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  • 27 Jan 2021 12:20 PM | William McLean (Administrator)

    A film produced by Bianca Barnes in 1980 in which she examines the construction and opening of UBC's Museum of Anthropology. The film features interviews with architect Arthur Erickson and carver Bill Reid. The footage includes construction shots, the moving of the totem poles and the opening of the Museum.
    View the film >>

  • 26 Nov 2020 4:44 PM | William McLean (Administrator)

    As part of its belief in and commitment to supporting emerging architecture practitioners, today the Arthur Erickson Foundation and the Yosef Wosk Family Foundation announced a $110,000 donation to Indspire – Canada’s national, award-winning Indigenous registered charity – in support of Indigenous youth in Canada. The donation will fund an awards program focused on increasing Indigenous student success by growing the number of Indigenous architects and landscape architects in Canada.

    The Arthur Erickson Foundation was founded as the Arthur Erickson House and Garden Foundation in 1993, and later became the owner of the Erickson property at 4195 West 14th Avenue in Vancouver, BC, Canada. Following Arthur Erickson’s death in May 2009, the Arthur Erickson Foundation expanded its mandate to include education, research and preservation.

    Central to Arthur Erickson’s work as an architect and theorist was his belief in and commitment to education and research. Having served on the faculties of architecture at the University of Oregon and the University of British Columbia, Erickson understood the need of each generation to contribute to the training of the next. One of the ways the foundation honours Erickson’s belief is by working with donors to develop prizes and scholarships intended to reward and assist students studying architecture and landscape architecture.

    “The Arthur Erickson Foundation and Yosef Wosk Family Foundation, along with Indspire, are pleased to announce the establishment of an awards program supporting Indigenous education in architecture and landscape architecture,” said Michael Prokopow, Vice President (East) Arthur Erickson Foundation. “The organizations recognize the profound importance of the shared work of decolonization and reconciliation in Canada for the transformation of society. These awards recognize the deep power of Indigenous thinking and wisdom around the making of habitation and space for wellbeing across generations and the vitally important stewardship of the natural world.”

    Mike DeGagné, President and CEO of Indspire, stated, “This new investment is a significant step in supporting First Nations, Inuit and Métis architecture and landscape architecture students to achieve their potential through education and training. They can in turn enrich their communities and create positive change in Canada. We are grateful for the support of the Arthur Erickson Foundation and the Yosef Wosk Family Foundation for investing in Indigenous achievement and education.”

  • 23 Mar 2020 3:43 PM | William McLean (Administrator)

    Over the past decades, the Erickson Garden pond has gradually become shallower as silt and organic material accumulated. One adverse effect of the shallower water was a relative increase in temperature, making it less hospitable as a frog habitat. A full restoration of the pond will come eventually, but in the meantime, remediation was called for. Neill Cumberbirch, member of AEF's House & Garden Committee, reports: "It took five days of digging and wheelbarrowing of material from the pond to the bins located outside the gate on the boulevard. There was 3 to 4 inches of fine silt on top of 8 inches of matted root material, leaves and astonishingly well preserved pine needles and below that the original membrane. We removed material down to the membrane being careful not to damage it. The total water depth is now at its original 18”. Before we started it was 6” ... We left approximately 20% of the original root mass in the pond for regeneration of the waterlilies and irises."

    The photos show conditions before, during, and immediately after this remediation, which took place in Spring 2020.

  • 2 Mar 2019 12:25 PM | William McLean (Administrator)

    On March 2, 2019 CBC News reported: "Even for an architect whose wide range includes the Museum of Anthropology at the University of British Columbia, the MacMillan Bloedel building in downtown Vancouver, and Simon Fraser University, Eppich House II — which is now up for sale — stands out for several reasons ..."

