A House of Eppich Architecture
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Arthur Erickson's Concrete Trevor Boddy
I first heard Arthur Erickson speak of the importance of The Constructed Landscape: concrete to his designs in the late 1970s. As the student charged with organizing lectures at my architecture school in Arthur Erickson’s Concrete Calgary, a first talk there by Canada’s most prominent modern architect was my top priority. I called his office, but Erickson’s personal secretary informed me he no longer gave lectures to universities, only to “bankers and chambers of commerce.” I persisted, and arranged to have the Vancouver- based designer speak to a luncheon gathering of downtown businessmen. One of Erickson’s phrases in his talk that day cycled around my student brain long after he got on the airplane back to Vancouver, and the Calgary businessmen got back to pumping oil. While I did not recognize it as being so at the time, he voiced a widely-quoted shibboleth as an aside: “Concrete is the marble of the 20th century.” The use of concrete Trevor Boddy validated through comparison with a now-expensive traditional material? The reference seemed archaic to me, in part because my architectural history studies had just taught me that the ancient shores of the Mediterranean were the last home to marble used as both structure and finish for public buildings. Or was Erickson inferring something more complex with this, as in late Roman and post-Renaissance uses of marble—a veneer finish, while bricks or cheaper stones did the structural work behind, a composite in the same way steel reinforcing rods make large span and thin shell concrete structures possible? Arthur Erickson’s concrete buildings demonstrate both of these tendencies—an extension of building logic of the material itself, and a classicizing sensibility, especially in their spatial logic and recurring use of the trabeated frame. -
Bibliography of British Columbia
BIBLIOGRAPHY OF BRITISH COLUMBIA prepared by gail edwards, mls, phd Books Arnold, Grant, Martin Barnes, Vincent Honoré, Eva Respini, and Shep Steiner. Scott McFarland. Vancouver: Douglas and McIntyre, 2009. 115 p. 9781553654827 Belshaw, John, and Diane Purvey. Private Grief, Public Mourning: The Rise of the Roadside Shrine in British Columbia. Vancouver: Anvil Press, 2009. 154 p. 9781895636994 Birchwater, Sage, ed. Gumption and Grit: Extraordinary Women of the Cariboo Chilcotin. Halfmoon Bay: Caitlin Press, 2009. 216 p. 978189459373 Campbell, Colin. Southern Cariboo. 2nd ed. Vancouver : Rocky Mountain Books, 2009. 141 p. 9781897522448 Campbell, Larry, Lori Culbert, and Neil Boyd. A Thousand Dreams: Vancouver’s Downtown Eastside and the Fight for Its Future. Vancouver: Greystone Books, 2009. 319 p. 9781553652984 Cannings, Richard, Harry Nehls, Mike Denny, and Dave Trochlell. Birds of Interior BC and the Rockies. Vancouver: Heritage House, 2009. 434 p. 9781894974592 Christie, Jack. The Whistler Book: An All-Season Outdoor Guide, rev. ed. Vancouver: Greystone Books, 2009. 263 p. 9781553654476 Coupland, Douglas. City of Glass: Douglas Coupland’s Vancouver, rev. ed. Vancouver: Douglas and McIntyre, 2009. 175 p. 9781553653592 Crouch, John. Walk Victoria: Your Guide to Over 60 Urban and Suburban Walks, rev. ed. Victoria: Chickadee Press, 2009. 159 p. 9780973191332 Cunningham, Rosemary. Bravo! The History of Opera in British Columbia. Madeira Park: Harbour Publishing, 2009. 208 p. 9781550174861 Damer, Eric, and Herbert Rosengarten. ubc: The First100 Years. Vancouver: University of British Columbia, 2009. 352 p. 9780888658753 (hc); 9780888658777 (pbk.) Demers, Charles. Vancouver Special. Vancouver: Arsenal Pulp Press, 2009. 271 p. 9781551522944 Edmonds, Penelope. Urbanizing Frontiers: Indigenous Peoples and Settlers in 19th- Century Pacific Rim Cities. -
Cornelia Hahn Oberlander Reflections
The Cultural Landscape Foundation Pioneers of American Landscape Design ___________________________________ CORNELIA HAHN OBERLANDER ORAL HISTORY REFLECTIONS ___________________________________ Nina Antonetti Susan Ng Chung Allegra Churchill Susan Cohen Cheryl Cooper Phyllis Lambert Eva Matsuzaki Gino Pin Sandy Rotman Moshe Safdie Bing Thom Shavaun Towers Hank White Elisabeth Whitelaw © 2011 The Cultural Landscape Foundation, all rights reserved. May not be used or reproduced without permission. Scholar`s Choice: Cornelia Hahn Oberlander-From Exegesis to Green Roof by Nina Antonetti Assistant Professor, Landscape Studies, Smith College 2009 Canadian Center for Architecture Collection Support Grant Recipient, December 2009 March 2011 What do a biblical garden and a green roof have in common? The beginning of an answer is scrawled across the back of five bank deposit slips in the archives of Cornelia Hahn Oberlander at the CCA. These modest slips of paper, which contain intriguing exegesis and landscape iconography, are the raw material for a nineteen-page document Oberlander faxed to her collaborator Moshe Safdie when answering the broad programming requirements of Library Square, the Vancouver Public Library and its landscape. For the commercial space of the library, Oberlander considered the Hanging Gardens of Babylon and the hanging gardens at Isola Bella, Lago Maggiore; for the plaza, the civic spaces of ancient Egypt and Greece; and for the roof, the walled, geometric gardens of the Middle Ages and Early Renaissance. Linking book to landscape, she illustrated the discovery of the tree of myrrh during the expedition of Hatshepsut, referenced the role of plants in Genesis and Shakespeare, and quoted a poem by environmental orator Chief Seattle. -
