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Members of the Montréal collective SYN-atelier d’exploration urbaine present a workshop investigating urban microclimates in downtown Montréal. Caused by particular conditions in urban construction, microclimates are environments that have surprising temperature variations — a building courtyard that is several degrees warmer than the street or a windy alley many degrees(...)
Members of the Montréal collective SYN-atelier d’exploration urbaine present a workshop investigating urban microclimates in downtown Montréal. Caused by particular conditions in urban construction, microclimates are environments that have surprising temperature variations — a building courtyard that is several degrees warmer than the street or a windy alley many degrees(...)
Date:
7 March 2009
7 March 2009
Title:
Exploring Urban Microclimates
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Description:
Members of the Montréal collective SYN-atelier d’exploration urbaine present a workshop investigating urban microclimates in downtown Montréal. Caused by particular conditions in urban construction, microclimates are environments that have surprising temperature variations — a building courtyard that is several degrees warmer than the street or a windy alley many degrees(...)
Exploring Urban Microclimates
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Description:
Members of the Montréal collective SYN-atelier d’exploration urbaine present a workshop investigating urban microclimates in downtown Montréal. Caused by particular conditions in urban construction, microclimates are environments that have surprising temperature variations — a building courtyard that is several degrees warmer than the street or a windy alley many degrees(...)
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events
events
Date:
7 March 2009
7 March 2009
Form:
exhibitions
exhibitions
Form:
exhibitions
exhibitions
Date:
January 2018 to
September 2018
January 2018 to
September 2018
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exhibitions
exhibitions
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Description:
Édouard Baldus, more than any other photographer, defined the modern landscape and established the standard for architectural photography. The Photographs of Édouard Baldus: Landscapes and Monuments of France chronicles the Golden Age of France as seen by the photographer. The Photographs of Édouard Baldus is organized by chronological sections to reveal the evolution of(...)
Édouard Baldus, more than any other photographer, defined the modern landscape and established the standard for architectural photography. The Photographs of Édouard Baldus: Landscapes and Monuments of France chronicles the Golden Age of France as seen by the photographer. The Photographs of Édouard Baldus is organized by chronological sections to reveal the evolution of(...)
Location:
Main galleries
Main galleries
Date:
25 January 1995 to 23 April 1995
25 January 1995 to 23 April 1995
Title:
The Photographs of Édouard Baldus: Landscapes and Monuments of France
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Description:
Édouard Baldus, more than any other photographer, defined the modern landscape and established the standard for architectural photography. The Photographs of Édouard Baldus: Landscapes and Monuments of France chronicles the Golden Age of France as seen by the photographer. The Photographs of Édouard Baldus is organized by chronological sections to reveal the evolution of(...)
The Photographs of Édouard Baldus: Landscapes and Monuments of France
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Description:
Édouard Baldus, more than any other photographer, defined the modern landscape and established the standard for architectural photography. The Photographs of Édouard Baldus: Landscapes and Monuments of France chronicles the Golden Age of France as seen by the photographer. The Photographs of Édouard Baldus is organized by chronological sections to reveal the evolution of(...)
Form:
exhibitions
exhibitions
Date:
25 January 1995 to
23 April 1995
25 January 1995 to
23 April 1995
Location:
Main galleries
Main galleries
Level of archival description:
Project
Project
Reference number:
CD034.S1.1974.PR01
Description:
This project series contains four reproductions of drawings displayed in the exhibit to document the neighbourhood Quinta do Bacalhau-Monte Coxo, in Lisbon, Portugal. The exhibit text explained the following: The project architect Manuel Vicente was already working on a design for the intervention in the Quintas de Bacalhau and Monte Coxo when he was co-opted by SAAL. The proposed typology referred to another ambitious urban project of 615 housing units, Quinta das Fonsecas - Quinta da Calçada neighbourhood by the architect Raúl Hestnes Ferreira. The intention was to bring the city to the outlying shanty town areas. None of these projects was carried out in full, and they are now fragmented and besieged by the traffic system without having produced any of the essential community and socialising facilities. In Bacalhau-Monte Coxo the structure of the internal patios reveals the ways in which the public space and community was organised. The architecture assigned importance to the facades, although access to the community courtyards was also a central design concept. In a 1976 interview, the architect himself argued that the release of bourgeois guilt allowed for spatial beauty, adopting the slogan 'Facades First' in defence of architectural design. In a way, this proposal anticipated the post-modern, although in a form that did not deny architecture's social engagement. The design emphasizes a strong idea of architectural autonomy, unfortunately only a part of the project was actually built. (The SAAL Process, Housing in Portugal 1974–76) Manuel Vicente worked for SAAL/Lisbon and Central South with the following collaborators: Afonso José Baptista, Agostinho Xavier de Andrade, António Albano Leitão, Cristina Catela Martins Pereira, Eduardo Serrano de Sousa, Gentil Noras, José Manuel Diniz Cabral Caldeira, Manuel Augusto Lopes de Sousa, Nuno Matos Silva, Rita Cabral and the resident association Cooperativa de Habitação Económica Portugal Novo, that was founded on September 6th, 1974. The team built 384 dwellings. The operation began in September 1974, with a construction date in January 1977. This project series contains reproductions of design development drawings and a cadastral plan. The original drawings were produced in 1974 or after and were reproduced in 2015 for the exhibit.
