Canada Cabins

For nearly a decade, Richard Johnson, not to be confused with the actor, set out to photograph a series of Canadian fishing cabins. After six-hundred and fifty plus pictures and many below freezing days, Johnson completed his series titled "Ice Huts." The story behind each hut, and the collective story that Johnson tells of all the huts, captures our sense of adventure, and our natural longing to find our place in the vast outdoors. 

Interview by Dwell Magazine. 
Photography by Richard Johnson. 

Anglin Lake, Saskatchewan, 2011

Bedeque Bay, Summerside, Prince Edward Island, 2009 

Petrie Island, Orleans, Ontario, 2008

Charlie Lake, Fort St. John, British Columbia, 2015

Winnipeg Beach, Lake Winnipeg, Manitoba, 2010

Ghost Lake, Cochrane, Alberta, 2011

Regina Beach, Last Mountain Lake, Saskatchewan, 2011

 

How did the series start?

My sister lives in New Liskeard on Lake Temiskaming and when I visited her back in the nineties, I got my first introduction to winter recreation on frozen lakes. I didn’t start shooting them until 2007 when I went to Lake Simcoe, which is close to Toronto. A year later, I was on assignment on Prince Edward Island when I noticed a bunch of ice fishing huts out my hotel window. It was that moment that I realized the huts must be everywhere in Canada and the project took on the narrative of comparing the architectural styles form coast to coast.

What kind of differences do you notice in different regions?

The designs are very site-specific. Saskatchewan has the highest per capita ownership of pick-up trucks in the country, so the huts are sized to fit in the truck’s bed.

In Ontario, ice fishermen build sled-based structures that are dragged on and off the ice with snowmobiles. Sheet metal sliding over wooden frames are common because of how lightweight those materials are. In British Columbia, the abundance of fish means you can just drill a hole and catch something, so you don’t need much in the way of shelter. In Quebec, ice fishing is a much more social experience. Women and children are welcome, overnight accommodations are common, so you’ll see larger huts with wood burning stoves.

What do you think the ice huts tell us about design?

The provisional nature of the ice fishing hut is what draws me in. It is pure architecture: shelter, transportable, low cost. But they also have so much personality. They are a reflection of the hut owner—a portrait, almost, without the person. 

Are there any architectural lessons to be gleaned from these ice huts?

Learn from your neighbors. On the ice, everyone is part of the same family. 

You’ve been working on this series for eight years. What’s changed?

I’ve seen many similar styles so now I'm more interested in the colorful, quirky shapes. The old hand-me-down huts are getting harder to find, and when they fall apart, pop-up tents often replace them. The tents are more practical, but with all that efficiency we are losing the built communities, textures, and individual personalities of the ice huts. With this shift, some of the heritage of this culturally rich winter ritual will certainly be lost.

How do the fishermen respond to your project? Have you ever stopped to ice fish in the huts you photograph?

I tend to shoot in bad weather, which means the fishermen are not usually around. But, over the years I have met many owners. They look at me a bit funny, but they’re usually very friendly. Entering into a hut tends to spiral into drinks and hours of solving the world’s problems. Ice fishing takes a lot of patience, and I like to move around too much. 

 

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