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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.

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
Spiritual
Performance
Left
Performances
Form
Machines
Impact
Development
Intuitive
Room
Aesthetic
Rooms
Obsession
Space
Machine

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Life is rich, always changing, always challenging, and we architects have the task of transmitting into wood, concrete, glass and steel, of transforming human aspirations into habitable and meaningful space.
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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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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 not peddlers of the fashionable. We believe that good design defies fashion, is truly innovative, eminently sensible, yet a source of inspiration to those who have the pleasure of living with it.
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Nearly all of the advances in structural and aesthetic innovation is coming from abroad.
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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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Space has always been the spiritual dimension of architecture. It is not the physical statement of the structure so much as what it contains that moves us.
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With production alone as the goal, industry in North America was dominated by the assembly line, standardization for mass consumption.
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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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Our universities advocate fragmentation in their course systems.
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We are yet to have a conscience at all about the exploitation of human cultures.
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Great buildings that move the spirit have always been rare. In every case they are unique, poetic, products of the heart.
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You have to see a building to comprehend it. Photographs cannot convey the experience, nor film.
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No amount of thought can ever reveal what comes unexpectedly.
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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 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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Today's developer is a poor substitute for the committed entrepreneur of the last century for whom the work of architecture represented a chance to celebrate the worth of his enterprise.
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Rationalism is the enemy of art, though necessary as a basis for architecture.
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Modernism released us from the constraints of everything that had gone before with a euphoric sense of freedom.
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