CD034.S1.1974.PR01
Description:
This project series contains four reproductions of drawings displayed in the exhibit to document the neighbourhood Quinta do Bacalhau-Monte Coxo, in Lisbon, Portugal. The exhibit text explained the following: The project architect Manuel Vicente was already working on a design for the intervention in the Quintas de Bacalhau and Monte Coxo when he was co-opted by SAAL. The proposed typology referred to another ambitious urban project of 615 housing units, Quinta das Fonsecas - Quinta da Calçada neighbourhood by the architect Raúl Hestnes Ferreira. The intention was to bring the city to the outlying shanty town areas. None of these projects was carried out in full, and they are now fragmented and besieged by the traffic system without having produced any of the essential community and socialising facilities. In Bacalhau-Monte Coxo the structure of the internal patios reveals the ways in which the public space and community was organised. The architecture assigned importance to the facades, although access to the community courtyards was also a central design concept. In a 1976 interview, the architect himself argued that the release of bourgeois guilt allowed for spatial beauty, adopting the slogan 'Facades First' in defence of architectural design. In a way, this proposal anticipated the post-modern, although in a form that did not deny architecture's social engagement. The design emphasizes a strong idea of architectural autonomy, unfortunately only a part of the project was actually built. (The SAAL Process, Housing in Portugal 1974–76) Manuel Vicente worked for SAAL/Lisbon and Central South with the following collaborators: Afonso José Baptista, Agostinho Xavier de Andrade, António Albano Leitão, Cristina Catela Martins Pereira, Eduardo Serrano de Sousa, Gentil Noras, José Manuel Diniz Cabral Caldeira, Manuel Augusto Lopes de Sousa, Nuno Matos Silva, Rita Cabral and the resident association Cooperativa de Habitação Económica Portugal Novo, that was founded on September 6th, 1974. The team built 384 dwellings. The operation began in September 1974, with a construction date in January 1977. This project series contains reproductions of design development drawings and a cadastral plan. The original drawings were produced in 1974 or after and were reproduced in 2015 for the exhibit.
People:
Date:
circa 1974
circa 1974
Title:
Bairro Quinta do Bacalhau–Monte Coxo, Lisbon
Actions:
CD034.S1.1974.PR01
Description:
This project series contains four reproductions of drawings displayed in the exhibit to document the neighbourhood Quinta do Bacalhau-Monte Coxo, in Lisbon, Portugal. The exhibit text explained the following: The project architect Manuel Vicente was already working on a design for the intervention in the Quintas de Bacalhau and Monte Coxo when he was co-opted by SAAL. The proposed typology referred to another ambitious urban project of 615 housing units, Quinta das Fonsecas - Quinta da Calçada neighbourhood by the architect Raúl Hestnes Ferreira. The intention was to bring the city to the outlying shanty town areas. None of these projects was carried out in full, and they are now fragmented and besieged by the traffic system without having produced any of the essential community and socialising facilities. In Bacalhau-Monte Coxo the structure of the internal patios reveals the ways in which the public space and community was organised. The architecture assigned importance to the facades, although access to the community courtyards was also a central design concept. In a 1976 interview, the architect himself argued that the release of bourgeois guilt allowed for spatial beauty, adopting the slogan 'Facades First' in defence of architectural design. In a way, this proposal anticipated the post-modern, although in a form that did not deny architecture's social engagement. The design emphasizes a strong idea of architectural autonomy, unfortunately only a part of the project was actually built. (The SAAL Process, Housing in Portugal 1974–76) Manuel Vicente worked for SAAL/Lisbon and Central South with the following collaborators: Afonso José Baptista, Agostinho Xavier de Andrade, António Albano Leitão, Cristina Catela Martins Pereira, Eduardo Serrano de Sousa, Gentil Noras, José Manuel Diniz Cabral Caldeira, Manuel Augusto Lopes de Sousa, Nuno Matos Silva, Rita Cabral and the resident association Cooperativa de Habitação Económica Portugal Novo, that was founded on September 6th, 1974. The team built 384 dwellings. The operation began in September 1974, with a construction date in January 1977. This project series contains reproductions of design development drawings and a cadastral plan. The original drawings were produced in 1974 or after and were reproduced in 2015 for the exhibit.
Bairro Quinta do Bacalhau–Monte Coxo, Lisbon
Actions:
CD034.S1.1974.PR01
Description:
This project series contains four reproductions of drawings displayed in the exhibit to document the neighbourhood Quinta do Bacalhau-Monte Coxo, in Lisbon, Portugal. The exhibit text explained the following: The project architect Manuel Vicente was already working on a design for the intervention in the Quintas de Bacalhau and Monte Coxo when he was co-opted by SAAL. The proposed typology referred to another ambitious urban project of 615 housing units, Quinta das Fonsecas - Quinta da Calçada neighbourhood by the architect Raúl Hestnes Ferreira. The intention was to bring the city to the outlying shanty town areas. None of these projects was carried out in full, and they are now fragmented and besieged by the traffic system without having produced any of the essential community and socialising facilities. In Bacalhau-Monte Coxo the structure of the internal patios reveals the ways in which the public space and community was organised. The architecture assigned importance to the facades, although access to the community courtyards was also a central design concept. In a 1976 interview, the architect himself argued that the release of bourgeois guilt allowed for spatial beauty, adopting the slogan 'Facades First' in defence of architectural design. In a way, this proposal anticipated the post-modern, although in a form that did not deny architecture's social engagement. The design emphasizes a strong idea of architectural autonomy, unfortunately only a part of the project was actually built. (The SAAL Process, Housing in Portugal 1974–76) Manuel Vicente worked for SAAL/Lisbon and Central South with the following collaborators: Afonso José Baptista, Agostinho Xavier de Andrade, António Albano Leitão, Cristina Catela Martins Pereira, Eduardo Serrano de Sousa, Gentil Noras, José Manuel Diniz Cabral Caldeira, Manuel Augusto Lopes de Sousa, Nuno Matos Silva, Rita Cabral and the resident association Cooperativa de Habitação Económica Portugal Novo, that was founded on September 6th, 1974. The team built 384 dwellings. The operation began in September 1974, with a construction date in January 1977. This project series contains reproductions of design development drawings and a cadastral plan. The original drawings were produced in 1974 or after and were reproduced in 2015 for the exhibit.
