7485 Results
Form:
photographs
photographs
Reference number:
AP140.S2.SS7.D1.P23
Description:
views of James Stirling and James Gowan at Leicester University Engineering Building in the early 1960s; views of various participants at the 2nd Iran International Congress of Architecture conference held in 1974 in Persepolis, Iran, including Félix Candela, Buckminster Fuller, Hans Hollein, José Luis Sert, James Stirling, O.M. Ungers and Bruno Zevi; views of interior of office; views of James Stirling with Queen Mother; of exhibition opening of 'I musei di James Stirling, Michael Wilford and Associates' at the Galleria Comunale d'Arte Moderna in Bologna, dated 1990; various portraits of James Stirling and of MIchael Wilford; views of James Stirling and Michael Wilford's visit to Cornell University
AP140.S2.SS7.D1.P23
Description:
views of James Stirling and James Gowan at Leicester University Engineering Building in the early 1960s; views of various participants at the 2nd Iran International Congress of Architecture conference held in 1974 in Persepolis, Iran, including Félix Candela, Buckminster Fuller, Hans Hollein, José Luis Sert, James Stirling, O.M. Ungers and Bruno Zevi; views of interior of office; views of James Stirling with Queen Mother; of exhibition opening of 'I musei di James Stirling, Michael Wilford and Associates' at the Galleria Comunale d'Arte Moderna in Bologna, dated 1990; various portraits of James Stirling and of MIchael Wilford; views of James Stirling and Michael Wilford's visit to Cornell University
People:
Date:
circa 1950-1992
circa 1950-1992
Title:
Various portraits and views of James Stirling
Actions:
AP140.S2.SS7.D1.P23
Description:
views of James Stirling and James Gowan at Leicester University Engineering Building in the early 1960s; views of various participants at the 2nd Iran International Congress of Architecture conference held in 1974 in Persepolis, Iran, including Félix Candela, Buckminster Fuller, Hans Hollein, José Luis Sert, James Stirling, O.M. Ungers and Bruno Zevi; views of interior of office; views of James Stirling with Queen Mother; of exhibition opening of 'I musei di James Stirling, Michael Wilford and Associates' at the Galleria Comunale d'Arte Moderna in Bologna, dated 1990; various portraits of James Stirling and of MIchael Wilford; views of James Stirling and Michael Wilford's visit to Cornell University
Various portraits and views of James Stirling
Actions:
AP140.S2.SS7.D1.P23
Description:
views of James Stirling and James Gowan at Leicester University Engineering Building in the early 1960s; views of various participants at the 2nd Iran International Congress of Architecture conference held in 1974 in Persepolis, Iran, including Félix Candela, Buckminster Fuller, Hans Hollein, José Luis Sert, James Stirling, O.M. Ungers and Bruno Zevi; views of interior of office; views of James Stirling with Queen Mother; of exhibition opening of 'I musei di James Stirling, Michael Wilford and Associates' at the Galleria Comunale d'Arte Moderna in Bologna, dated 1990; various portraits of James Stirling and of MIchael Wilford; views of James Stirling and Michael Wilford's visit to Cornell University
Form:
photographs
photographs
Date:
circa 1950-1992
circa 1950-1992
People:
Form:
events
events
Actions:
Description:
Geoff Manaugh examines urban design in the context of epidemiology, pandemics and quarantine, including measures taken by the United States’ government agency Centers for Disease Control and Prevention (CDC. Geoff Manaugh is the author of BLDGBLOG and The BLDGBLOG Book, and a contributing editor at Wired UK. His fall 2009 design studio Landscapes of Quarantine examines(...)
Geoff Manaugh examines urban design in the context of epidemiology, pandemics and quarantine, including measures taken by the United States’ government agency Centers for Disease Control and Prevention (CDC. Geoff Manaugh is the author of BLDGBLOG and The BLDGBLOG Book, and a contributing editor at Wired UK. His fall 2009 design studio Landscapes of Quarantine examines(...)
