Inuit Qaujimajatuqangit / Presented in partnership with EVOQ archi- That which has long been tecture, in collaboration with Land InSights, known by Inuit / the Inuit Qaujimajatuqangit: Art, Architec- ture and Traditional Knowledge exhibition is the result of a contest that involved Inuit from all over the Inuit Nunangat territory (Nunatsiavut, Nunavik, Nunavut and Inu- vialuit). This initiative is the first of its kind in the relatively recent history of Canadian Inuit art. Called upon to submit a work of art to be integrated into the architecture of the new Canadian High Arctic Research Station (CHARS) built in Ikaluktutiak (Cambridge Bay), Nunavut, the artists created works illustrating the contribution of traditional knowledge to the development of sciences and technologies of international caliber, Ikaluktutiak, Nunavut, Canada still in use today, thus putting to light past and present Inuit peoples’ ingenuity and in- ARCHITECTS EVOQ and NFOE in joint venture ventiveness (Qanuqtuurniq). The fifty or so drawings and sculptures presented in this ENGINEERS SNC-Lavalin exhibition were created by the winners of PROJECT MANAGER PSPC this competition and all fall under the same CLIENT INAC theme: Honoring the timeless creative ge- nius of past and present Inuit. STATION MANAGER Polar Knowledge Canada EVOQ CANADIAN HIGH ARCTIC ARCHITECTURE RESEARCH STATION Public space flooring / 14 Public corridor The Canadian High Arctic Knowledge Sharing Centre/ 06 Research Station 16 Glazing Guiding principles and Main entrance 08 Cultural references 18 vestibule Art Biography curator/ 10 integration 20 Isabelle Laurier Knowledge Sharing Centre Media Contents 12 /Flooring 21 Coverage EVOQ CANADIAN HIGH ARCTIC 6 ARCHITECTURE RESEARCH STATION 7 The Canadian The Canadian High Arctic Research constitute a major break away from High Arctic Station (CHARS) was built in the old scientific research station Ikaluktutiak (Cambridge Bay), Nun- model in Arctic communities. The Research avut, as part of Canada’s Northern CHARS brings Traditional Science Station Strategy. This facility is a world-class and Technology and Traditional Inuit (CHARS) Arctic research station, demonstra- knowledge to work together under ting state of the art design excellence one roof. The architecture(planning that serves as a model for similar po- and design) of the Station reflects and lar facilities around the world. The makes possible this new design and fundamental personality paradigm. of the CHARS tangibly and visibly EVOQ CANADIAN HIGH ARCTIC 8 ARCHITECTURE RESEARCH STATION 9 Host community: Copper Inuit Host territory: Inuit Nunangat Guiding Architecture: Building design narrative principles and While CHARS will make an internatio- The circular shaped qalgiq (traditio- Cultural nal statement on Canadian research nal communal igloo) used inside and references in the Arctic, it will also be an archi- outside, takes on a both physical and tectural representation of Inuit culture symbolic presences. The exposed to ensure full integration into the com- wood structure conveys the ingenuity munity of Ikaluktutiak. Architecture is of the many Inuit designed, stick a powerful means of cultural expres- built assemblies. The copper-co- sion. Both the process leading to the loured cladding are a nod to the design and the design of the station Copper Inuit, the host community. itself are derived from a number of Inuit Qaujimajatuqangit (IQ) principles “that which has always been known by Inuit”. The Inuit plan- ning principle of free, open, interconnected spaces is used in the layout of the public spaces. EVOQ CANADIAN HIGH ARCTIC 10 ARCHITECTURE RESEARCH STATION 11 Art integration Integrating Inuit artworks into the very The works speak to the theme: built fabric of the CHARS supports Honouring the timeless creative ge- and strengthens the narrative of the nius of Inuit. The small scale drawings building’s design and it further rein- submitted by the artists were digitally forces the expression of Inuit culture. enlarged to the full scale of the buil- Drawings and a sculpture were se- ding so they could be integrated into lected following a competition that the flooring and glazing panels of solicited Inuit artists from all across the various public areas of the Main the Inuit Nunangat territory (Nunatsia- Research Building. The small scale vut, Nunavik, Nunavut and Inuvialuit). sculpture was also digitally enlarged This was a first in the history of the to fill the space of the main entrance Canadian Inuit art world. The artists of the Main Research Building. were invited to submit works that would illustrate the traditional Inuit knowledge’s contribution to the deve- lopment of world-class science and technology, showcasing the past and present resourcefulness and