Level of archival description:
Project
Project
Date:
circa 1974
circa 1974
People:
Level of archival description:
Series
Series
Title:
OCEAN reference files
OCEAN reference files
Actions:
Reference number:
AP194.S2
Description:
Series consist of records associated with different projects devised by OCEAN and OCEAN North prior to 1999 and retained as reference material by Johan Bettum, who did not collaborate on every project. Records occasionally include some photographs, but for the most part are images from work done with CAD software. These include plans, diagrams, renderings and views (sections, perspectives) of buildings, landscapes, exhibition scenography, and exhibited items. The amount and type of materials varies largely between projects. Files were transferred to CCA on a CD and their timestamps suggests that materials were copied for reference purpose in the first few months of 1998. The CD cover bears the date of June 3rd 1999. Projects date from 1994 to 1998. Projects included in the reference files are: Barbican, London (OCEAN Helsinki): likely an exhibition design. Museum, Buenos Aires (OCEAN U.K., 1997): a building design for a competition. Finnish Embassy, Canberra (OCEAN Oslo & Helsinki, 1996): an international architectural competition entry. Helsinki Nightclub (OCEAN Helsinki): a building design. Jeil’s Hospital, Seoul (OCEAN U.K., 1996): a building design. Jyväskylä Music and Arts Center (OCEAN Oslo & Helsinki, 1997): an international architectural competition entry. See also Series 1 for more records on this project. Lasipalatsi Media Square (OCEAN U.K.): a landscape design. Synthetic Landscape I-II, Oslo (OCEAN Oslo, 1995-1996): a landscape design. See also Series 1 for more records on this research project. Surfscape, Helsinki (OCEAN Helsinki, 1997): sculpture for an exhibition. Töölö Football Stadium, Hels. (OCEAN Oslo & Helsinki, 1997): an international architectural competition entry. See also Series 1 for more records on this project. Urban Surfaces, Oslo (OCEAN, 1997-1998): photographs of an exhibition. Source: Ateljié Sotamaa. “Portfolio.” Accessed November 2017, http://portfolio.sotamaa.net/ OCEAN design Research Association, “Exhibitions.” Accessed November 2017, http://www.ocean-designresearch.net/index.php/exhibitions-mainmenu-120/list-of-exhibitions FRAC, “Catalog, OCEAN.” Accessed November 2017, http://www.archilab.org/public/2000/catalog/ocean/oceanen.htm OCEAN CN Consultancy Network, “Projects.” Accessed November 2017, http://ocean-cn.org/projects/
AP194.S2
Description:
Series consist of records associated with different projects devised by OCEAN and OCEAN North prior to 1999 and retained as reference material by Johan Bettum, who did not collaborate on every project. Records occasionally include some photographs, but for the most part are images from work done with CAD software. These include plans, diagrams, renderings and views (sections, perspectives) of buildings, landscapes, exhibition scenography, and exhibited items. The amount and type of materials varies largely between projects. Files were transferred to CCA on a CD and their timestamps suggests that materials were copied for reference purpose in the first few months of 1998. The CD cover bears the date of June 3rd 1999. Projects date from 1994 to 1998. Projects included in the reference files are: Barbican, London (OCEAN Helsinki): likely an exhibition design. Museum, Buenos Aires (OCEAN U.K., 1997): a building design for a competition. Finnish Embassy, Canberra (OCEAN Oslo & Helsinki, 1996): an international architectural competition entry. Helsinki Nightclub (OCEAN Helsinki): a building design. Jeil’s Hospital, Seoul (OCEAN U.K., 1996): a building design. Jyväskylä Music and Arts Center (OCEAN Oslo & Helsinki, 1997): an international architectural competition entry. See also Series 1 for more records on this project. Lasipalatsi Media Square (OCEAN U.K.): a landscape design. Synthetic Landscape I-II, Oslo (OCEAN Oslo, 1995-1996): a landscape design. See also Series 1 for more records on this research project. Surfscape, Helsinki (OCEAN Helsinki, 1997): sculpture for an exhibition. Töölö Football Stadium, Hels. (OCEAN Oslo & Helsinki, 1997): an international architectural competition entry. See also Series 1 for more records on this project. Urban Surfaces, Oslo (OCEAN, 1997-1998): photographs of an exhibition. Source: Ateljié Sotamaa. “Portfolio.” Accessed November 2017, http://portfolio.sotamaa.net/ OCEAN design Research Association, “Exhibitions.” Accessed November 2017, http://www.ocean-designresearch.net/index.php/exhibitions-mainmenu-120/list-of-exhibitions FRAC, “Catalog, OCEAN.” Accessed November 2017, http://www.archilab.org/public/2000/catalog/ocean/oceanen.htm OCEAN CN Consultancy Network, “Projects.” Accessed November 2017, http://ocean-cn.org/projects/
People:
Date:
1998
1998
Title:
OCEAN reference files
Actions:
AP194.S2
Description:
