Arthur Erickson

Arthur Erickson – Life, Architecture, and Legacy

Arthur Erickson (1924–2009) was a Canadian architect and urban planner celebrated for blending modernism with landscape, light, and context. This article traces his life, key works, design philosophy, influential quotes, and lessons from his architecture legacy.

Introduction

Arthur Charles Erickson (June 14, 1924 – May 20, 2009) stands as one of Canada’s most celebrated architects, whose buildings combined rigorous modernism with deep engagement with nature, place, climate, and cultural context. While many modernist architects prioritized form alone, Erickson sought to integrate light, water, landscape, and human experience into each project. His works—from universities to museums to civic plazas—have left an indelible imprint on Canadian architecture and international design discourse.

In this article, we’ll explore, in depth, Erickson’s early life, his major works, his design principles, his personality, some key statements, and what architects and students today can learn from him.

Early Life and Education

Arthur Erickson was born in Vancouver, British Columbia, on June 14, 1924. Oscar Erickson and Myrtle Chatterson.

During World War II, Erickson enlisted with the Canadian Army Intelligence Corps and served in Asia (India, Ceylon, and Malaysia), learning Japanese during his service. University of British Columbia (UBC), then earned his B.Arch (Honours) from McGill University in 1950.

Following graduation, Erickson was awarded a travel scholarship and spent years traveling through Europe, the Mediterranean, and the Middle East, examining how climate, light, and landscape shaped architecture in those regions. These journeys deepened his sensitivity to site, environment, and architectural response.

He also spent time teaching—at the University of Oregon and later at UBC—before fully embarking on his professional architectural practice.

Career and Major Works

Erickson’s career spans a rich variety of building types: educational institutions, civic plazas, museums, embassy buildings, private residences, and more. Below is an overview of his major works and their significance.

Partnership and Rise to Prominence

In the early 1950s, Erickson began collaborating with Geoffrey Massey and together they established Erickson/Massey Architects in Vancouver. 1963 when their design won the competition for Simon Fraser University (SFU), a project that brought international recognition.

Simon Fraser University (1963–65)
Erickson & Massey conceived SFU atop Burnaby Mountain, with a bold interlocking and terraced campus that embraced the site’s topography, climate, and views.

Museum of Anthropology, UBC (1976)
At the University of British Columbia, Erickson’s design for the Museum of Anthropology (MOA) melded monumental concrete “piers” and expansive glass to evoke the post-and-beam traditions of Northwest Coast Indigenous architecture, while framing views of the landscape, water, and forest.

Robson Square & Vancouver Law Courts (1978–83)
In Vancouver, Erickson designed Robson Square, a civic complex combining plazas, waterfalls, sloping gardens, and integration with existing legal and cultural institutions.

Canadian Embassy (Chancery), Washington, D.C. (1989)
Erickson’s selection as architect for the Canadian Embassy in Washington was controversial—partly because of his friendship with then‐Prime Minister Pierre Trudeau. Spirit of Haida Gwaii – The Black Canoe.

MacMillan Bloedel Building (Vancouver, opened 1968)
As Erickson’s reputation grew, so did his portfolio of urban and commercial buildings. The MacMillan Bloedel Building is a bold example of Brutalist architecture, designed with tapering concrete forms and minimal fenestration to evoke strength and presence. Arthur Erickson Place in his honor.

Roy Thomson Hall (Toronto, 1982)
In Toronto, Erickson’s Roy Thomson Hall, home to the Toronto Symphony Orchestra, exhibits his characteristic melding of architecture and site. A recessed pond and water features sit adjacent to the building, and the interior was designed in collaboration with his life partner, Francisco Kripacz.

Museum of Glass (Tacoma, WA, early 2000s)
One of Erickson’s later works, the Museum of Glass features a dramatic 90-foot stainless steel cone rising above the structure.

Other projects cover a wide range: residences (like the Eppich House, Hilborn House), transit stations (Yorkdale, Eglinton), research facilities (Napp Research Centre), cultural and mixed-use buildings, and international commissions.

