-anticipated, convivial events. (AA) Artist’s notes: An article in the July 16, 1970 edition of the Montreal Star called for volunteers to help bring “old and handicapped patients into the garden to enjoy its shade and solace.” All plants depicted here were grown in the garden (special thanks to Doreen Lindsay for helping me to identify species from archival photographs). The Diggers and Weeders also brought flowers from their own gardens in Westmount to supplement the plants that they purchased annually to plant on the grounds. Sarah Stevenson, past president of the Diggers and Weeders, recalls how the group assembled little posies of flowers on Valentine’s Day and other holidays, so that the residents should have flowers during the winter as well. (CH) 6 7 Patrimoine vivant, 2019. Acrylic gouache, acrylic, and pencil on canvas. 48 x 60” The entire site – Notman House, St Margaret’s Home, and the adjacent garden – was the focus of intense activism for almost three decades. Residents of MiltonParc focused their attention on the future of the garden once the preservation of the house was secured. For the activists, the trees were just as important as the buildings. The term “living heritage”, a phrase used by several activists involved in the effort to preserve the garden, captures the all-important inclusion of trees and plants as historic property. All the plants depicted in this painting grew or were planted in the garden: (left to right) white pine, salvia, honey locust, ageratum, impatiens, pansies, lobelia, and silver maple. (AA) Artist’s notes: This painting collapses various chapters in the history of local activism and organizing. In the foreground on the left is Anne-Marie Boucher, one of the most important figures in the effort to save the garden, pictured today. On the far right in the foreground is Colette Quesnel, who was frequently interviewed and photographed during the fight to save Notman House, pictured in 2001. Towards the rear, to the right, are James Dormeyer and Tony Antakly, who were very involved in the work of preserving the garden. And in the centre foreground is Lucia Kowaluk (1935-2019), one of Milton-Parc’s best-known activists, who fought for the preservation of the neighbourhood and the residents’ right to the city for over five decades. (CH) 8 9 Une militante improvisée, 2019. Acrylic gouache, acrylic, and pencil on canvas. 36 x 36” Inspired by a site plan of the property, Hammond explores scale in this painting. Activist and Milton-Parc resident, Anne-Marie Boucher embraces/protects a stand of clematis that spills over into a plan of the Notman Garden. In an interview with Boucher, Hammond learned that the community members who organized around the future of the Notman Garden initially came together to create a green alleyway behind rue Milton. In the painting, large blue flowers take the place of trees on the original measured drawing. Silhouetted in the background, the figure of Julia Drummond is visible in the alley. (AA) Artist’s notes: Anne-Marie Boucher described herself as a “militante improvisée” with regard to her efforts to save the Notman Garden. Recognizing the historic importance of her work, she gave all her documents, including a plan of the garden, to the Montreal archives in 2013. Drawn as part of a property assessment in 2001, the plan does not communicate the biodiversity or the intangible heritage of this landscape. But its hastily-drawn trees-in-plan, reminiscent of blooms, inadvertently speak to the long history of flower tending and cultivation in this space. Sarah Stevenson told me that the Diggers and Weeders made every effort to plant a “pow” garden: flowers that would be bright and smell sweet, so that older residents could see and enjoy them. (CH) 10 11 Part II Abundant with Bloom: the garden worlds of the Colby family women (2018) First shown at the Musée Colby-Curtis, Stanstead, Québec, summer 2018 Text and captions by Annmarie Adams This series of paintings invited the public to revisit the historic Colby house, located in the Eastern Townships of Québec. As a researcher-creator in residence at the Museum during winter 2018, Hammond studied the house, garden, and the museum’s historical collections, producing a series that entwines the histories of gardening, domestic landscapes, and women in this special place. Carrollcroft as it was constructed in 1859 is an excellent example of a Victorian, cottage-style villa as a close (but larger) cousin to Design V in Andrew Jackson Downing’s popular pattern book of 1842, Cottage Residences. As in Downing’s model, Carrollcroft’s gardens were an integral part of the ensemble. Part of its historical legacy lies in the relationship of its mostly female occupants to the surrounding