Series consist of records associated with different projects devised by OCEAN and OCEAN North prior to 1999 and retained as reference material by Johan Bettum, who did not collaborate on every project. Records occasionally include some photographs, but for the most part are images from work done with CAD software. These include plans, diagrams, renderings and views (sections, perspectives) of buildings, landscapes, exhibition scenography, and exhibited items. The amount and type of materials varies largely between projects. Files were transferred to CCA on a CD and their timestamps suggests that materials were copied for reference purpose in the first few months of 1998. The CD cover bears the date of June 3rd 1999. Projects date from 1994 to 1998. Projects included in the reference files are: Barbican, London (OCEAN Helsinki): likely an exhibition design. Museum, Buenos Aires (OCEAN U.K., 1997): a building design for a competition. Finnish Embassy, Canberra (OCEAN Oslo & Helsinki, 1996): an international architectural competition entry. Helsinki Nightclub (OCEAN Helsinki): a building design. Jeil’s Hospital, Seoul (OCEAN U.K., 1996): a building design. Jyväskylä Music and Arts Center (OCEAN Oslo & Helsinki, 1997): an international architectural competition entry. See also Series 1 for more records on this project. Lasipalatsi Media Square (OCEAN U.K.): a landscape design. Synthetic Landscape I-II, Oslo (OCEAN Oslo, 1995-1996): a landscape design. See also Series 1 for more records on this research project. Surfscape, Helsinki (OCEAN Helsinki, 1997): sculpture for an exhibition. Töölö Football Stadium, Hels. (OCEAN Oslo & Helsinki, 1997): an international architectural competition entry. See also Series 1 for more records on this project. Urban Surfaces, Oslo (OCEAN, 1997-1998): photographs of an exhibition. Source: Ateljié Sotamaa. “Portfolio.” Accessed November 2017, http://portfolio.sotamaa.net/ OCEAN design Research Association, “Exhibitions.” Accessed November 2017, http://www.ocean-designresearch.net/index.php/exhibitions-mainmenu-120/list-of-exhibitions FRAC, “Catalog, OCEAN.” Accessed November 2017, http://www.archilab.org/public/2000/catalog/ocean/oceanen.htm OCEAN CN Consultancy Network, “Projects.” Accessed November 2017, http://ocean-cn.org/projects/
OCEAN reference files
Actions:
AP194.S2
Description:
Series consist of records associated with different projects devised by OCEAN and OCEAN North prior to 1999 and retained as reference material by Johan Bettum, who did not collaborate on every project. Records occasionally include some photographs, but for the most part are images from work done with CAD software. These include plans, diagrams, renderings and views (sections, perspectives) of buildings, landscapes, exhibition scenography, and exhibited items. The amount and type of materials varies largely between projects. Files were transferred to CCA on a CD and their timestamps suggests that materials were copied for reference purpose in the first few months of 1998. The CD cover bears the date of June 3rd 1999. Projects date from 1994 to 1998. Projects included in the reference files are: Barbican, London (OCEAN Helsinki): likely an exhibition design. Museum, Buenos Aires (OCEAN U.K., 1997): a building design for a competition. Finnish Embassy, Canberra (OCEAN Oslo & Helsinki, 1996): an international architectural competition entry. Helsinki Nightclub (OCEAN Helsinki): a building design. Jeil’s Hospital, Seoul (OCEAN U.K., 1996): a building design. Jyväskylä Music and Arts Center (OCEAN Oslo & Helsinki, 1997): an international architectural competition entry. See also Series 1 for more records on this project. Lasipalatsi Media Square (OCEAN U.K.): a landscape design. Synthetic Landscape I-II, Oslo (OCEAN Oslo, 1995-1996): a landscape design. See also Series 1 for more records on this research project. Surfscape, Helsinki (OCEAN Helsinki, 1997): sculpture for an exhibition. Töölö Football Stadium, Hels. (OCEAN Oslo & Helsinki, 1997): an international architectural competition entry. See also Series 1 for more records on this project. Urban Surfaces, Oslo (OCEAN, 1997-1998): photographs of an exhibition. Source: Ateljié Sotamaa. “Portfolio.” Accessed November 2017, http://portfolio.sotamaa.net/ OCEAN design Research Association, “Exhibitions.” Accessed November 2017, http://www.ocean-designresearch.net/index.php/exhibitions-mainmenu-120/list-of-exhibitions FRAC, “Catalog, OCEAN.” Accessed November 2017, http://www.archilab.org/public/2000/catalog/ocean/oceanen.htm OCEAN CN Consultancy Network, “Projects.” Accessed November 2017, http://ocean-cn.org/projects/
Level of archival description:
Series
Series
Date:
1998
1998
People:
Form:
exhibitions
exhibitions
Actions:
Description:
Architects of the Image: Photography in the Heroic Age of Construction explores the relationships between camera images and the making of large-scale architectural and engineering structures that stirred public imagination in the first hundred years of photography. The exhibition is predicated on the notion of the photographer as architect, an analogy that suggests(...)
Architects of the Image: Photography in the Heroic Age of Construction explores the relationships between camera images and the making of large-scale architectural and engineering structures that stirred public imagination in the first hundred years of photography. The exhibition is predicated on the notion of the photographer as architect, an analogy that suggests(...)
Date:
11 October 1995 to 4 February 1996
11 October 1995 to 4 February 1996
Title:
Architects of the Image: Photography in the Heroic Age of Construction
Actions:
Description:
Architects of the Image: Photography in the Heroic Age of Construction explores the relationships between camera images and the making of large-scale architectural and engineering structures that stirred public imagination in the first hundred years of photography. The exhibition is predicated on the notion of the photographer as architect, an analogy that suggests(...)
