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Constructing Form and Meaning from the Sketches of Arthur Erickson

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Constructing Form and Meaning from the Sketches of Arthur Erickson ���������Exhibition ������Reviews ���219 Layered Landscapes: Constructing Form and Meaning from the Sketches of Arthur Erickson. CANADIAN A�CHIT�CTU�AL A�CHIV�S, UNIVERSITY OF CALGA�Y. M�unted a� ��� N�ck�l Gall�ries, Tayl�r Fam�ly D�gital Library, University of Calgary. October 20�3 to Jauary 20�4. Curated �y LINDA F�ASER ad G�OFFREY SIMMINS. Arthur Er�ckson (1924–�00�) wa p�r�ap Caada’ f�rst “starchitec�,” fam�u interationally f�r a unique architec�ural ���� ��a� ���grated �� m�d�r- ist bu�ldings c�mf�r�a�ly within their na�ural surr�uding. During a career lasting over f�f�y y�ar, he desig�d iconic bu�ldings in Caada ad ar�ud the world, including the Museum of Anthr�p�l�gy at the University of British C�lumbia, the campus of the University of Lethbr�dge in Alber�a, the add�- tion to the Bak of Caada bu�lding in Otta�a, ad the Caad�an Em�assy in Washington, D.C. As par� �f ��� �cessary ad �����a�le assessm�� �f �r�ckson’ l�gacy after his d�ath, the Caad�a Architec�ural Archives at the University of Calgary m�unted a small, tightly f�cused exhibit drawn fr�m its holding, f�a�uring sketches by Er�ckson cr�ated during the f�rst f�fteen y�ar �f his architec�ural practic�. The exhibit c�mprised ��g�� ���rines, �ach f�a�uring drawings fr�m a p�c�f�c Er�ckson pr�j�c� fr�m the p�riod 1954 to 196�, raging fr�m simpl� l�� ketc�� �� m�r� �laborate conc�pts used �y �r�ckson as par� �f �� cr�ative pr�cess. Bathed � a �arm glow fr�m ��low, ��� drawing ��r� display�d ��rtically, adwiched � ���rlapping lay�rs between two panel �f glass. A �pposed �� ��� m�r� �raditional method �f framing �dividual ketches ad haging them on the wall, this uuual, ufram�d, ad free-fl�a�- ing display f�rmat allowed viewers to see thr�ugh the drawings fr�m either sid�, inviting m�r� deta�l�d study ad r�fl�ction on their interconnectedness. Six vitrines f�a�ur�d tim�-lapse video on a play�ack loop, showing ap�cts of the bu�lding as bu�l�, allowing the viewer to observe the play of l�ght on the c�mpleted struc�ur� ad place the visions of the drawings into their construc�- �d r�ality. T�� ���r�� ��re p�rched at a c�mf�r�a�l� �����g ���ght atop plywood stad, whic� d�u�l�d as the exhibit’ packing crates. Carved into the stads were the exhibit titl�, name of the bu�lding, its l�cation, its construction date, ad the number of the vitrine. While these carved labels were stylish, their r�latively low plac�ment on the boxes hind�r�d the overall exp�rienc�, making viewing of the label d�ff�cult when examining the drawing up close, esp�c�ally ��cau� ��� gall�ry �a l�ghtly darkened � �rd�r �� pr�duce a dramatic l�ghting �ff�c� � ��� drawing ���mselves. Whil� �� ���d�� � the exhibit, archival citations f�r the drawing app�ar�d in the acc�mpaying exhibit ca�al�gu�. Archivaria, The J�ural �f the Assoc�ation of Caad�a Archivists – All r�ghts reserved 220 Archivar�a 78 Layered Landscapes: Constructing Form and Meaning from the Sketches of Arthur Erickson. Image NOV5�35, c�urtesy of the University of Calgary (LC� Photo S�rvices); photographed �y Dave Brown. The choic� �f ��� pr�j�c� ��g�l�ghted �y the exhibit cleverly �llustra�- �d �r�ckson’s devel�pment as an architect a ��ll a �� �cr�asing k�ll ad c�mf�rt with his abilities. The drawings f�r Steg�man H�use, �u�l� � West Vac�uver � ��54, ar� ��autifully ���cuted �u� ��m manner�d ad contr�ll�d. The flu�dity, speed, ad playfulness evident in the 1958 designs f�r his fam�u F�lberg H�use in C�mox, B.C., r�ac� a crescendo with the fever- ish intensity of his sketch of the interior of the Caad�a Pavilion at Exp� ’70 in Oaka, Japa. Part of this