Location:
Paul Desmarais Theatre
Paul Desmarais Theatre
Date:
22 October 2009 , 7pm
22 October 2009 , 7pm
Title:
Geoff Manaugh: Cities of the CDC
Actions:
Description:
Geoff Manaugh examines urban design in the context of epidemiology, pandemics and quarantine, including measures taken by the United States’ government agency Centers for Disease Control and Prevention (CDC. Geoff Manaugh is the author of BLDGBLOG and The BLDGBLOG Book, and a contributing editor at Wired UK. His fall 2009 design studio Landscapes of Quarantine examines(...)
Geoff Manaugh: Cities of the CDC
Actions:
Description:
Geoff Manaugh examines urban design in the context of epidemiology, pandemics and quarantine, including measures taken by the United States’ government agency Centers for Disease Control and Prevention (CDC. Geoff Manaugh is the author of BLDGBLOG and The BLDGBLOG Book, and a contributing editor at Wired UK. His fall 2009 design studio Landscapes of Quarantine examines(...)
Form:
events
events
Date:
22 October 2009
7pm
22 October 2009
7pm
Location:
Paul Desmarais Theatre
Paul Desmarais Theatre
Level of archival description:
Series
Series
Title:
Professional papers
Professional papers
Reference number:
AP206.S3
Description:
The Professional papers series, circa 1950-2008, records the professional activities of Aditya Prakash throughout his career up until his death in 2008. His work in architecture, art, photography, academia and theatre are documented through textual records, drawings, photographic materials, ephemera, books, serials and sound recordings. The earliest materials in this series show Prakash’s interest in architectural photography early in his career through photographs, slides, and negatives taken by him. These materials, dating from before 1970, show most prominently his projects, people, villages and cityscapes. Materials dating from after 1968 show Prakash’s move into academia and his solo architectural career. During this time, the records document Prakash’s research interests on subjects such as urbanization, Chandigarh, the Modular and the environment, through drawings, newspaper articles, government and committee reports, correspondence and presentation materials. Likewise, his teaching is recorded through overhead transparencies, drawings and notes. The series also shows Prakash’s involvement in the professional community, including event photographs, correspondence and records documenting conferences, events and his discussion group Our Get Togethers. Correspondence with architect Charles Correa and frequent letters between Prakash and writer Mulk Raj Anand are of note here. Apart from his architectural career, Prakash’s work as a modern artist is well recorded through drawings, sketchbooks, and photographic reproductions of his art, mostly dating from after 1980. His interest in art as well as his community involvement are documented through exhibition ephemera, correspondence, and exhibition reviews and writings on his artwork. His role as the president of the Lalit Kala Akademi is also documented through publications, event photographs and correspondence. Finally, Prakash’s involvement in theatre, specifically with his amateur theatre troop Abhinet, is captured through scripts, photographs of performances and play reviews.
AP206.S3
Description:
The Professional papers series, circa 1950-2008, records the professional activities of Aditya Prakash throughout his career up until his death in 2008. His work in architecture, art, photography, academia and theatre are documented through textual records, drawings, photographic materials, ephemera, books, serials and sound recordings. The earliest materials in this series show Prakash’s interest in architectural photography early in his career through photographs, slides, and negatives taken by him. These materials, dating from before 1970, show most prominently his projects, people, villages and cityscapes. Materials dating from after 1968 show Prakash’s move into academia and his solo architectural career. During this time, the records document Prakash’s research interests on subjects such as urbanization, Chandigarh, the Modular and the environment, through drawings, newspaper articles, government and committee reports, correspondence and presentation materials. Likewise, his teaching is recorded through overhead transparencies, drawings and notes. The series also shows Prakash’s involvement in the professional community, including event photographs, correspondence and records documenting conferences, events and his discussion group Our Get Togethers. Correspondence with architect Charles Correa and frequent letters between Prakash and writer Mulk Raj Anand are of note here. Apart from his architectural career, Prakash’s work as a modern artist is well recorded through drawings, sketchbooks, and photographic reproductions of his art, mostly dating from after 1980. His interest in art as well as his community involvement are documented through exhibition ephemera, correspondence, and exhibition reviews and writings on his artwork. His role as the president of the Lalit Kala Akademi is also documented through publications, event photographs and correspondence. Finally, Prakash’s involvement in theatre, specifically with his amateur theatre troop Abhinet, is captured through scripts, photographs of performances and play reviews.