A Walk Through Robson Square
A WALK THROUGH ROBSON SQUARE As the plans and the overview demonstrate, Robson Square contains three inter-related structures: the Vancouver Art Gallery, the Provincial Government Office Block and the Law Courts. These are integral to a multi-level plaza and garden through which two thoroughfares pass. Indeed, the Office Block is designed in such a way that it is itself a terraced open park. It is adjacent to or actually contains many of the facilities that are essential to Robson Square's overall function as a civic centre. All the roofs of the office block have been landscaped, and most areas within it are accessible to the public, either above or below the level of the streets that transect the square. The public focus of this building-cum-plaza is the area surrounding Robson Street between Hornby and Howe, the area nearest the V AG. Close to the free public skating rink that is positioned under the two plexiglass domes situated below Robson Street is an international food mart that opens onto a plaza. Immediately adjacent to it within the portion of the office block that is constructed beneath Robson Street is a media centre that is equipped with a theatre, conference areas and exhibition spaces. The government office block portion of the complex is set back 150 feet from Robson Street and gradually steps up to a maximum of three storeys at the Smithe Street end of the complex. There is a maximum of three storeys below street level, including service spaces. Within the structure there are open-plan offices accessed by street-like corridors. -
Cornelia Hahn Oberlander Oral History Transcript
The Cultural Landscape Foundation® Pioneers of American Landscape Design® ___________________________________ CORNELIA HAHN OBERLANDER ORAL HISTORY INTERVIEW TRANSCRIPT ___________________________________ Interview conducted August 3-5, 2008 Charles A. Birnbaum, FASLA, FAAR Tom Fox, FASLA, videographer The Cultural Landscape Foundation® Pioneers of American Landscape Design® Oral History Series: Cornelia Hahn Oberlander Interview Transcript Table of Contents Cornelia Hahn Oberlander Interview Transcript ............................................................. 4 Introduction .................................................................................................................. 4 Childhood and Education ............................................................................................... 5 Memories of Family Life in Europe .................................................................................... 5 Coming to America ............................................................................................................ 6 Smith College ..................................................................................................................... 7 Smith Professors Made a Difference ................................................................................. 8 Lessons from Harvard ........................................................................................................ 9 Meeting Larry Halprin ..................................................................................................... -
Reconciling the Universal and the Particular: Arthur Erickson in the 1940S and 1950S
Reconciling the Universal and the Particular: Arthur Erickson in the 1940s and 1950s When Arthur Erickson is mentioned, his large public projects usually come to mind, especially Simon Fraser University (1963-65), the Museum of Anthropology at the University of British Columbia (1971-76), Robson Square and the Law Courts in Vancouver (1973-79), Roy Thomson Hall in Toronto (1976-82), and the Canadian Chancery in Washington, D.C. (1982-89). These have re ceived the lion's share of attention in print, including his own. It is easy to forget that before working on any of them, even the relatively early Simon Fraser, he had built a small but distinguished practice as a house designer in coastal British Columbia.1 Even before that, in the late 1940s and early 1950s, he had undertaken extended training and travel. This formative period, before Erickson became an architectural superstar, deserves attention because it holds clues to the interests and points of view he would later bring to his more prominent work. by Christopher Thomas 36 SSAC BULLETIN SEAC 21 :2 n the spring of 1953 Erickson returned to his native Vancouver from his architectural l studies and travels to begin practice. His decision to return home, while under standable, merits attention, for it was crucial to the path his career took. Though now Canada's third-largest city, Vancouver at the time was "a sleepy, provincial, rather estern Ho stuffy city" of just over half a million2-hardly, it would seem, a promising place for an ambitious and worldly young architect to launch a career. -
