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No wonder the film industry started in the desert in California where, like all desert dwellers, they dream their buildings, rather than design them.

Arthur Erickson

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Arthur Erickson
Age: 84 †
Born: 1924
Born: June 14
Died: 2009
Died: May 20
Architect
University Teacher
Vancouver
British Columbia
Arthur Charles Erickson
Arthur C. Erickson
Artist
Desert
Film
California
Dream
Design
Like
Industry
Building
Started
Wonder
Dwellers
Rather
Buildings

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There is a single thread of attitude, a single direction of flow, that joins our present time to it's early burgeoning in Mediterranean civilization...
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The delusion of entertainment is devoid of meaning. It may amuse us for a bit, but after the initial hit we are left with the dark feeling of desolation.
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We have today a fairly thorough knowledge of the early Greco-Roman period because our motivations are the same.
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Our universities advocate fragmentation in their course systems.
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Whenever we witness art in a building, we are aware of an energy contained by it.
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Profit and bottom line, the contemporary mantra, eliminates the very source of architectural expression.
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The way of architecture is the quiet voice that underlies it and has guided it from the beginning.
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We are yet to have a conscience at all about the exploitation of human cultures.
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Illusion is needed to disguise the emptiness within.
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The innovative spirit was America's strongest attribute, transforming everything into a brave new world, but there lingered an insecurity about the arts.
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We are stymied by regulations, limited choice and the threat of litigation. Neither consultants nor industry itself provide research which takes architecture forward.
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Our settlement of land is without regard to the best use of land.
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This great, though disastrous, culture can only change as we begin to stand off and see... the inveterate materialism which has become the model for cultures around the world.
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The obsession with performance left no room for the development of the intuitive or spiritual impact of space and form other than the aesthetic of the machine itself.
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The artist likes to seem totally responsible for his work. Often he begins to explain it, to make it appear as if it were a reasonable process.
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We can appreciate but not really understand the medieval town. We cannot comprehend its compactness, the contiguity of all its buildings as a single uninterrupted whole.
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God's designs may be frequent justification for our actions, but it is we, the self-made men, who take the credit.
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Does an architecture to assuage the spirit have a place in all this? Unfortunately we are no longer the interpreters of our culture's myths but the followers of that dubious client, the developer, who has little patience with the art of architecture, the fine detail and obscure promise, which can upset his financial activity.
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We find Japan a little more difficult to understand because it has proven its 20th century prowess though the ancient traditions still persist.
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We are guilty for sending teams into foreign countries to advise them how to be like us.
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