People:
Date:
circa 1950-2008
circa 1950-2008
Title:
Professional papers
Actions:
AP206.S3
Description:
The Professional papers series, circa 1950-2008, records the professional activities of Aditya Prakash throughout his career up until his death in 2008. His work in architecture, art, photography, academia and theatre are documented through textual records, drawings, photographic materials, ephemera, books, serials and sound recordings. The earliest materials in this series show Prakash’s interest in architectural photography early in his career through photographs, slides, and negatives taken by him. These materials, dating from before 1970, show most prominently his projects, people, villages and cityscapes. Materials dating from after 1968 show Prakash’s move into academia and his solo architectural career. During this time, the records document Prakash’s research interests on subjects such as urbanization, Chandigarh, the Modular and the environment, through drawings, newspaper articles, government and committee reports, correspondence and presentation materials. Likewise, his teaching is recorded through overhead transparencies, drawings and notes. The series also shows Prakash’s involvement in the professional community, including event photographs, correspondence and records documenting conferences, events and his discussion group Our Get Togethers. Correspondence with architect Charles Correa and frequent letters between Prakash and writer Mulk Raj Anand are of note here. Apart from his architectural career, Prakash’s work as a modern artist is well recorded through drawings, sketchbooks, and photographic reproductions of his art, mostly dating from after 1980. His interest in art as well as his community involvement are documented through exhibition ephemera, correspondence, and exhibition reviews and writings on his artwork. His role as the president of the Lalit Kala Akademi is also documented through publications, event photographs and correspondence. Finally, Prakash’s involvement in theatre, specifically with his amateur theatre troop Abhinet, is captured through scripts, photographs of performances and play reviews.
Professional papers
Actions:
AP206.S3
Description:
The Professional papers series, circa 1950-2008, records the professional activities of Aditya Prakash throughout his career up until his death in 2008. His work in architecture, art, photography, academia and theatre are documented through textual records, drawings, photographic materials, ephemera, books, serials and sound recordings. The earliest materials in this series show Prakash’s interest in architectural photography early in his career through photographs, slides, and negatives taken by him. These materials, dating from before 1970, show most prominently his projects, people, villages and cityscapes. Materials dating from after 1968 show Prakash’s move into academia and his solo architectural career. During this time, the records document Prakash’s research interests on subjects such as urbanization, Chandigarh, the Modular and the environment, through drawings, newspaper articles, government and committee reports, correspondence and presentation materials. Likewise, his teaching is recorded through overhead transparencies, drawings and notes. The series also shows Prakash’s involvement in the professional community, including event photographs, correspondence and records documenting conferences, events and his discussion group Our Get Togethers. Correspondence with architect Charles Correa and frequent letters between Prakash and writer Mulk Raj Anand are of note here. Apart from his architectural career, Prakash’s work as a modern artist is well recorded through drawings, sketchbooks, and photographic reproductions of his art, mostly dating from after 1980. His interest in art as well as his community involvement are documented through exhibition ephemera, correspondence, and exhibition reviews and writings on his artwork. His role as the president of the Lalit Kala Akademi is also documented through publications, event photographs and correspondence. Finally, Prakash’s involvement in theatre, specifically with his amateur theatre troop Abhinet, is captured through scripts, photographs of performances and play reviews.