landscape. Generations of Colby women shaped the house and garden, most notably Harriet Hannah Child (1838–1932), and her daughters Abby Lemira (1859–1943) and Jessie Maud (1861–1958), who in different ways steered the fixed and fluid aspects of the home: its interior architecture, exterior gardens, and its material culture in their selection of fabric, furnishings, clothing, paintings, and various collections. Fortunately for us, they documented their work on the house and garden extensively, through letter- and diary-writing and numerous photographs. We know from these photographs that the family spent considerable time outdoors, even bringing carpets, furniture, and cushions from inside the house. Inside, rooms were punctuated, furnished and sometimes extended to provide carefully choreographed views of the garden; the design of the house enabled a steady supply of fresh flowers and house plants, including a dedicated room and sink for cutting fresh blossoms on the main floor, complete with a drain fashioned in the shape of a flower. Hammond’s paintings respond to these rich architectural, archival and familial legacies. Of the ten paintings in the original series, three are shown as part of Les Jardins des femmes. 13 The Return (Lily), 2018. Acrylic, pencil, and ink on birch panel. 24 x 30” Harriet Hannah Child and her husband, Charles Carroll Colby, are captured on the threshold of the upstairs balcony of Carrollcroft, their backlit figures framed in the elegant arched windows of the house. Harriet holds a lily, which were cultivated in profusion in the garden. This painting refers to the family’s return to Carrollcroft after several years of living in the house next door. Their return home was joyful and triumphant. The arched windows frame them as individuals and as a couple. (AA) 14 15 Sweet Pea, 2018. Acrylic, pencil, and ink on birch panel. 24 x 24” Domestic gardens in the Eastern Townships, as elsewhere in the late nineteenth and early twentieth centuries, were spaces of intergenerational connection and social gathering. Gardens brought family members and neighbours together, inspiring friendships, letters, conversations, and photographs. Sweet Pea shows two women sporting chic hats that include flowers, and enjoying a close moment together in the garden of Carrollcroft. The scale of the surrounding blooms suggest the importance of the Colby women’s floral universe. (AA) 16 17 One beautiful red tulip, 2018. Acrylic, pencil, and ink on birch panel. 36 x 36” This whimsical painting depicts Hattie Hannah Child presenting a freshly-pulled red tulip to a large bear. It refers to the family’s custom of bringing indoor furniture out into the garden and is based on an actual visit to Carrollcroft of two such bears. Events like this would have been remarkable spectacles in Stanstead, and show how the garden, as a cultural landscape, could welcome different users and purposes. The title refers to a line in a family letter, written by Jessie Colby, describing the floral design of a treasured object of furniture. (AA) 18 19 Part III The edge of her garden (2017) First shown at the Port Gallery, Caetani Cultural Centre, Vernon, BC, April 2017 Text and captions by Cynthia Hammond In April 2017 I was artist-in-residence at the Caetani Cultural Centre in Vernon, British Columbia. The Centre is named after the Italian-born artist, Sveva Caetani (1917-1994). Caetani lived all but ten years of her life in Vernon after moving to Canada with her parents in 1921. My project, The edge of her garden, is a series of ten paintings that respond to Caetani’s family home, today the Caetani Cultural Centre: a 1.5 acre property on Pleasant Valley Road in Vernon. Surrounding the sprawling, 6000 square-foot house is a large, sloped, fenced garden. During my residency, I was compelled by Sveva Caetani’s life story, which revolves around this particular house and garden. A literal prisoner to her mother’s fear of abandonment, Caetani was not permitted to leave the house except, at times, to go into the garden. Yearning for freedom but controlled by her mother’s desperate need for her company, the young woman built an interior world through reading, and nurtured a secret drawing and writing practice. At the time of her mother’s death, Caetani had spent 25 of her 42 years isolated in the house or the surrounding garden. But these very sites would later be the physical location for Caetani’s emergence as an artist. At 57 years old she moved back into the Pleasant Valley Road house. And there, she embarked upon her major opus for the next 15 years, concurrently remodelling the house to suit her needs and those of her women friends who were artists. In its current purpose as an art centre and artist