evolution may have resulted fr�m the c�aging a�ure of the tool at Er�ckson’ disposal, a penc�l gave way to f�l�-tip pens – m�re eff�ctive f�r cr�ating the r�qu�r�d bold, d�cisive str�kes on the pag�. Whether �r�ckson used penc�l �r pen, �racing pap�r �r ��llum, �� k�ll a a artist ad his vision a a architect shine thr�ugh in each of his sketches. T��� ��rks ar� ����ally pr�l�minary ketches ad draft drawings long since sup�rsed�d by m�re sp�c�f�c construction plans, but they resonate with the viewer as evidence of the initial spark of an id�a ad, in som� cases, its evolution toward a siga�ur� �r�ckson cr�ation. Inevita�ly, a viewer versed in both archival theory ad the na�ure of techno- l�g�cal c�age will tend to r�fl�ct on the r�le of sketching ad the use of tec�- nol�gy in current architec�ural desig. Most architec�ural students now l�arn to pr�duc� drawing pr�mar�ly thr�ug� c�mputer-assisted design softwar�; even �utside the workplac�, the most ephem�ral id�a would proba�ly be cap�ur�d on som� f�rm of el�c�ronic devic�, which is m�r� l�k�ly to be at had tha a Archivaria, The J�ural �f the Assoc�ation of Caad�a Archivists – All r�ghts reserved ���������Exhibition ������Reviews ���221 penc�l (�r ay writing instrument) ad a m�d�um upon which to dra�. It is still possible tha� architec�ural students of the fu�ure will cap�ure their insp�rations with penc�l ad pap�r, �ut current ad fu�ure generations, ��� c�mpar�d with architects of Er�ckson’s era, will not be drawing on a da�ly basis to the ame d�gree. Mastery �f uch artistic k�ll r�qu�res continual practice ad devel�pment that is now less l�k�ly to occur in work ad p�rsonal environ- ments d�minated by c�mputer. While el�c�ronic devices ad their softwar� �ring new, previouly impossible opp�r�unities to architec�ural desig, they d� cr�ate hom�geneity of practice sinc� all architects ar� using sim�lar tools tha� �ave sim�lar strengths ad weaknesses. It is possible to imagine tha� a cr�ative vision c�uld be hind�r�d by the inherent l�mitations of software to cap�ur� a m�ment of insp�ration. Given that el�c�ronic r�c�rd preser�ation is still a� a �mma�ur� p�ase, the survival of d�gital f�les of architec�ural desig, p�r�ap even of �r�ckson’ later work, is also a �pen question. The na�ur� ad quality of architec�ural archives, ad p�r�aps the archives �f all cr�ative peopl�, will evolve with technol�g�cal c�ag�. Our ud�rstad- ing of how cr�ative pr�cesses ar� cap�ur�d, ad what el�ments ar� consid�r�d artistic ad cr�ative, must evolve as well. I� does seem ul�k�ly tha� a drawing printed fr�m a AutoCAD or other el�c�ronic f�le will evoke the sam� kind �f response a an or�ginal penc�l drawing on tracing pap�r by a architect of �r�ckson’s sta�ur�. Despite this, exhibits of the archives of fu�ur� generations �f accla�m�d architects may have to f�a�ure exac�ly that type of printed mater�- al, with sketches ad drawings in a distinc� minority, l�ading viewers to assess the sk�ll ad mastery �f the architec� �f the fu�ur� fr�m a d�ff�rent p�rp�ctive. Layered Landscapes r�fl�cted � ��� cr�ative pr�c� �f a ���ra�rd�- ary architect ad ��� preser�a��� �f ��� �ariety �f r�c�rds resulting fr�m it. It evok�d not only the connection between the conc�ption ad r�ality of a �u�lding ad its site, but also the archival bonds among d�cuments thr�ug� its uniqu� method of displaying the drawing. Although this exhibit was not intend�d �� provide a �asic ���r���� �r a �-d�p�� �udy �f ��� ��u�r� �f Arthur Er�ckson, the spa ad impact of his long career, hinted at in this small sel�ction of drawing, argue strongly f�r the worthiness of either initiative in fu�ure exhibitions. Michael Gourlie Provincial Archives of Alberta Archivaria, The J�ural �f the Assoc�ation of Caad�a Archivists – All r�ghts reserved.
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