Level of archival description:
Series
Series
Date:
circa 1950-2008
circa 1950-2008
People:
Level of archival description:
Project
Project
Reference number:
AP143.S4.D65
Description:
File documents the unexecuted project for the University Art Museum, Long Beach, California. Material in this file was produced between 1986 and 1988. California State University, Long Beach (CSULB), commissioned Eisenman/Robertson Architects to design an art museum adjacent to the main campus entrance. The 67,500-square-foot building was to comprise four galleries, a black-box theater, an auditorium, a cafe, conference rooms, a library, offices, preparation spaces, and storage vaults. The project, sited on a 23-acre arboretum, included landscaping; terraced sculpture courtyards, botanical gardens, and a two-acre pond. Eisenman linked the northern and southern parts of the arboretum by an elevated public walkway through the museum. Sets of drawings were presented on 8 and 30 April, 2 June, and 5 Aug. In the first design phase Eisenman explores the cartographic figures which form the basis of his artificial excavation when superposed: a series of sketches establishes the analogical relationships which fix the relative scales of the plans and produce the superpositions; another series contextualizes the superposed figures by placing them within the museum site (DR1987:0859:087-090). The second phase concerns the building; the working model shows the building carved out of a square pit, from which spring an oil derrick and a reconstruction of a recreational pier (Rainbow Pier, 1920s) used here as circulatory bridge (DR1987:0859:160). In the third phase the architect systematizes his archeological procedure by using five significant cartographic dates - 1849, 1889, 1949, 1989, 2049 - each corresponding to a specific superposition (see DR1987:0859:274-277). In the fourth phase, Eisenman simplifies the superposition of 2049 to a few iconic colour-coded forms: ranch (green), ranch house (blue), campus site (red), and water forms (river and pond) (gold). Material for the fourth phase includes three relief models, four presentation drawings, and a model (property of the CSULB) (relief models: DR1987:0859:001-003; drawings: DR1987:0859:004-008). Eisenman "inhabits" his artifical archeology by detailed planning of interior spaces, and gives substance to the cartographic traces in a series of sketch sections, perspectives, and working models. Working models reveal how the central "canal" area gradually became the museum's access point (DR1987:0859:484-490); the museum, galleries, offices, and preparation areas are on one side of this deep cut, while the cafeteria and black-box theater are on the other. The upper level was to house offices, meeting rooms, and the library. File contains audiovisual material, conceptual drawings, design development drawings, presentation drawings, reference drawings, working drawings, photographic materials, and textual records.
AP143.S4.D65
Description:
File documents the unexecuted project for the University Art Museum, Long Beach, California. Material in this file was produced between 1986 and 1988. California State University, Long Beach (CSULB), commissioned Eisenman/Robertson Architects to design an art museum adjacent to the main campus entrance. The 67,500-square-foot building was to comprise four galleries, a black-box theater, an auditorium, a cafe, conference rooms, a library, offices, preparation spaces, and storage vaults. The project, sited on a 23-acre arboretum, included landscaping; terraced sculpture courtyards, botanical gardens, and a two-acre pond. Eisenman linked the northern and southern parts of the arboretum by an elevated public walkway through the museum. Sets of drawings were presented on 8 and 30 April, 2 June, and 5 Aug. In the first design phase Eisenman explores the cartographic figures which form the basis of his artificial excavation when superposed: a series of sketches establishes the analogical relationships which fix the relative scales of the plans and produce the superpositions; another series contextualizes the superposed figures by placing them within the museum site (DR1987:0859:087-090). The second phase concerns the building; the working model shows the building carved out of a square pit, from which spring an oil derrick and a reconstruction of a recreational pier (Rainbow Pier, 1920s) used here as circulatory bridge (DR1987:0859:160). In the third phase the architect systematizes his archeological procedure by using five significant cartographic dates - 1849, 1889, 1949, 1989, 2049 - each corresponding to a specific superposition (see DR1987:0859:274-277). In the fourth phase, Eisenman simplifies the superposition of 2049 to a few iconic colour-coded forms: ranch (green), ranch house (blue), campus site (red), and water forms (river and pond) (gold). Material for the fourth phase includes three relief models, four presentation drawings, and a model (property of the CSULB) (relief models: DR1987:0859:001-003; drawings: DR1987:0859:004-008). Eisenman "inhabits" his artifical archeology by detailed planning of interior spaces, and gives substance to the cartographic traces in a series of sketch sections, perspectives, and working models. Working models reveal how the central "canal" area gradually became the museum's access point (DR1987:0859:484-490); the museum, galleries, offices, and preparation areas are on one side of this deep cut, while the cafeteria and black-box theater are on the other. The upper level was to house offices, meeting rooms, and the library. File contains audiovisual material, conceptual drawings, design development drawings, presentation drawings, reference drawings, working drawings, photographic materials, and textual records.
