Eppich House Ii

Eppich House 2 tells the story, through gorgeous images and Arthur Erickson?s own words, of how a unique collaboration with 'dream clients' resulted in his most striking residence.One glimpse of the cascading steel beams mirrored in the reflecting pond and it's clear that the Hugo and Brigitte Eppich house is a singular achievement, a daring experiment that embodies Erickson's West Coast modernist ideas about site, material, and form.Erickson's first steel residence explores both the structural and aesthetic possibilities of the material, with curved beams, dyed cladding, and milled furnishings designed by Francisco Kripacz-all features that would have been near impossible on a regular commission. But after seeing the first Eppich House, built for Hugo's twin brother Helmut, Hugo entrusted Erickson with creating and furnishing the entire house, inside and out-another first for Erickson-and made available the Eppic brothers' steel fabricating plants, which built virtually every component of the home.Architecture expert Greg Bellerby weaves into his essay extensive interviews with Erickson, Eppich, and architect Nick Milkovich, as well as contributions from Cornelia Oberlander, the home's landscape designer, to tell the fascinating story of an uncommon vision, realized in steel and glass

Arthur Erickson was one of the 20th century's premier architects, but little has been written about the man who designed the interiors of Erickson's award-winning buildings, whom everyone in the business simply called "Francisco". A decade before his death, Erickson wrote this manuscript to pay tribute to Kripacz and to tell the world of the importance of Francisco's creations. With stunning images from some of greatest photographers of the day, such as Yousuf Karsh, this book looks at Erickson's key projects and the crucial contributions made by Kripacz to their feel and glamour. It includes Erickson's extended commentary on some of his most famous architectural projects from the 1970's through the 1990s, including Roy Thomson Hall, the Eppich Houses, Napp Laboratories, and the Canadian Embassy in Washington, D.C., all of which had stunning interior designs and furniture by Kripacz. As this book goes to press, the Erickson and Kripacz-designed furniture line, the Erickson Design Collection, is being brought into manufacture, with many items becoming available for the first time. Francisco Kripacz: Interior Design is a beautiful legacy to the working partnership of a charismatic and passionate artistic duo -- a last testament from a remarkable architect to the man who shared in his greatest achievements.

Over the course of his distinguished career, architect Arthur Erickson (1924-2009) designed numerous houses, each an exercise in transforming the needs of his clients into tangible form in the context of site and place. Artists Gordon Smith (1919-) and Marion Smith (1918-2009) of Vancouver were the only Erickson clients to commission him to design two homes. The first (1955) was a straightforward exercise in post-World War II modernism that represented the transplantation of prevailing North American design thinking to the mountainous rain forests of coastal Vancouver. The second house (1966) - Smith House II as it came to be known - likewise situated in a forest but with the added benefit of ocean and island vistas, was simultaneously a deft reworking of the stylistic and spatial culture of the first house and a remarkable, path-breaking study in cultural transposition, interpretation and adaptation. Emphasizing its disavowal of conventional demarcations of space and the movement within and through it, it translated the material and aesthetic sensibilities of 17th century Japanese domestic architecture to the circumstances of mid-20th century North America (and the northerly Pacific coast).

Arthur Erickson, Canada's pre-eminent philosopher architect, was renowned internationally for his innovative approach to landscape, his genius for spatial composition, and his epic vision of architecture for people. Among his most celebrated large-scale works are three that helped to define Vancouver's urban landscape: Simon Fraser University, on Burnaby Mountain; the Robson Square complex at the heart of the city; and the exquisite Museum of Anthropology at the University of British Columbia. Travel was key to Erickson's creative process; floating high above the clouds on extended airline flights, he made preliminary drawings on vellum with his fine-point black felt-tip pen, designing influential works not only for other parts of Canada-including Toronto's widely admired Roy Thomson Hall--but for sites in the U.S., Britain, and the Middle and Far East. Erickson worked chiefly in concrete, which he called "the marble of our times," and wherever they appear, his buildings move the spirit with their poetic freshness and their mission to inspire. But he was also a controversial figure, more than once attracting the ire of his fellow architects, and his professional achievements were tarnished by the excesses of a complicated personal life that resulted in a series of tawdry bankruptcies. In a fall from grace that recalls a Greek tragedy, Canada's great architect-a handsome, elegant man who lived like a millionaire and counted among his close friends Pierre Trudeau and Elizabeth Taylor-eventually became homeless and penniless. This first full biography of Erickson, who died in 2009 at the age of eighty-four, traces the architect's life from its modest origins to his emergence on the world stage. Author David Stouck, acclaimed for his earlier biographies of Ethel Wilson and Sinclair Ross, demonstrates here once again why his work has been praised as imaginative, incisive and compelling. Grounded in interviews with Erickson and his family, friends and clients, as well as the resources of extensive public archives, TITLE is both an intimate portrait of the man and a stirring account of how Erickson made his buildings work. Beautifully written and superbly researched, it is also a provocative look at the phenomenon of cultural heroes and the nature of what we call "genius."