Architects of the Image: Photography in the Heroic Age of Construction
Actions:
Description:
Architects of the Image: Photography in the Heroic Age of Construction explores the relationships between camera images and the making of large-scale architectural and engineering structures that stirred public imagination in the first hundred years of photography. The exhibition is predicated on the notion of the photographer as architect, an analogy that suggests(...)
Form:
exhibitions
exhibitions
Date:
11 October 1995 to
4 February 1996
11 October 1995 to
4 February 1996
Form:
drawings
drawings
Actions:
Reference number:
DR1974:0002:013:001-008
Description:
- This album contains large rendered drawings executed by Hubert Rohault de Fleury between 1800 and 1802 for architectural competitions held at the École Spéciale de Peinture, Sculpture et Architecture. These include renderings submitted by him for the 1800 Grand Prix programme for an "École Nationale des Beaux-Arts" (DR1974:0002:013:002 and DR1974:0002:013:008), for which he won a "deuxième Grand Prix", and for the 1801 Grand Prix Programme for "Un forum ou place public dédié à la Paix" (DR1974:0002:013:001 and DR1974:0002:013:007). David Le Roy, professor of architectural theory at the École, has signed and dated all four drawings on the verso, which indicates that the sheets were blank before being completed "en loge" (Levine, 99 and Perouse de Montclos, 11). Drawings DR1974:0002:013:004, DR1974:0002:013:005 (front and rear elevations for the same building), and DR1974:0002:013:006 are probably renderings for either a Grand Prix competition or a "projet rendu". The subject matter depicted in drawings DR1974:0002:013:004 - DR1974:0002:013:006 remains unclear. Bergdoll suggests that the drawings may be for Grand Prix programmes, including a "Ministère des Relations Extérieures" and a warehouse (Bergdoll, "HUBERT ... ", 1985), however, the former is depicted in DR1974:0002:013:007 and is therefore part of the larger 1801 Grand Prix programme for "Un forum ou place dédié à la Paix" (1801). A warehouse complex was never chosen as a Grand Prix programme during 1800-1802, Hubert's student years at the École (Macmillan). A recent Master's thesis suggests that Hubert Rohault de Fleury may have begun his studies at the École des Beaux-Arts in 1798 rather than 1800 (Amouroux, 3), in which case the unidentified drawings could be for the Grand Prix competitions held in 1798 and 1799 for a "Bourse pour une ville maritime" and an "Élysée ou cimetière public". The drawing for a fountain in honour of General Desaix, place Thionville (DR1974:0002:013:003) is possibly an entry for a "Prix d'émulation", in which monuments were a favorite category (Jacques, 61).
DR1974:0002:013:001-008
Description:
- This album contains large rendered drawings executed by Hubert Rohault de Fleury between 1800 and 1802 for architectural competitions held at the École Spéciale de Peinture, Sculpture et Architecture. These include renderings submitted by him for the 1800 Grand Prix programme for an "École Nationale des Beaux-Arts" (DR1974:0002:013:002 and DR1974:0002:013:008), for which he won a "deuxième Grand Prix", and for the 1801 Grand Prix Programme for "Un forum ou place public dédié à la Paix" (DR1974:0002:013:001 and DR1974:0002:013:007). David Le Roy, professor of architectural theory at the École, has signed and dated all four drawings on the verso, which indicates that the sheets were blank before being completed "en loge" (Levine, 99 and Perouse de Montclos, 11). Drawings DR1974:0002:013:004, DR1974:0002:013:005 (front and rear elevations for the same building), and DR1974:0002:013:006 are probably renderings for either a Grand Prix competition or a "projet rendu". The subject matter depicted in drawings DR1974:0002:013:004 - DR1974:0002:013:006 remains unclear. Bergdoll suggests that the drawings may be for Grand Prix programmes, including a "Ministère des Relations Extérieures" and a warehouse (Bergdoll, "HUBERT ... ", 1985), however, the former is depicted in DR1974:0002:013:007 and is therefore part of the larger 1801 Grand Prix programme for "Un forum ou place dédié à la Paix" (1801). A warehouse complex was never chosen as a Grand Prix programme during 1800-1802, Hubert's student years at the École (Macmillan). A recent Master's thesis suggests that Hubert Rohault de Fleury may have begun his studies at the École des Beaux-Arts in 1798 rather than 1800 (Amouroux, 3), in which case the unidentified drawings could be for the Grand Prix competitions held in 1798 and 1799 for a "Bourse pour une ville maritime" and an "Élysée ou cimetière public". The drawing for a fountain in honour of General Desaix, place Thionville (DR1974:0002:013:003) is possibly an entry for a "Prix d'émulation", in which monuments were a favorite category (Jacques, 61).