People:
Date:
1986-1988
1986-1988
Title:
University Art Museum
Actions:
AP143.S4.D65
Description:
File documents the unexecuted project for the University Art Museum, Long Beach, California. Material in this file was produced between 1986 and 1988. California State University, Long Beach (CSULB), commissioned Eisenman/Robertson Architects to design an art museum adjacent to the main campus entrance. The 67,500-square-foot building was to comprise four galleries, a black-box theater, an auditorium, a cafe, conference rooms, a library, offices, preparation spaces, and storage vaults. The project, sited on a 23-acre arboretum, included landscaping; terraced sculpture courtyards, botanical gardens, and a two-acre pond. Eisenman linked the northern and southern parts of the arboretum by an elevated public walkway through the museum. Sets of drawings were presented on 8 and 30 April, 2 June, and 5 Aug. In the first design phase Eisenman explores the cartographic figures which form the basis of his artificial excavation when superposed: a series of sketches establishes the analogical relationships which fix the relative scales of the plans and produce the superpositions; another series contextualizes the superposed figures by placing them within the museum site (DR1987:0859:087-090). The second phase concerns the building; the working model shows the building carved out of a square pit, from which spring an oil derrick and a reconstruction of a recreational pier (Rainbow Pier, 1920s) used here as circulatory bridge (DR1987:0859:160). In the third phase the architect systematizes his archeological procedure by using five significant cartographic dates - 1849, 1889, 1949, 1989, 2049 - each corresponding to a specific superposition (see DR1987:0859:274-277). In the fourth phase, Eisenman simplifies the superposition of 2049 to a few iconic colour-coded forms: ranch (green), ranch house (blue), campus site (red), and water forms (river and pond) (gold). Material for the fourth phase includes three relief models, four presentation drawings, and a model (property of the CSULB) (relief models: DR1987:0859:001-003; drawings: DR1987:0859:004-008). Eisenman "inhabits" his artifical archeology by detailed planning of interior spaces, and gives substance to the cartographic traces in a series of sketch sections, perspectives, and working models. Working models reveal how the central "canal" area gradually became the museum's access point (DR1987:0859:484-490); the museum, galleries, offices, and preparation areas are on one side of this deep cut, while the cafeteria and black-box theater are on the other. The upper level was to house offices, meeting rooms, and the library. File contains audiovisual material, conceptual drawings, design development drawings, presentation drawings, reference drawings, working drawings, photographic materials, and textual records.
University Art Museum
Actions:
AP143.S4.D65
Description:
File documents the unexecuted project for the University Art Museum, Long Beach, California. Material in this file was produced between 1986 and 1988. California State University, Long Beach (CSULB), commissioned Eisenman/Robertson Architects to design an art museum adjacent to the main campus entrance. The 67,500-square-foot building was to comprise four galleries, a black-box theater, an auditorium, a cafe, conference rooms, a library, offices, preparation spaces, and storage vaults. The project, sited on a 23-acre arboretum, included landscaping; terraced sculpture courtyards, botanical gardens, and a two-acre pond. Eisenman linked the northern and southern parts of the arboretum by an elevated public walkway through the museum. Sets of drawings were presented on 8 and 30 April, 2 June, and 5 Aug. In the first design phase Eisenman explores the cartographic figures which form the basis of his artificial excavation when superposed: a series of sketches establishes the analogical relationships which fix the relative scales of the plans and produce the superpositions; another series contextualizes the superposed figures by placing them within the museum site (DR1987:0859:087-090). The second phase concerns the building; the working model shows the building carved out of a square pit, from which spring an oil derrick and a reconstruction of a recreational pier (Rainbow Pier, 1920s) used here as circulatory bridge (DR1987:0859:160). In the third phase the architect systematizes his archeological procedure by using five significant cartographic dates - 1849, 1889, 1949, 1989, 2049 - each corresponding to a specific superposition (see DR1987:0859:274-277). In the fourth phase, Eisenman simplifies the superposition of 2049 to a few iconic colour-coded forms: ranch (green), ranch house (blue), campus site (red), and water forms (river and pond) (gold). Material for the fourth phase includes three relief models, four presentation drawings, and a model (property of the CSULB) (relief models: DR1987:0859:001-003; drawings: DR1987:0859:004-008). Eisenman "inhabits" his artifical archeology by detailed planning of interior spaces, and gives substance to the cartographic traces in a series of sketch sections, perspectives, and working models. Working models reveal how the central "canal" area gradually became the museum's access point (DR1987:0859:484-490); the museum, galleries, offices, and preparation areas are on one side of this deep cut, while the cafeteria and black-box theater are on the other. The upper level was to house offices, meeting rooms, and the library. File contains audiovisual material, conceptual drawings, design development drawings, presentation drawings, reference drawings, working drawings, photographic materials, and textual records.