Canada is a country of massive size, of diverse geographical features and an equally diverse population—all features that are magnificently reflected in its architecture. In this book, Rhodri Windsor Liscombe and Michelangelo Sabatino offer a richly informative history of Canadian architecture that celebrates and explores the country’s many contributions to the spread of architectural modernity in the Americas. A distinct Canadian design attitude coalesced during the twentieth century, one informed by a liberal, hybrid, and pragmatic mindset intent less upon the dogma of architectural language and more on thinking about the formation of inclusive spaces and places. Taking a fresh perspective on design production, they map the unfolding of architectural modernity across the country, from the completion of the transcontinental railway in the late 1880s through to the present. Along the way they discuss architecture within the broader contexts of political, industrial, and sociocultural evolution; the urban-suburban expansion; and new building technologies. Examining the works of architects and firms such as ARCOP, Eric Arthur, Ernest Cormier, Brigitte Shim, and Howard Sutcliffe, this book brings Canadian architecture chronologically and thematically to life.

A timely synthesis of the latest research and perspectives on ancient Maya economics, this volume illuminates the sophistication and intricacy of economic systems in the Preclassic, Classic, and Postclassic periods. Contributors from a wide range of disciplines move beyond paradigms of elite control and centralized exchange to focus on individual agency, highlighting production and exchange that took place at all levels of society. Case studies draw on new archaeological evidence from rural households and urban marketplaces to reconstruct the trade networks for tools, ceramics, obsidian, salt, and agricultural goods throughout the empire. They also describe the ways household production integrated with community, regional, and interregional markets. Redirecting the field of ancient Maya economic studies away from simplistic characterizations of the past by fully representing the range of current views on the subject, this volume delves deeply into multiple facets of a complex, interdependent material world. Contributors: Anthony P. Andrews | Chloé Andrieu | Beatriz Balcárcel | Adolfo Iván Batún | George Bey | Ronald L. Bishop | Geoffrey E. Braswell | Marcello Canuto | Bernadette Cap | Arlen F. Chase | Diane Z. Chase | Rubén Chuc Aguilar | Maia Dedrick | Pedro Delgado Kú, | Arthur A. Demarest | Keith Eppich | Bárbara Escamilla Ojeda | Scott L. Fedick | Luis Flores Cobá | Lynda Florey Folan | William J. Folan | David A. Freidel | Tomás Gallareta Negrón | Charles Golden | Stanley P. Guenter | Joel D. Gunn | Richard D. Hansen | Timothy S. Hare | Enrique Hernández | Rachel A. Horowitz | Scott R. Hutson | Takeshi Inomata | Eleanor M. King | Marilyn A. Masson | Patricia A. McAnany | Carlos Morales-Aguilar | Carlos Peraza Lope | Dorie Reents-Budet | Prudence M. Rice | William Ringle | Fernando Robles Castellanos | Alejandra Roche Recinos| Bradley W. Russell | Andrew Scherer | Whittaker Schroder | Payson Sheets | Edgar Suyuc | Alexandre Tokovinine | Paola Torres | Daniela Triadan | Kenichiro Tsukamoto | Clive Vella | Bart Victor | Beniamino Volta | Brent K. S. Woodfill | Andrew R. Wyatt | Norman Yoffee A volume in the series Maya Studies, edited by Diane Z. Chase and Arlen F. Chase

Nancy Caldwell relocates to an old sea captain's house on Cape Cod with her husband and four children. When she discovers an abandoned root cellar in her backyard containing a baby's skull and gold coins, she digs up evidence that links her land to the legendary tale of Maria Hallett and her pirate lover, Sam Bellamy. Using alternating chapters between the 18th and 21st centuries, The Old Cape House, a historical fiction, follows two women that are lifetimes apart, to uncover a mystery that has had the old salts of Cape Cod guessing for 300 years.

This is the first book to summarize the results of long-term field research at the major Maya site of Waka'. Bringing together findings from diverse research programs of the El Perú-Waka' Regional Archaeological Project, its fifteen wide-ranging contributions lead to a greater understanding of the richness and complexity of Classic-period Maya culture.