Design Philosophy & Methods

Arthur Erickson’s work is often recognized for several recurring themes and commitments:

Integration of Architecture and Landscape

Erickson believed buildings should not dominate the site but should emerge from it. He frequently employed terraces, water features, and sloping forms so that nature would be part of the architecture, rather than an afterthought. Cornelia Oberlander) from the early stages of design.

Sensitivity to Light, Climate, and Material

Erickson paid close attention to how buildings respond to local climate and light. His use of glass, concrete, and overhangs helped modulate solar gain and view corridors.

Context, Culture, and Symbolism

In projects such as MOA or the Canadian Embassy, Erickson engaged with cultural symbolism and local traditions. He did not simply impose a universal modernism but tried to weave in meaning, place, and identity.

Human Experience & Circulation

Erickson’s designs often emphasize human movements: plazas, walkways, ramps, gradual transitions, spatial sequences. His buildings were not static monuments, but spatial journeys.

Personality, Challenges & Reception

Erickson could be eloquent, idealistic, and ambitious. He was known for nurturing younger architects and advocating architecture as a public good.

However, his career also had financial difficulties. Later in life he faced bankruptcy and housing pressures, and the maintenance of some of his large-scale works proved difficult in changing urban contexts.

Critics sometimes critiqued his large concrete volumes as heavy or monolithic, or questioned whether his ambitious civic visions could endure in evolving cities. Yet, over time, many of his projects have gained heightened appreciation and preservation efforts.

After his death, interest in his architecture has grown. Vancouver renamed the MacMillan Bloedel Building as Arthur Erickson Place to honor his legacy.

Selected Quotes & Reflections

Arthur Erickson did not leave behind a vast corpus of pithy aphorisms, but from interviews and writings, we can extract statements that reflect his worldview:

• Erickson once said that great buildings are “poetic, products of the heart.”

• In a 1979 New Yorker profile, he described his architectural approach as having an “Oriental” influence, where nature is first and man second.

• Regarding his design of the Canadian Embassy, Erickson embraced the challenge of showing openness and neighborliness through architecture.

• He valued site, light, and material as essential architectural elements—not incidental.

These statements highlight his belief that architecture is more than technique—it is an art responsive to place, people, and spirit.

Legacy & Influence

Arthur Erickson’s contributions resonate on multiple levels:

1. Canadian architectural identity
   Erickson helped articulate a distinctly Canadian modernism—rooted in landscape, local climate, and cultural dialogue.

2. Integration of architecture and landscape
   His insistence on merging building, site, water, and greenery has influenced subsequent architects globally, especially those working on sensitive, contextual projects.

3. Civic vision
   Projects like Robson Square show how public spaces, architecture, and urban life can be woven together in harmonious ways.

4. Preservation and revaluation
   Over time, many of his works have been reexamined, restored, and celebrated. His name has become a brand of value in Canadian architectural heritage.

5. Mentorship and influence
   Erickson mentored many Canadian architects, helping to raise the profile of the discipline in Vancouver, British Columbia, and beyond.

6. Global reach
   Through buildings such as the Canadian Embassy, Museum of Glass, and various international commissions, Erickson’s work is part of global architectural discourse.

Lessons from Arthur Erickson

• Site first: Always allow the site—topography, views, climate—to guide architectural decisions.

• Landscape is architecture: The line between architecture and landscape can and often should blur.

• Simplicity with intent: Erickson’s forms often appear restrained, but each element carries purpose.

• Respect climate and light: Buildings must respond to light, solar orientation, and energy.

• Civic responsibility: Architecture can shape public life, not just private domains.

• Sustain craftsmanship: In the face of economies of scale, Erickson’s commitment to detail reminds architects of the value of care.

• Courage in ambition: Many of Erickson’s projects were bold and risky. True innovation often comes from pushing boundaries.

Conclusion

Arthur Charles Erickson (1924–2009) remains a towering figure in Canadian and international architecture. His buildings are not just monuments—they are living conversations between land, light, material, and people. From Simon Fraser University to the Museum of Anthropology, from Robson Square to diplomatic architecture, Erickson’s legacy teaches us how architecture can be poetic, integrated, and humane.