Level of archival description:
File 65
File 65
Date:
1986-1988
1986-1988
People:
Form:
events
events
Title:
Isola and Norzi: Conshelf II
Isola and Norzi: Conshelf II
Actions:
Description:
Artists Hilario Isola and Matteo Norzi discuss Jacques Cousteau’s Conshelf II underwater base and their own project Liquid Door, which proposes to revive the dream of living underwater by making Cousteau’s Starfish House inhabitable. Based in New York, Italian-born Hilario Isola and Matteo Norzi have collaborated since 2003, pooling their backgrounds and interests in art(...)
Artists Hilario Isola and Matteo Norzi discuss Jacques Cousteau’s Conshelf II underwater base and their own project Liquid Door, which proposes to revive the dream of living underwater by making Cousteau’s Starfish House inhabitable. Based in New York, Italian-born Hilario Isola and Matteo Norzi have collaborated since 2003, pooling their backgrounds and interests in art(...)
Location:
Paul Desmarais Theatre
Paul Desmarais Theatre
Date:
13 May 2010 , 7pm
13 May 2010 , 7pm
Title:
Isola and Norzi: Conshelf II
Actions:
Description:
Artists Hilario Isola and Matteo Norzi discuss Jacques Cousteau’s Conshelf II underwater base and their own project Liquid Door, which proposes to revive the dream of living underwater by making Cousteau’s Starfish House inhabitable. Based in New York, Italian-born Hilario Isola and Matteo Norzi have collaborated since 2003, pooling their backgrounds and interests in art(...)
Isola and Norzi: Conshelf II
Actions:
Description:
Artists Hilario Isola and Matteo Norzi discuss Jacques Cousteau’s Conshelf II underwater base and their own project Liquid Door, which proposes to revive the dream of living underwater by making Cousteau’s Starfish House inhabitable. Based in New York, Italian-born Hilario Isola and Matteo Norzi have collaborated since 2003, pooling their backgrounds and interests in art(...)
Form:
events
events
Date:
13 May 2010
7pm
13 May 2010
7pm
Location:
Paul Desmarais Theatre
Paul Desmarais Theatre
Form:
events
events
Actions:
Description:
On New Year’s Eve 1987, the people of Gonaïves, an impoverished port town on Haiti’s west coast, awoke to 4,000 tons of toxic ash. Amidst political turmoil in Haiti, officials had approved the import of toxic waste from the United States classified as “fertilizer.” In this case, the ash came from Philadelphia, which was facing a waste management crisis brought on by the(...)
On New Year’s Eve 1987, the people of Gonaïves, an impoverished port town on Haiti’s west coast, awoke to 4,000 tons of toxic ash. Amidst political turmoil in Haiti, officials had approved the import of toxic waste from the United States classified as “fertilizer.” In this case, the ash came from Philadelphia, which was facing a waste management crisis brought on by the(...)
Keyword(s):
Canada, environment, Jodoin, Müller, It's all happening so fast, toxic, Haiti, voluntary exchange, garbage imperialism, Gonaives
Canada, environment, Jodoin, Müller, It's all happening so fast, toxic, Haiti, voluntary exchange, garbage imperialism, Gonaives
Date:
16 March 2017
16 March 2017
Title:
Here It Is Toxic, There It Is Not
Actions:
Description:
On New Year’s Eve 1987, the people of Gonaïves, an impoverished port town on Haiti’s west coast, awoke to 4,000 tons of toxic ash. Amidst political turmoil in Haiti, officials had approved the import of toxic waste from the United States classified as “fertilizer.” In this case, the ash came from Philadelphia, which was facing a waste management crisis brought on by the(...)