People:
Subject:
architecture
architecture
Date:
1800-1802
1800-1802
Title:
Album of student drawings for architectural competitions held at the École spéciale de peinture, sculpture et architecture, Paris
Actions:
DR1974:0002:013:001-008
Description:
- This album contains large rendered drawings executed by Hubert Rohault de Fleury between 1800 and 1802 for architectural competitions held at the École Spéciale de Peinture, Sculpture et Architecture. These include renderings submitted by him for the 1800 Grand Prix programme for an "École Nationale des Beaux-Arts" (DR1974:0002:013:002 and DR1974:0002:013:008), for which he won a "deuxième Grand Prix", and for the 1801 Grand Prix Programme for "Un forum ou place public dédié à la Paix" (DR1974:0002:013:001 and DR1974:0002:013:007). David Le Roy, professor of architectural theory at the École, has signed and dated all four drawings on the verso, which indicates that the sheets were blank before being completed "en loge" (Levine, 99 and Perouse de Montclos, 11). Drawings DR1974:0002:013:004, DR1974:0002:013:005 (front and rear elevations for the same building), and DR1974:0002:013:006 are probably renderings for either a Grand Prix competition or a "projet rendu". The subject matter depicted in drawings DR1974:0002:013:004 - DR1974:0002:013:006 remains unclear. Bergdoll suggests that the drawings may be for Grand Prix programmes, including a "Ministère des Relations Extérieures" and a warehouse (Bergdoll, "HUBERT ... ", 1985), however, the former is depicted in DR1974:0002:013:007 and is therefore part of the larger 1801 Grand Prix programme for "Un forum ou place dédié à la Paix" (1801). A warehouse complex was never chosen as a Grand Prix programme during 1800-1802, Hubert's student years at the École (Macmillan). A recent Master's thesis suggests that Hubert Rohault de Fleury may have begun his studies at the École des Beaux-Arts in 1798 rather than 1800 (Amouroux, 3), in which case the unidentified drawings could be for the Grand Prix competitions held in 1798 and 1799 for a "Bourse pour une ville maritime" and an "Élysée ou cimetière public". The drawing for a fountain in honour of General Desaix, place Thionville (DR1974:0002:013:003) is possibly an entry for a "Prix d'émulation", in which monuments were a favorite category (Jacques, 61).
Album of student drawings for architectural competitions held at the École spéciale de peinture, sculpture et architecture, Paris
Actions:
DR1974:0002:013:001-008
Description:
- This album contains large rendered drawings executed by Hubert Rohault de Fleury between 1800 and 1802 for architectural competitions held at the École Spéciale de Peinture, Sculpture et Architecture. These include renderings submitted by him for the 1800 Grand Prix programme for an "École Nationale des Beaux-Arts" (DR1974:0002:013:002 and DR1974:0002:013:008), for which he won a "deuxième Grand Prix", and for the 1801 Grand Prix Programme for "Un forum ou place public dédié à la Paix" (DR1974:0002:013:001 and DR1974:0002:013:007). David Le Roy, professor of architectural theory at the École, has signed and dated all four drawings on the verso, which indicates that the sheets were blank before being completed "en loge" (Levine, 99 and Perouse de Montclos, 11). Drawings DR1974:0002:013:004, DR1974:0002:013:005 (front and rear elevations for the same building), and DR1974:0002:013:006 are probably renderings for either a Grand Prix competition or a "projet rendu". The subject matter depicted in drawings DR1974:0002:013:004 - DR1974:0002:013:006 remains unclear. Bergdoll suggests that the drawings may be for Grand Prix programmes, including a "Ministère des Relations Extérieures" and a warehouse (Bergdoll, "HUBERT ... ", 1985), however, the former is depicted in DR1974:0002:013:007 and is therefore part of the larger 1801 Grand Prix programme for "Un forum ou place dédié à la Paix" (1801). A warehouse complex was never chosen as a Grand Prix programme during 1800-1802, Hubert's student years at the École (Macmillan). A recent Master's thesis suggests that Hubert Rohault de Fleury may have begun his studies at the École des Beaux-Arts in 1798 rather than 1800 (Amouroux, 3), in which case the unidentified drawings could be for the Grand Prix competitions held in 1798 and 1799 for a "Bourse pour une ville maritime" and an "Élysée ou cimetière public". The drawing for a fountain in honour of General Desaix, place Thionville (DR1974:0002:013:003) is possibly an entry for a "Prix d'émulation", in which monuments were a favorite category (Jacques, 61).
Form:
drawings
drawings
Date:
1800-1802
1800-1802
People:
Subject:
architecture
architecture
Form:
photographs
photographs
Actions:
Reference number:
PH1997:0053
Description:
- The series "Running Fence 1997" focuses "on the first 14 miles of the border fence that separates the United States and Mexico, beginning at the Pacific Ocean and ending in the Otay Mountains.... [It] analyzes the "idea" of the border and explores its iconography, the border being a subject that is of extreme importance to the public as the world proceeds towards greater globalization. [Geoffrey] James has written of the project: "[The border fence] was built by the US Army Corps of Engineers in 1994, out of recycled metal landing strip - the most visible symbol of what is known as Operation Gatekeeper. Because the steel sheets are placed in the ground so that their ridges run horizontally, a man can hop over the fence with ease; and no Mexican child ever seems to be impeded from retrieving a soccer ball from US territory. The real barrier to illegal immigration from Mexico into the USA is less visible: hundreds of buried sensors linked to a central computer, nightscopes, helicopters and Border Patrol Agents in white Broncos."" (Evans).
PH1997:0053
Description:
- The series "Running Fence 1997" focuses "on the first 14 miles of the border fence that separates the United States and Mexico, beginning at the Pacific Ocean and ending in the Otay Mountains.... [It] analyzes the "idea" of the border and explores its iconography, the border being a subject that is of extreme importance to the public as the world proceeds towards greater globalization. [Geoffrey] James has written of the project: "[The border fence] was built by the US Army Corps of Engineers in 1994, out of recycled metal landing strip - the most visible symbol of what is known as Operation Gatekeeper. Because the steel sheets are placed in the ground so that their ridges run horizontally, a man can hop over the fence with ease; and no Mexican child ever seems to be impeded from retrieving a soccer ball from US territory. The real barrier to illegal immigration from Mexico into the USA is less visible: hundreds of buried sensors linked to a central computer, nightscopes, helicopters and Border Patrol Agents in white Broncos."" (Evans).
