Currently Available for Rehoming
Adapted Moffat “ELECTRA” no. 150 (1916)
This electric fireplace assembly features a circa 1916 brass-finished cast iron fireplace grill insert integrated into a stylistically-sympathetic salvaged contemporary surround, fitted with a new electric fireplace heater with flame effect and 2 heat settings. The Edwardian detailing of the grill is complemented by the fluting on the surround.
Dials close to the base of the grill, once used to control the since removed electric wire and coil mechanism of the original fireplace heater, have been disconnected. Featuring a new CSA-approved electric heater, the ensemble is now remote controlled. While the brass finish of the grill has been only lightly polished to preserve its patina, the surround is finished in Sherwin Williams’ Rembrandt Ruby.
History
Introduced in the 1916 Electric catalogue 010, by Moffat Stove Company Limited, this fireplace heater is one of the first electric heaters introduced in the early 20th century. Moffat Stove Company Limited was founded by Thomas A. Moffat late in the 19th century after he immigrated from Scotland to Weston, Ontario. The company originally manufactured cast iron stoves, expanding into electric appliances patented by Frederick W. Moffat in the early 20th century. One such patent was the heater technology and assembly originally used in ELECTRA no. 150 and its larger counterpart no, 160. Both heaters were lined with asbestos fabric, which was commonly used for its insulating and fire-resistant properties.
This ELECTRA 150 was originally manufactured in Weston, Ontario at the Moffat Stove Company Limited’s works. The fireplace heater was likely installed into its first home between 1916 and the early 1920s when electric fireplaces quickly developed into home staples. It wasn’t until the 21st century that the fireplace heater was removed from its home in Hintonburg and recovered and later refurbished by The Rejoinery. The original asbestos-lined electric heater assembly was safely removed to allow for reuse of the grill.
Bookshelves (2018-2026)
Originally: two sustainably sourced yellow pine, rectilinear four-legged nightstands with full height doors and round knobs to conceal internal shelving. Black stain with visible yellow pine grain; top with a slight overhang. Modification: removal of doors and addition of tops, trim, and bases made from white pine sourced from KJP select hardwoods together with new Sherwin-Williams Rembrandt Ruby furniture paint to create two new open bookshelves.
History
The HEMNES series designed by Knut Hagberg and Marianne Hagberg is among IKEA’s most enduring and popular “traditional” lines, noteworthy within the firm’s portfolio for its (mostly) solid wood construction. The design balances traditional Swedish farmhouse cues (sturdy legs, paneled door) with pared-down contemporary country-lifestyle Scandinavian design. Whereas many IKEA case goods rely on engineered boards, HEMNES marketing emphasizes sustainably sourced solid wood intended to “age beautifully”, thus positioning the series as a durable counterpoint to disposable furniture narratives associated with flat-pack retail. The HEMNES series has been sold at IKEA in various models since the 1970s. This particular nightstand has been discontinued since 2018.
These nightstands were purchased from Facebook marketplace and refurbished/modified into bookshelves by The Rejoinery.
*** REHOMED ***
Sash Window with Peaked Mullions (1890s-1940s)
This antique glass sash window likely dates from the 1890s to 1940s. The window features a softwood frame with mullions dividing its individual glass panes. The clear glass and simple design align themselves with early 20th-century styles such as Arts and Crafts, Gothic Revival, Tudor Revival, or Colonial Revival. These doors were commonly used in built-in cabinets, bookcases, or pantry cupboards, as well as casement windows. Inspired by the Arts and Crafts traditions by being, or appearing to be handcrafted, these styles were popular for their romantic medieval nostalgia and as a counter to the growing rapid industrialization of the early 20th century. Eventually becoming popular in suburban homes as new neighborhoods in Canada began developing and expanding as well.
This window was put out in the trash in the Glebe and salvaged by a passerby from The Rejoinery. Other than removing loose and cracked glazing putty and paint, it has been kept in all of its 'shabby-chic' glory.
*** RESERVED FOR REHOMING AFTER MAY 3 ***
Rogers 13/105 “Battery-Less” Radio (1938-1939)
This “Battery-less” AM Console Radio was manufactured by the Rogers Majestic company in Toronto, Ontario in 1938-39. Preserving the original walnut casing, the speaker has been removed to make room for new shelving. Last used in a home in Centretown, Ottawa, it was donated for Radical Reuse by its former owner.
The Rogers 13/105 “battery-less” radio receiver was designed and manufactured by Rogers-Majestic Corporation Limited, founded by Toronto-based inventor and entrepreneur Edward Rogers. Improving on Frederick McCullough’s design of Alternating Current (AC) vacuum tubes, Rogers’ redesign was able to run on a home’s electric system rather than large battery cells. This innovation resulted in an improved audio quality, reduced the amount of electrical energy lost through heat, and eliminated battery leakage. Fulfilling the company’s slogan of “Just Plug-In and Tune in!,”Rogers' radios became a mainstay of Canadian homes and social life. Edward Roger’s commercial success would go on to inspire his son Ted to found Rogers Communications Inc., Canada’s largest telecom company. This radio was donated by the Belanger family to Rejoinery designer Heba Zaroog.
*** REHOMED ***
These items were featured in Radical Reuse: Reclaiming Design Abundance, a pop-up exhibition at Scri
Ottawa is a city in a constant state of re-creation; buildings are renovated, interiors are redesigned, and historic neighbourhoods are reborn as modern urban spaces. Amidst this process, valuable materials such as doorknobs, light fixtures, appliances, and windows are often discarded as debris. Yet, they are as much members of the city’s cultural heritage as the buildings they once belonged to.
Radical Reuse: Reclaiming Design Abundance challenges the perception that these discarded materials are waste. Rather, this exhibition explores how salvaged items can be restored, reused, and reimagined for the modern home. Developed in collaboration with The Rejoinery, Scrim’s Florist, Pot and Pantry, and The Modern Shop, Radical Reuse responds to growing conversations about sustainability and heritage conservation while aiming to change the wasteful practice of purchasing new.
Radical Reuse was produced by Farah Al-Nabtiti, Alaukwu Anozie, Ryan Hauck-Monsacchi, Sierra Hill, Heather Macnab, Nikki Mosca, Lyla Reid, Elizabeth Spence, Ayden Tucker-Cormier and Heba Zaroog, the emerging curators of Carleton University’s Curatorial Studies program, in partnership with The Rejoinery.
This project is indebted to host Scrim’s Florist. The Modern Shop and Pot & Pantry generously provided many of the exhibited objects.
The rehabilitation of salvage exhibited was performed principally by Heritage Carpenter Michael Mitchell with the assistance of Trina Cooper-Bolam.