Here It Is Toxic, There It Is Not
Actions:
Description:
On New Year’s Eve 1987, the people of Gonaïves, an impoverished port town on Haiti’s west coast, awoke to 4,000 tons of toxic ash. Amidst political turmoil in Haiti, officials had approved the import of toxic waste from the United States classified as “fertilizer.” In this case, the ash came from Philadelphia, which was facing a waste management crisis brought on by the(...)
Form:
events
events
Date:
16 March 2017
16 March 2017
Keyword(s):
Canada, environment, Jodoin, Müller, It's all happening so fast, toxic, Haiti, voluntary exchange, garbage imperialism, Gonaives
Canada, environment, Jodoin, Müller, It's all happening so fast, toxic, Haiti, voluntary exchange, garbage imperialism, Gonaives
Form:
events
events
Title:
Learning from... Madrid
Learning from... Madrid
Actions:
Description:
In the aftermath of the global economic crisis, Spain is now paying for its lack of urban policy, particularly in the construction industry. The credit crunch curbed the frenzy of construction and left behind a vast territory of incomplete urban spaces. Architect, editor, and architectural curator Javier Arpa Fernández presents a lecture reflecting on how alternative(...)
In the aftermath of the global economic crisis, Spain is now paying for its lack of urban policy, particularly in the construction industry. The credit crunch curbed the frenzy of construction and left behind a vast territory of incomplete urban spaces. Architect, editor, and architectural curator Javier Arpa Fernández presents a lecture reflecting on how alternative(...)
Location:
Paul-Desmarais Theatre
Paul-Desmarais Theatre
Date:
4 December 2014 , 6pm
4 December 2014 , 6pm
Title:
Learning from... Madrid
Actions:
Description:
In the aftermath of the global economic crisis, Spain is now paying for its lack of urban policy, particularly in the construction industry. The credit crunch curbed the frenzy of construction and left behind a vast territory of incomplete urban spaces. Architect, editor, and architectural curator Javier Arpa Fernández presents a lecture reflecting on how alternative(...)
Learning from... Madrid
Actions:
Description:
In the aftermath of the global economic crisis, Spain is now paying for its lack of urban policy, particularly in the construction industry. The credit crunch curbed the frenzy of construction and left behind a vast territory of incomplete urban spaces. Architect, editor, and architectural curator Javier Arpa Fernández presents a lecture reflecting on how alternative(...)
Form:
events
events
Date:
4 December 2014
6pm
4 December 2014
6pm
Location:
Paul-Desmarais Theatre
Paul-Desmarais Theatre
Form:
events
events
Actions:
Description:
As the Earth’s climate reaches a state of constant instability, there is growing awareness of how global warming can affect human rights and increase social strife. Less attention has been paid to the ways in which political violence and human rights abuses, from past and present, constitute driving factors in the transformations of the global environment and climate.(...)
As the Earth’s climate reaches a state of constant instability, there is growing awareness of how global warming can affect human rights and increase social strife. Less attention has been paid to the ways in which political violence and human rights abuses, from past and present, constitute driving factors in the transformations of the global environment and climate.(...)
Location:
Paul Demarais Theatre
Paul Demarais Theatre
Date:
1 December 2016, 6pm
1 December 2016, 6pm
Title:
In the Frontiers of Climate Change (Toward a Politics of Nonhuman Rights)
Actions:
Description:
As the Earth’s climate reaches a state of constant instability, there is growing awareness of how global warming can affect human rights and increase social strife. Less attention has been paid to the ways in which political violence and human rights abuses, from past and present, constitute driving factors in the transformations of the global environment and climate.(...)