People:
Subject:
architecture, engineering
architecture, engineering
Date:
1997
1997
Title:
View of 24-hour border crossing supplies tent showing partial view of United States-Mexico border fence, San Diego County, California, United States, and Avenida Internacional, Tijuana, Baja California, Mexico
Actions:
PH1997:0053
Description:
- The series "Running Fence 1997" focuses "on the first 14 miles of the border fence that separates the United States and Mexico, beginning at the Pacific Ocean and ending in the Otay Mountains.... [It] analyzes the "idea" of the border and explores its iconography, the border being a subject that is of extreme importance to the public as the world proceeds towards greater globalization. [Geoffrey] James has written of the project: "[The border fence] was built by the US Army Corps of Engineers in 1994, out of recycled metal landing strip - the most visible symbol of what is known as Operation Gatekeeper. Because the steel sheets are placed in the ground so that their ridges run horizontally, a man can hop over the fence with ease; and no Mexican child ever seems to be impeded from retrieving a soccer ball from US territory. The real barrier to illegal immigration from Mexico into the USA is less visible: hundreds of buried sensors linked to a central computer, nightscopes, helicopters and Border Patrol Agents in white Broncos."" (Evans).
View of 24-hour border crossing supplies tent showing partial view of United States-Mexico border fence, San Diego County, California, United States, and Avenida Internacional, Tijuana, Baja California, Mexico
Actions:
PH1997:0053
Description:
- The series "Running Fence 1997" focuses "on the first 14 miles of the border fence that separates the United States and Mexico, beginning at the Pacific Ocean and ending in the Otay Mountains.... [It] analyzes the "idea" of the border and explores its iconography, the border being a subject that is of extreme importance to the public as the world proceeds towards greater globalization. [Geoffrey] James has written of the project: "[The border fence] was built by the US Army Corps of Engineers in 1994, out of recycled metal landing strip - the most visible symbol of what is known as Operation Gatekeeper. Because the steel sheets are placed in the ground so that their ridges run horizontally, a man can hop over the fence with ease; and no Mexican child ever seems to be impeded from retrieving a soccer ball from US territory. The real barrier to illegal immigration from Mexico into the USA is less visible: hundreds of buried sensors linked to a central computer, nightscopes, helicopters and Border Patrol Agents in white Broncos."" (Evans).
Form:
photographs
photographs
Date:
1997
1997
People:
Subject:
architecture, engineering
architecture, engineering
Form:
photographs
photographs
Actions:
Reference number:
PH1997:0054
Description:
The series "Running Fence 1997" focuses "on the first 14 miles of the border fence that separates the United States and Mexico, beginning at the Pacific Ocean and ending in the Otay Mountains.... [It] analyzes the "idea" of the border and explores its iconography, the border being a subject that is of extreme importance to the public as the world proceeds towards greater globalization. [Geoffrey] James has written of the project: "[The border fence] was built by the US Army Corps of Engineers in 1994, out of recycled metal landing strip - the most visible symbol of what is known as Operation Gatekeeper. Because the steel sheets are placed in the ground so that their ridges run horizontally, a man can hop over the fence with ease; and no Mexican child ever seems to be impeded from retrieving a soccer ball from US territory. The real barrier to illegal immigration from Mexico into the USA is less visible: hundreds of buried sensors linked to a central computer, nightscopes, helicopters and Border Patrol Agents in white Broncos."" (Evans).
PH1997:0054
Description:
The series "Running Fence 1997" focuses "on the first 14 miles of the border fence that separates the United States and Mexico, beginning at the Pacific Ocean and ending in the Otay Mountains.... [It] analyzes the "idea" of the border and explores its iconography, the border being a subject that is of extreme importance to the public as the world proceeds towards greater globalization. [Geoffrey] James has written of the project: "[The border fence] was built by the US Army Corps of Engineers in 1994, out of recycled metal landing strip - the most visible symbol of what is known as Operation Gatekeeper. Because the steel sheets are placed in the ground so that their ridges run horizontally, a man can hop over the fence with ease; and no Mexican child ever seems to be impeded from retrieving a soccer ball from US territory. The real barrier to illegal immigration from Mexico into the USA is less visible: hundreds of buried sensors linked to a central computer, nightscopes, helicopters and Border Patrol Agents in white Broncos."" (Evans).
People:
Subject:
architecture, engineering
architecture, engineering
Date:
1997
1997
Title:
View of dirt road and dwelling showing a partial view of United States-Mexico border fence, San Diego County, California, United States and Colonia Libertad, Tijuana, Baja California, Mexico
Actions:
PH1997:0054
Description:
The series "Running Fence 1997" focuses "on the first 14 miles of the border fence that separates the United States and Mexico, beginning at the Pacific Ocean and ending in the Otay Mountains.... [It] analyzes the "idea" of the border and explores its iconography, the border being a subject that is of extreme importance to the public as the world proceeds towards greater globalization. [Geoffrey] James has written of the project: "[The border fence] was built by the US Army Corps of Engineers in 1994, out of recycled metal landing strip - the most visible symbol of what is known as Operation Gatekeeper. Because the steel sheets are placed in the ground so that their ridges run horizontally, a man can hop over the fence with ease; and no Mexican child ever seems to be impeded from retrieving a soccer ball from US territory. The real barrier to illegal immigration from Mexico into the USA is less visible: hundreds of buried sensors linked to a central computer, nightscopes, helicopters and Border Patrol Agents in white Broncos."" (Evans).