inven- tiveness (Qanuqtuurniq) of the Inuit. EVOQ CANADIAN HIGH ARCTIC 12 ARCHITECTURE RESEARCH STATION 13 « I selected this theme [drum dancers] for Knowledge Sharing Centre my submission to the CHARS art contest , along with drawings about the Iqaluktuut- /Flooring tiamiut Culture. The drum dancers stand out as a very unique representation of Kitikmeot society in that part of Inuit Nun- angat. When I drew the dancers, I could hear them very loudly and imagine the strong cultural connection to their past and Igaluktuuttuag Qilaujatigit, Drum dancers, heritage.Every time I watch and hear the Pencil and Coloured pencil on paper, 2016 Sammy Kudluk drum dancers perform, it makes me want Kuujjuaq, Nunavik, to dance with them.» Canada EVOQ CANADIAN HIGH ARCTIC 14 ARCHITECTURE RESEARCH STATION 15 Tim is a hunter and his respect for the na- Public space flooring / tural world and its wildlife is fundamental to his artistic sensibility. Tim is particularly ins- Public corridor pired by the whales that frequent the cold, Arctic waters - the beluga and the bowhead - because, as he says, nobody really knows much about them. The bowhead in particular is a majestic and mysterious Beluga Whales and a Bowhead, creature and frequently he will embellish Black Ink on paper, 2016 his drawings of these animals with ‘tattoos’ Timotee ‘‘Tim’’ Pitsiulak Cape Dorset, Nunavut, of ancient artifacts. Canada EVOQ CANADIAN HIGH ARCTIC 16 ARCHITECTURE RESEARCH STATION 17 Teevee’s drawings reveal a focused, intros- Knowledge Sharing Centre pective mind, one that bridges the space between two worlds: the westernized world /Glazing of the modern Inuit, and the vibrant world of myths and legends that transcend gene- rations. Her decisive, unwavering lines re- veal a thorough knowledge of her subjects, while the flattened perspectives speak to Unikaaqtuat, Many Stories, an interest in creating more than mere Black Ink pencil on paper, 2016 facsimile, unveiling the underlying truths Ningiukulu Teevee, Cape Dorset, Nunavut, within Inuit legends. Canada. EVOQ CANADIAN HIGH ARCTIC 18 ARCHITECTURE RESEARCH STATION 19 This carving is about Elders and how they Main entrance vestibule guide us with their knowledge. Science is not new to the Arctic. It began long ago, The nanuq is meaningful to me as a sym- with Inuit ancestors observing the world bol in my art. Like knowledge, bears are a and sharing their thoughts with younger source of power, history and memory generations. Today, modern technology that our Elders respect. They also sym- and universities are the popular images bolize the environment that our ancestors associated with science and learning. But have learned to live with in harmony. With it is our Elders who continue to urge Inuit the Arctic facing threats such as climate knowledge forwards, guiding the powerful change and the disappearance of traditio- force of our culture like the Elder in my car- nal languages and culture, the bear stands ving leads her bear. for what is being lost to Inuit. Ningjuq Amma Nanuq, Elder and polar bear, Italian alabaster, Serpentine and pine wood, 2017 Koomuatuk ‘‘Kuzy’’ Sapa Curley Cape Dorset, Nunavut, Canada EVOQ CANADIAN HIGH ARCTIC 20 ARCHITECTURE RESEARCH STATION 21 Bouchard, Stéphane. 2019. Incursion dans l’Extrême-Arctique, Le Quotidien. Found at: https://www. lequotidien.com/arts/incursion-dans-lextreme-arctique-9dba90ae861d94ae961fdc9713a6daa2?fbclid=IwAR2oWvzUs- 7miuaE_vxtGlZ78CM5IO5nPgB_mVDT16Xh-yiTHWFO2SQUztvA McColl, Karen. 2018. Check out Inuit art inside the Canadian High Arctic Research Station, CBC News. Found at: https://www.cbc.ca/news/canada/north/chars-inuit-art-nunavut-1.4908505 Quinn, Eilis. 2019. Inuit art meets architecture – Saguenay exhibition winds up on Sunday, Eye on . For the past four years, Isabelle Laurier has been involved the Arctic. Found at: http://www.rcinet.ca/eye-on-the-arctic/2019/04/10/inuit-art-meets-architecture-saguenay-exhi- Isabelle Laurier B. Arch Media Coverage bition-winds-up-on-sunday/ CHARGÉE DE PROJET / PROJECT MANAGER in the planning and management of projects for EVOQ architecture with Aboriginal communities in Canada. Her Musées Montréal. 2018. Inuit qaujimajatuqangit: art, architecture et savoirs ancestraux. Found at: EVOQ ARCHITECTURE mandate has been to oversee art integration of projects in http://museesmontreal.org/fr/expositions/inuit-qaujimajatuqangit-art-architecture-et-savoirs-ancestraux architecture. She recently managed an Inuit Nunangat-wide 1435 RUE ST-ALEXANDRE, art competition, a first in Canadian Inuit art history. Radio Canada. 2019. Espaces autochtones en direct : l’architecture au service des Premières BUREAU 1000, MONTRÉAL Nations, des Inuit et des Métis. Found at: https://ici.radio-canada.ca/espaces-autochtones/1161310/evoq-archi-