residency program, the Caetani home continues to support artists, and especially women’s creativity. My series of paintings addresses the edges of Sveva Caetani’s garden in two senses, as limit and constraint, but also as threshold and horizon of possibility. During my time in residence at the Caetani Cultural Centre, I lived in the house, painting every morning in a studio in the garden, and researching the Caetani fonds at the local archives in the afternoons. I was fully immersed in spaces that carried all the reminders of sadder days. The house, and the papers and photographs in the archives, all emitted the same lingering scent of the talcum powder that Caetani and her mother once used (leading me to mix this unusual material into my paint). Yet my time in Vernon was also an immersion in the awareness of the great determination required to become an artist, and the joy of embracing this journey. Towards the end of my residency these reflections prompted me to include a self-portrait as part of the 10-part series. This self-portrait, and three 1 other works in this series, are included in Les Jardins des femmes. 1 In 2018 I published an essay about this project: “The edge of her garden: Sveva Caetani and the frontier of potential,” in Les Cahiers de recherche LEAP: Entre hétéronomie et autonomie : Penser l’architecture entre discipline et profession. Ed. Louis Martin & Jonathan Lachance (Montréal). 21 I read and read and read, 2017. Acrylic and talcum powder on canvas. 10 x 20” After her fame as an artist grew, Sveva Caetani was asked frequently for interviews. When asked how she survived her years of isolation, Caetani always spoke of her passion for reading, the solace it provided, and how the vast range of subjects she explored would later inform her opus magnus, the Recapitulation series (1989). This work shows a young Caetani, a book in her arms, with the dramatic landscape of interior British Columbia rising behind her. (CH) 22 23 Did you never escape once?, 2017. Acrylic and talcum powder on canvas. 10 x 20” In 1991 Vicki Gabereau of the CBC interviewed Caetani, asking the question that provides this work’s title. Caetani’s simple answer was “no”. This painting is based on a photograph of Caetani as a child, silhouetted against the edge of the garden that would soon become the limit of her physical world. During these years Caetani’s father, who died when she was 17, taught her how to use woodworking tools - a skill that she would employ, later in life, when she converted the house into an artists’ residence. (CH) 24 25 George, 2017. Acrylic and talcum powder on canvas. 10 x 20” There are very few references in the Caetani fonds to the staff who worked for the Caetani family. There are however a few photographs of individuals who appear to have been staff, and sometimes on the back of the image there is a name. In this case, a photograph in the archives, which inspired this painting, had the name “George” penciled on the reverse. Images like the photograph of George are small indices of the classed and racialized politics of British Columbia in the first half of the twentieth century. (CH) 26 27 Forsythia (we came out to see the stars again), 2017. Acrylic on canvas. 10 x 20” This self-portrait shows Cynthia Hammond in the garden of the Caetani Cultural Centre, pictured during her time there as artist-in-residence. The secondary title is a phrase, found written in Caetani’s hand, in her papers in the Greater Vernon Museum and Archives. The forsythia depicted came into bloom during Hammond’s artist residency - her first - which took place in spring 2017. (CH) 28 29 Part IV Giardino dell’Eden (2016-17) First shown at 511 Place d’Armes, Montréal, December 2016 - January 2017 Text and captions by Cynthia Hammond In 2016-17 I created a series of acrylic paintings on unprimed, unstretched canvas. My inspiration was the Giardino dell’Eden: a walled, locked garden named Eden, located in Venice, Italy, on the island of Giudecca. Giudecca was Venice’s industrial island until this city began a slow process of deindustrialization following the second World War. I encountered the Venetian “Garden of Eden” on my first trip to Venice in June 2015. My travel companions, fellow-artists Kelly Thompson and Kathleen Vaughan and I learned that the garden was the idea of two British ex-patriots hoping that the Venetian climate could cure their ailments. But Frederick and Caroline Eden missed their British garden, and so went about creating a British-Italian hybrid on a site that sits mere inches above the salty waters of the Venetian Lagoon. Caroline Eden was the older sister of the famous British gardener, Gertrude Jekyll. Eden would welcome Jekyll to this garden, along with other well-known