View of dirt road and dwelling showing a partial view of United States-Mexico border fence, San Diego County, California, United States and Colonia Libertad, Tijuana, Baja California, Mexico
Actions:
PH1997:0054
Description:
The series "Running Fence 1997" focuses "on the first 14 miles of the border fence that separates the United States and Mexico, beginning at the Pacific Ocean and ending in the Otay Mountains.... [It] analyzes the "idea" of the border and explores its iconography, the border being a subject that is of extreme importance to the public as the world proceeds towards greater globalization. [Geoffrey] James has written of the project: "[The border fence] was built by the US Army Corps of Engineers in 1994, out of recycled metal landing strip - the most visible symbol of what is known as Operation Gatekeeper. Because the steel sheets are placed in the ground so that their ridges run horizontally, a man can hop over the fence with ease; and no Mexican child ever seems to be impeded from retrieving a soccer ball from US territory. The real barrier to illegal immigration from Mexico into the USA is less visible: hundreds of buried sensors linked to a central computer, nightscopes, helicopters and Border Patrol Agents in white Broncos."" (Evans).
Form:
photographs
photographs
Date:
1997
1997
People:
Subject:
architecture, engineering
architecture, engineering
Form:
photographs
photographs
Actions:
Reference number:
PH1997:0055
Description:
- The series "Running Fence 1997" focuses "on the first 14 miles of the border fence that separates the United States and Mexico, beginning at the Pacific Ocean and ending in the Otay Mountains.... [It] analyzes the "idea" of the border and explores its iconography, the border being a subject that is of extreme importance to the public as the world proceeds towards greater globalization. [Geoffrey] James has written of the project: "[The border fence] was built by the US Army Corps of Engineers in 1994, out of recycled metal landing strip - the most visible symbol of what is known as Operation Gatekeeper. Because the steel sheets are placed in the ground so that their ridges run horizontally, a man can hop over the fence with ease; and no Mexican child ever seems to be impeded from retrieving a soccer ball from US territory. The real barrier to illegal immigration from Mexico into the USA is less visible: hundreds of buried sensors linked to a central computer, nightscopes, helicopters and Border Patrol Agents in white Broncos."" (Evans).
PH1997:0055
Description:
- The series "Running Fence 1997" focuses "on the first 14 miles of the border fence that separates the United States and Mexico, beginning at the Pacific Ocean and ending in the Otay Mountains.... [It] analyzes the "idea" of the border and explores its iconography, the border being a subject that is of extreme importance to the public as the world proceeds towards greater globalization. [Geoffrey] James has written of the project: "[The border fence] was built by the US Army Corps of Engineers in 1994, out of recycled metal landing strip - the most visible symbol of what is known as Operation Gatekeeper. Because the steel sheets are placed in the ground so that their ridges run horizontally, a man can hop over the fence with ease; and no Mexican child ever seems to be impeded from retrieving a soccer ball from US territory. The real barrier to illegal immigration from Mexico into the USA is less visible: hundreds of buried sensors linked to a central computer, nightscopes, helicopters and Border Patrol Agents in white Broncos."" (Evans).
People:
Subject:
architecture, engineering, topographic
architecture, engineering, topographic
Date:
1997
1997
Title:
Partial view of the United States-Mexico border fence with plants in the foreground, San Diego County, California, United States, and Colonia Libertad, Tijuana, Baja California, Mexico
Actions:
PH1997:0055
Description:
- The series "Running Fence 1997" focuses "on the first 14 miles of the border fence that separates the United States and Mexico, beginning at the Pacific Ocean and ending in the Otay Mountains.... [It] analyzes the "idea" of the border and explores its iconography, the border being a subject that is of extreme importance to the public as the world proceeds towards greater globalization. [Geoffrey] James has written of the project: "[The border fence] was built by the US Army Corps of Engineers in 1994, out of recycled metal landing strip - the most visible symbol of what is known as Operation Gatekeeper. Because the steel sheets are placed in the ground so that their ridges run horizontally, a man can hop over the fence with ease; and no Mexican child ever seems to be impeded from retrieving a soccer ball from US territory. The real barrier to illegal immigration from Mexico into the USA is less visible: hundreds of buried sensors linked to a central computer, nightscopes, helicopters and Border Patrol Agents in white Broncos."" (Evans).
Partial view of the United States-Mexico border fence with plants in the foreground, San Diego County, California, United States, and Colonia Libertad, Tijuana, Baja California, Mexico
Actions:
PH1997:0055
Description:
- The series "Running Fence 1997" focuses "on the first 14 miles of the border fence that separates the United States and Mexico, beginning at the Pacific Ocean and ending in the Otay Mountains.... [It] analyzes the "idea" of the border and explores its iconography, the border being a subject that is of extreme importance to the public as the world proceeds towards greater globalization. [Geoffrey] James has written of the project: "[The border fence] was built by the US Army Corps of Engineers in 1994, out of recycled metal landing strip - the most visible symbol of what is known as Operation Gatekeeper. Because the steel sheets are placed in the ground so that their ridges run horizontally, a man can hop over the fence with ease; and no Mexican child ever seems to be impeded from retrieving a soccer ball from US territory. The real barrier to illegal immigration from Mexico into the USA is less visible: hundreds of buried sensors linked to a central computer, nightscopes, helicopters and Border Patrol Agents in white Broncos."" (Evans).
Form:
photographs
photographs
Date:
1997
1997
People:
Subject:
architecture, engineering, topographic
architecture, engineering, topographic