Backgrounder
Backgrounder The Robson Square Complex Encompassing three city blocks, the Robson Square complex is the largest public space in downtown Vancouver, Canada. It is home to several key civic institutions including British Columbia’s Provincial Law Courts, various government office buildings and the popular Vancouver Art Gallery. The University of British Columbia’s downtown satellite campus is also accessible via the sunken plaza that extends below Robson Street. What sets the three-block Robson Square complex apart from other public spaces in Vancouver is that it offers an introspective view of the city. Whereas Vancouver has successfully capitalized on its natural beauty and pastoral surroundings with other public spaces like the Seawall and Stanley Park, Robson Square represents a rare opportunity to celebrate Vancouver’s vibrant—yet often overlooked—urbanism. Visitors come to the Robson Square complex year-round. People can be found using any of the approximately three-dozen benches, chairs, and other forms of permanent furniture and seating fixtures dispersed throughout the space, leading the Square to function largely as a passive space. The Law Courts garden mound at the corner of Robson and Hornby also brings an inviting natural element to the space. The complex complements the adjacent North Plaza in front of the Vancouver Art Gallery along Georgia Street. The North Plaza is home to a large fountain, food trucks, and is a popular festival site in the summer. 800-block Robson Street The 800-block of Robson St. is located at the centre of the Robson Square complex (see Fig. 1). Robson St. is officially classified as an arterial road. -
Regional Museums of Canada: City – Museum – Education Introduction
Regional museums of Canada: 1 city – museum – education María del Carmen Franchello de Mariconde Resumo: Este artigo resume os resultados da investigação feita nos museus de Canadá. Empreende o estudo e a análise de museus regionais, neste caso da Colúmbia Britânica, relacionando a estrutura arquitetônica e o conteúdo museístico à cidade e à região em que estão inseridos e com a sociedade a que estão dirigidos, com os programas de educação como seu fundamento essencial. A missão geral é conhecer e interpretar esses museus importantes no âmbito nacional e internacional, uma vez que são as instituições que resolveram com sucesso a relação cidade-museu-educação, transmitindo o multiculturalismo e as particularidades locais das diferentes regiões do Canadá. Outros objetivos são transmitir a identidade canadense através dos produtos de sua cultura contemporânea e difundir os resultados da investigação em publicações e conferências na Argentina, Brasil e outros países da América Latina, para promover o desenvolvimento de estudos comparados, de reflexões, de intercâmbios e de aplicações concretas possíveis em nossas regiões. Abstract: This article proposes the study and analysis of Canadian regional museums in British Columbia, relating the architectonic container and the museum contents to the cities they are inserted in and to education, a relation that constitutes the essential basis of a museum as an institution. The objective is to get to know and interpret these museums – important landmarks at the national and international level – in order to contribute to a more widely spread knowledge of them. This is important since they are institutions that have successfully resolved the relation city-museum-education, by transmitting multiculturalism and characteristic local traits. -
Contributors
Contributors George Baird, OAA, FRAIC, is an architect, educator, and writer. He is a partner in Baird Sampson Neuert Architects, a former professor at Harvard’s Graduate School of Design, and a former dean of the Daniels Faculty of Architecture, Landscape, and Design at the University of Toronto. Baird received the Royal Architectural Institute of Canada Gold Medal in 2010, and is recipient of the 2012 AIA/ACSA Topaz Medallion for Excellence in Architectural Education. He was appointed a Member of the Order of Canada in 2015 for his contributions to architecture. Brian Carter, Hon. FRAIC., is a graduate of Nottingham School of Architecture and the University of Toronto. A registered architect in the UK, he worked in practice with Arup in London prior to his appointment as Chair of Architecture at the University of Mich- igan. Subsequently he served as dean of the School of Architecture and Planning at the University at Buffalo, the State University of New York, where he is currently a professor of architecture. He is the designer of several award-winning buildings and author of numerous articles and books. Ian Chodikoff, OAA, FRAIC, is an architect and advocate for inclusive, healthy, and vibrant built environments. He holds degrees in architecture and urban design and was awarded the 2003 Druker Travelling Fellowship from Harvard University’s Graduate School of Design to study the effects of transnational migration on patterns of urbaniza- tion. Since then, Ian has taught and published extensively and continues to investigate var- ious urban-related phenomena. He is a former executive director of the Royal Architectural Institute of Canada and a former editor of Canadian Architect magazine. -