British, French, and Italian cultural figures during the Edens’ tenure in Venice. Despite the fact that Frederick Eden was partially blind and an invalid during the couple’s years in Venice, the garden is usually attributed to him, a tendency encouraged by his publication of A Garden in Venice in 1903. This book says little about the individuals whose labour created this garden, but the photographs that accompany the book - also anonymous were the inspiration for this series. After Caroline Eden’s death in 1926, the garden had various occupants, including a tragically lonely queen and the Italian army, who repurposed the garden as an arsenal during the Second World War. This landscape was also said to be, for a time, a gay pickup spot. But while anyone could enter at many points in the garden’s history, it was never a public space. It became even more private after the Hungarian artist and architect, Friedensreich Hundertwasser (1928-2000) purchased the garden, closed the gate, and left it to grow largely untended. Since Hundertwasser’s death, the ownership of the property has been in dispute and the gates have been firmly locked. Like other artists before me, I became enamoured of the garden’s secret life and its ambiguous status as both a heritage site and Venice’s largest locked garden. And I remain curious about the labour and the work of design that went into planning and nurturing such a large British garden on the edge of the Adriatic Sea. Of the eight paintings in this series, three are on view as part of Les Jardins des femmes. 31 Tabby, 2016. Acrylic on canvas, approximately 4 x 6’ The water that surrounds, nourishes, and threatens all gardens in Venice is alluded to in several of the paintings in this series, which use watercolour techniques and acrylic paint to achieve their effects. Here, a rich garden landscape of blues and greens is, while devoid of people, clearly a home to non-human occupants. When I visited the Eden Garden for the second time, trying and failing to enter, a friendly tabby with no such constraints came and went from the garden with ease. (CH) 32 33 Caroline, 2017. Acrylic on canvas, approximately 5 x 7’ Given the legacy of gardening in her family, Caroline Eden strikes me as the most likely person to have designed the Eden Garden in Venice. Yet she is rarely mentioned as having played a role in its creation. Her husband’s book is ambiguous on the question of authorship; a vague “we” is his preferred means to articulate design choices and the inevitable obstacles involved in establishing a British garden in salty Venetian soil. This painting creates a speculative space in which Caroline Eden emerges as the author of this special landscape. She dreams the garden into being as the waters of the lagoon rise around her and her companions. (CH) 34 35 Pergola, 2015. Acrylic on canvas, approximately 4 x 6’ In this work, dark blue clouds frame a vista of the garden, the lagoon visible through one of the many pergolas that the Edens used to create spaces of interest and shade within the larger garden. Roses, they found, grew best on pergolas, although the varieties that represented their memories of “home” (England) resisted all cultivation attempts in Venice. Here, it is not roses but clouds that proliferate on the pergola, signalling the close relationship between weather and architecture in this city, and signalling the fragility of this and other Venetian landscapes. (CH) 36 37 Biographies Cynthia Imogen Hammond is Professor of Art History, Concordia University. An artist and architectural historian by training, Hammond engages in research and creation that is interdisciplinary and place-based in nature. Her work often responds to first-person accounts of how so-called “ordinary” people, particularly women, shape the urban landscapes around them. Her 2018-19 SSHRC-funded project, “Urban Witnesses” explores the living memories of senior Montrealers, and uses arts-based methods to share their urban knowledge with broader publics. Hammond is currently the Lead Co-Director of Concordia’s Centre for Oral History & Digital Storytelling. Annmarie Adams is jointly appointed in the School of Architecture and the Faculty of Medicine. She holds the Stevenson Chair in the History and Philosophy of Science, including Medicine. She is currently Chair of the Department of Social Studies of Medicine in McGill’s Faculty of Medicine. Her research has garnered numerous awards, including the Christophe Pierre Award for Research Excellence, the Jason Hannah Medal from the Royal Society of Canada, a CIHR Health Career Award, and a YWCA Woman of Distinction prize. In 2015, Adams was elected a Fellow of the Royal Architectural Institute of Canada. www.cynthiahammond.org