  • 8 May 2018 9:47 AM | William McLean (Administrator)

    Guy Dixon, writing in the Globe & Mail 2018.05.08: "As with Mr. Erickson’s Robson Square in Vancouver and the Simon Fraser University campus in Burnaby, much of the late architect’s greatness was the dialogue he created between nature and modernism. And the possible loss of the atrium garden had conservationists particularly worried prior to the bank headquarters’ three-year, $460-million full-scale renovation, which was completed last year ... (read more)

  • 12 Apr 2018 2:51 PM | William McLean (Administrator)

    From an undated speech, included in "Speeches by Arthur Erickson" (University of British Columbia Library): "The house was purchased in 1957 for $11,000. What attracted me to it was the garden—the whole of the property (66x120) was to the south of the house, since the house was on the lane, and had been developed as a colourful English herbaceous border garden concealing a vegetable and raspberry patch at the southern end. The house itself had been built about 40 years earlier as a garage to be lived in while the main house was built—properly, on the centre of the property. It was temporarily converted into a dwelling with a small lean-to and divided into a set of miniature rooms, a living room, dining room, kitchen, front hall, bedroom and bathroom. But the owners never built the main house. Instead they added a single garage next door which, when I bought it, was used for storage.

    "I set a destructive Irish sailor-handyman to taking down all the partitions, arriving only in time to save the collapse of the roof by propping it up with a wood and terra cotta Ionian column I had retrieved from the demolition of a former residence. That was the first conversion—as a one-roomed house furnished with marble slabs from the urinals of the old Vancouver Hotel and seating made from the straw benches of the former trolley cars of Vancouver, gold dragon's-blood Chinese paper lacquered into antiquity with many layers of pigmented lacquer and a teak cabinet kitchen. The garage became a guest room for visiting guests but only in summer for there was no heat.

    "The garden changed more dramatically. In the second year long grass covered the property since it was never cut and the English garden struggled through the grass as if the place had been romantically deserted. But the third year the flowers no longer appeared, except for the forlorn roses hanging off the trellises and the grass was too long to even scythe. The only solution was to bring in a bulldozer and use it for contouring the lot to obscure the only disturbing view from the house—that down the length of the lot to the ugly brown shingle arched front porch of the neighbor across the street to the south …" 

    AE in his living room at 4195 West 14th Avenue, 1972
    Photo credit: Selwyn Pullan 

  • 6 Dec 2017 12:30 PM | William McLean (Administrator)

    Arthur's nephew and AEF Board member, Christopher Erickson, reminisces about the Erickson garden: "Not sure where the term 'Moon Viewing Platform' came from as it was not originally referred to as such. It had been a marble that Arthur had scored from the demolition of the old police station, but became so cracked over time it had to be replaced. Geoff and I installed this granite under Arthur’s supervision which he described as the 'Egyptian way' with a sand base. The granite was donated by Frank Mahovlich of Mahovlich Marble and Granite in Burnaby, a great supporter of Arthur."

  • 6 Dec 2016 12:47 PM | William McLean (Administrator)

    The 2015 Erickson House and Garden Conservation Plan (available here) is part of a larger package being assembled, including detailed architectural plans, condition report, conservation costing, to assist in the long term conservation of the Arthur Erickson House and Garden, through a Heritage Revitalization Agreement with the City of Vancouver.

    The plan was prepared by Donald Luxton & Associates and Neill Cumberbirch Architect. At its 35th Anniversary Awards Gala in February 2016, Heritage BC cited the authors of the conservation plan for Outstanding Achievement in the category Heritage Planning and Management.

  • 20 Sep 2015 12:31 PM | William McLean (Administrator)

    Alan Bell talks about working with Arthur on the Abu Nuwas project in Baghdad:

    "Arthur’s large projects usually went through an extended period of gestation, with extensive studies and dialogue involving various design team members.  But in 1981, for the Abu Nuwas project in Baghdad, we were required to produce two complete, bold schemes for the entire 3.5 km of Tigris River frontage for a very tight deadline. These two schemes were to serve as the focus for an international planning and design conference in Baghdad, and to provoke clearer instructions from the ultimate client – Saddam Hussein himself.  And each scheme required a “big idea” that could only come from Arthur.

    "Arthur’s first 'big idea' – a new island in the middle of the river – had come very quickly in response to a surprise question from the Mayor of Baghdad.  But as the days ticked by, the team was getting desperate for Arthur to come up with a bold concept for the second scheme.  Then one morning, faxed from wherever Arthur happened to be that day, we received five pages of 8½ x 11” sketches that he had done on his airplane tray table or in his hotel room.  Three sheets combined to form a complete layout for a series of gardens along the banks of the Tigris, while the other two sheets provided more detail on some individual gardens, right down to species of scented trees and geometries inspired by traditional Islamic patterning."