I Have the Honour to Present Arthur Charles
Madame Chancellor: I have the honour to present Arthur Charles Erickson, a native of Vancouver, graduate of McGill University' and a person with an outstanding career in the practice of architecture in Canada. Dr. Erickson's professional career has extended over a period of 25 years and has brought him many distinctions, awards and prizes for the consistently high quality of his work. Outstanding, even within the long list of his many fine buildings are Simon Fraser University, Lethbridge University, the Canadian Government Pavilion at Expo '70 in Osaka, Japan and the Museum of Anthropology at the University of British Columbia. Apart from these large public commissions, he is also renowned for his designs of many beautiful private houses. Arthur Erickson has been the winner of the Massey Medal for Architecture on no less than four occasions between 1955 and 1976. In 1964 the Canadian Housing Design Council awarded him its National Design Award and again, in 1967, the same Council awarded him the Centennial Design Award. In 1970 he was awarded the Gold Medal and cash grant of $50;000 by the Royal Bank of Canada as "a Canadian citizen, whose outstanding achievement is of such importance that it is contributing to human welfare and the common good." In the world of education Dr. Erickson was, in his early years, an instructor and professor at the Universities of Oregon and British Columbia and pursued architectural study and research in many countries abroad. More recently, he was a founder of Simon Fraser University in British Columbia. In spite of his extremely busy life and practice, Dr. -
Architectural Response
ARCHITECTURAL RESPONSE 74 75 ARCHITECTURE West Vancouver has been widely recognized as the birthplace of the Canadian West Coast Modernism pioneered by Masters such as B.C. Binning, Gordon Smith, Ron Thom and Arthur Erickson. This tradition is being carried by leading architects such as Barry Downs, Paul Merrick and others through their sensitive siting of buildings and the integration of inside/outside spaces and the strong sense of the horizontal planes. The proposed project aims to carry on this tradition by adopting the strong horizontal terrace form and the incorporation of substantial landscape elements such as green roofs and terrace gardens. When seen from above, these green horizontal planes relate to Ambleside Park and the lawns at the foot of 14th Street. Another aspect of the Canadian West Coast Modernism is the human scale and the use of natural materials. The proposed material for this project will be a very simple palette of natural stone, concrete, glass, steel and wood in fine proportions and scale. Extensive use of wood will be incorporated in the screens and rain protection canopies. CLOCKWISE FROM TOP LEFT HELMUT & HILDEGARD EPPICH HOUSE ARTHUR ERICKSON WEST VANCOUVER 1972 GRAHAM HOUSE ARTHUR ERICKSON & GEOFFREY MASSEY WEST VANCOUVER 1962 SMITH HOUSE 2 ARTHUR ERICKSON & GEOFFREY MASSEY WEST VANCOUVER 1964 HELMUT & HILDEGARD EPPICH HOUSE 76 AMBLESIDE WATERFRONT ARCHITECTURAL RESPONSE 77 CLOCKWISE FROM TOP LEFT MUSEUM OF ANTHROPOLOGY ARTHUR ERICKSON VANCOUVER 1976 INN AT LAUREL POINT, ERICKSON WING ARTHUR ERICKSON VICTORIA 1989 THE EVERGREEN BUILDING ARTHUR ERICKSON VANCOUVER 1978 LAW COURTS BUILDING ARTHUR ERICKSON VANCOUVER 1980 78 AMBLESIDE WATERFRONT ARCHITECTURAL RESPONSE 79 CLOCKWISE FROM TOP LEFT BOYD HOUSE RON THOM WEST VANCOUVER 1954 B.C. -
New Perspectives: a Contemporary Addition to the Vancouver Art Gallery
New Perspectives: A Contemporary Addition to the Vancouver Art Gallery by Duff Marrs Submitted in partial fulfi lment of the requirements for the degree of Master of Architecture at Dalhousie University Halifax, Nova Scotia July 2011 © Copyright by Duff Marrs, 2011 DALHOUSIE UNIVERSITY SCHOOL OF ARCHITECTURE The undersigned hereby certify that they have read and recommend to the Faculty of Graduate Studies for acceptance a thesis entitled “New Perspectives: A Contemporary Addition to the Vancouver Art Gallery” by Duff Marrs in partial fulfi lment of the requirements for the degree of Master of Architecture. Dated: July 6, 2011 Supervisor: Advisor: External Examiner: ii DALHOUSIE UNIVERSITY Date: July 6, 2011 AUTHOR: Duff Marrs TITLE: New Perspectives: A Contemporary Addition to the Vancouver Art Gallery DEPARTMENT OR SCHOOL: School of Architecture DEGREE: MArch CONVOCATION: October YEAR: 2011 Permission is herewith granted to Dalhousie University to circulate and to have copied for non-commercial purposes, at its discretion, the above title upon the request of individuals or institutions. I understand that my thesis will be electronically available to the public. The author reserves other publication rights, and neither the thesis nor extensive extracts from it may be printed or otherwise reproduced without the author’s written permission. The author attests that permission has been obtained for the use of any copyrighted ma- terial appearing in the thesis (other than brief excerpts requiring only proper acknowledge- ment in scholarly writing),