    Photo credit: Erickson Estate Collection

  • 13 Feb 2015 12:14 PM | William McLean (Administrator)

    Eulogy by Abraham Jedidiah Rogatnick at Memorial for Arthur Charles Erickson (June 24, 1924 - May 20, 2009) Convocation Mall, Simon Fraser University, June 14, 2009

    "Alas! Arthur is gone. The word 'alas', so prevalent in the English of Shakespeare’s time, sadly has no equivalent in our language today. I can’t imagine what Shakespeare’s poetry would have been like without that word which so succinctly expresses the deep groan of grief, of loss, of regret and of sorrow.

    "When I think of Arthur Erickson, as when I think of Shakespeare, I think of poetry. Arthur was eloquent with words, but he became most renowned as an artist/architect whose life and whose work can be seen as a long, lyrical, but silent poem, a song without words.

    "The first person to greet me upon my arrival in Vancouver fifty-four years ago was Arthur Erickson. Immediately I knew I was in the presence of someone rare, and over the years I marvelled at the absence of self-importance he demonstrated even as his creative vision brought triumph after triumph. To him, it was the poetry, not the poet, that mattered. I also came to recognize the nobility, courage and stoicism with which he faced the trials, sorrows and ironies of his public and private life.

    "How appropriate it is that we meet in this space, an example of one of Arthur’s many masterworks, although it would have been an amusing irony for this celebration to have taken place, as was first intended, in Christ Church Cathedral in Vancouver, a building which Arthur had once been commissioned to demolish. His design for the site was a delicate, modest tower in the bowels of which a new, bright, modern church was to be ensconced. Since I was already known as a devoted fan of Arthur’s work, I was asked to appear on CBC television to support the scheme against the explosive opposition to it that had erupted in the city. When the program was over, the cameraman informed me that if he hadn’t been stuck behind the camera he would have punched me on the nose. When I returned to the dressing room, I was accosted by a furious young actor who screamed a similar intention at me.

    "But the irony doesn’t end there. Many years later, I became an actor and was thrilled to have had the opportunity to perform in several Shakespeare plays in that fine, still intact, theatrical space.

    "Journeys to as many parts of the world as possible were Arthur’s most joyful means of education. And I soon began to see the romance of a poetic journey as an underlying theme in his creative vision. Fifty years ago, when I was asked to write an account of the Filberg house near Comox, as I was walking the path to the house through dense trees dappling the forest floor with muted light, catching intermittent glimpses of the sparkling waters of Howe Sound, I knew that, even before reaching the crescendo of the house itself, I was moving through a poem by Arthur Erickson. When preparing to write an article on this great space, achieved together with his partner Geoff Massey, I experienced a similar journey in the sinuous climb up the tree-lined road, again with brief flashes of glistening water and, finally, suddenly, coming into the presence of hte building stretching serenely over the summit of the mountain. In David Stouck’s remembrance of Arthur published in the Globe and Mail, he quoted Arthur’s own description of his Anthropology Museum in UBC 'as a walk through the forest to the beach'. And Nancy Southam, in another article in the Globe, quoted Arthur as saying that, 'Whatever you build should enhance the surroundings'. I’m sure he might have added, 'because the surroundings enhance the building'.

    "The game of Seven Stones, which Arthur taught his students to play, was another evocation of a passage through time and space. Each player was given a small stone to be located in harmony with the shape of an existing field. Each placement influenced the judgement of where to site the subsequent one. The resulting pattern could not be planned in advance, but was the outcome of an organic series of decisions determined along the way.

    "Arthur, the conjuror of a poetic world, was epitomized in the design of his own garden. Here, in miniature, he created an enticing fragment of nature with a path around its periphery which passes under trees through a shadowed series of woodland experiences at the same time that it affords a myriad of surprising views of the garden itself. But the enchanted world with which Arthur imbued the garden truly came to life with the brilliant parties he planned there, full of spellbound guests moving dreamily about as the gentle music of a string quartet or the soft bell-like tones of a Jamaican steel band wafted from across the pond dotted with flickering candles floating on its surface.

    "For nearly thirty years, I lived near the garden and, while I wallowed in the celestial sounds that emanated from it, some of our neighbours were incensed by what they considered noise, which often continued until two or four in the morning, as they also resented the cars parked in front of their houses during those stupendous soirées, not to mention the deployment of an army of secret service men blocking the intersection when Pierre Trudeau was one of the guests.

    "I loved living close to Arthur’s paradise. I loved to see the heron perched on one of his tall trees, pausing on her trip to the water to find food to feed her fledglings nesting in the nearby woods. I loved the colourful Japanese carp that drifted languorously in the shallow pool, and the two black swans that for a time glided silently, elegantly across its surface. I even loved the raccoons which invaded the garden, to Arthur’s dismay, since the brazen creatures dined on his luxurious carp. I found the peeping of the frogs that colonized the pond bucolically romantic. Again I was in the minority among our neighbours who complained bitterly of their croaking which they claimed interfered with their sleep.

    "To discourage the raccoons, Arthur set a large cage trap hidden strategically under the foliage beside the pool. He never caught any, but once one of my cats disappeared for several days. So one evening, I asked Arthur to take me to the trap to check it out, and sure enough, from the dark there emerged and exhausted, pathetic meow. This touching story was published by Edith Iglauer Daly in her book on Arthur, which she entitled Seven Stones, and which was featured in the New Yorker Magazine. But what was never published was the sequel, which reflected a more melancholy aspect of the saga of Arthur’s life and that of his Arcadian garden. One day, a couple of good Samaritans brought to the garden a carton containing a clutch of tiny ducklings which had hatched on their property, far from any body of water. They thought of Arthur’s pond and, with my help, they slipped the ducklings under a hole at the bottom of the fence. The desperately quacking mother flew over it and instantly took up tranquil residence in the garden together with her brood, guests which Arthur, indeed, welcomed. But as time passed, the ducklings began to disappear, several of which were brought to me in the jaws of my previously trapped cat. Perhaps it was her revenge, but, to me, it was a memento mori of the brutal indifference of nature and the hovering presence of death, who in Poussain’s painting of a tomb in Arcadia, reminded the inhabitants of that idyllic sphere: 'Et Ego in Arcadia': Even in Arcadia, I am here.

    "I marvelled at Arthur’s calm nobility, which I saw over the years as he lost one close friend after another to various untimely deaths. I’m sure that privately he grieved, but outwardly he seemed to accept each difficult loss as an unavoidable acquiescence to the will of nature and the inescapable darker passages in the poem of all our lives.

    "Arthur possessed an inner dignity, together with an innate kindness and compassion. The first person he invited to grace a modest structure which he added a few feet from the garage in which he made his home was Gordon Webber, his teacher and inspirer at McGill. He told the city it was to be a garden shed, but to his friends he called it a guest house, which he later attached to the humble garage to become his tiny bedroom and studio overlooking his magical garden. Gordon, a victim of polio, was disfigured, lame, an almost Quasimodo-like figure in his mis-shapen body. The reverence, affection and tenderness with which Arthur cared for him before he too died were utterly moving. I thought of Arthur and Don’s father, Oscar, a double amputee World War One veteran, who the two brothers carried in his wheelchair up a painfully long and steep staircase to visit Alvin Balkind and me when we were running a gallery over some shops in West Vancouver back in 1955.

    "Many years later, Arthur and I were judges on a jury to select a design for the Terry Fox monument at the end of Robson Street. We knew that the public was expecting us to choose a statue of Terry struggling to hike across Canada on his prosthetic leg. Arthur objected to such a statue. He insisted that the handicapped didn’t want to be remembered for their disability, but for their triumph in overcoming it. He opted for an arch leading to the stadium behind it, an arch of triumph, and influenced me and others to vote with him.

    "The public response was overwhelmingly negative, noses were out of joint and — O cursed spite! — I was chosen to set them right and to defend the choice to the press. Once again I suffered stings and arrows in the newspapers and on the radio. I was portrayed as an addled professor who foisted the design on the public who saw it as a monstrosity and an insult to Terry Fox. Yes I sometimes suffered in my defense of Arthur’s sensitive wisdom, but I don’t regret a minute of it.

    "Arthur Charles Erickson, whose initials appropriately spell 'ACE', and an ace he was, a prince and a poet among us. We still walk the many poetic paths that he created. Alas! The poet is gone, but the poem of his long life’s journey lives on."

    Photo Credit: Lyle Stafford
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Photo credit: Erickson Estate Collection