In the Frontiers of Climate Change (Toward a Politics of Nonhuman Rights)
Actions:
Description:
As the Earth’s climate reaches a state of constant instability, there is growing awareness of how global warming can affect human rights and increase social strife. Less attention has been paid to the ways in which political violence and human rights abuses, from past and present, constitute driving factors in the transformations of the global environment and climate.(...)
Form:
events
events
Date:
1 December 2016
6pm
1 December 2016
6pm
Location:
Paul Demarais Theatre
Paul Demarais Theatre
Form:
textual records
textual records
Reference number:
AP197.S1.SS9.002
Description:
This box is comprised of notes, drafts, articles, interviews, conference addresses by Kenneth Frampton. The materials are organized alphabetically by either title or the architect's last name, from A-FO. Subjects and architects explored in these texts include: the Patkau Architects's Agosta House; Tadao Ando; Demetri and Suzana Antonakakis; ULM; architectural design; architecture as a humanistic discipline; architecture vs. art; Hannah Arendt; Wiel Arets; Emre Arolat; the avant-garde; Barcelona; basque architecture; Anatole de Baudot; Salvatore Bisogni; Mario Botta; the British Library; Angelo Bucci; William Butterfield; James Carpenter; la Casa Cooper; Alan Colquhuon; Casco Centrale; Charles Correa; constructivism; Czech architecture; the Duetsche Werkbund; developments in contemporary architecture; architectural education; Peter Eisenman; Shushei Endo; English architecture; and Arthur Erikson.
AP197.S1.SS9.002
Description:
This box is comprised of notes, drafts, articles, interviews, conference addresses by Kenneth Frampton. The materials are organized alphabetically by either title or the architect's last name, from A-FO. Subjects and architects explored in these texts include: the Patkau Architects's Agosta House; Tadao Ando; Demetri and Suzana Antonakakis; ULM; architectural design; architecture as a humanistic discipline; architecture vs. art; Hannah Arendt; Wiel Arets; Emre Arolat; the avant-garde; Barcelona; basque architecture; Anatole de Baudot; Salvatore Bisogni; Mario Botta; the British Library; Angelo Bucci; William Butterfield; James Carpenter; la Casa Cooper; Alan Colquhuon; Casco Centrale; Charles Correa; constructivism; Czech architecture; the Duetsche Werkbund; developments in contemporary architecture; architectural education; Peter Eisenman; Shushei Endo; English architecture; and Arthur Erikson.
People:
Date:
1965-2015
1965-2015
Title:
Kenneth Frampton texts, articles and notes A-FO
Actions:
AP197.S1.SS9.002
Description:
This box is comprised of notes, drafts, articles, interviews, conference addresses by Kenneth Frampton. The materials are organized alphabetically by either title or the architect's last name, from A-FO. Subjects and architects explored in these texts include: the Patkau Architects's Agosta House; Tadao Ando; Demetri and Suzana Antonakakis; ULM; architectural design; architecture as a humanistic discipline; architecture vs. art; Hannah Arendt; Wiel Arets; Emre Arolat; the avant-garde; Barcelona; basque architecture; Anatole de Baudot; Salvatore Bisogni; Mario Botta; the British Library; Angelo Bucci; William Butterfield; James Carpenter; la Casa Cooper; Alan Colquhuon; Casco Centrale; Charles Correa; constructivism; Czech architecture; the Duetsche Werkbund; developments in contemporary architecture; architectural education; Peter Eisenman; Shushei Endo; English architecture; and Arthur Erikson.
Kenneth Frampton texts, articles and notes A-FO
Actions:
AP197.S1.SS9.002
Description:
This box is comprised of notes, drafts, articles, interviews, conference addresses by Kenneth Frampton. The materials are organized alphabetically by either title or the architect's last name, from A-FO. Subjects and architects explored in these texts include: the Patkau Architects's Agosta House; Tadao Ando; Demetri and Suzana Antonakakis; ULM; architectural design; architecture as a humanistic discipline; architecture vs. art; Hannah Arendt; Wiel Arets; Emre Arolat; the avant-garde; Barcelona; basque architecture; Anatole de Baudot; Salvatore Bisogni; Mario Botta; the British Library; Angelo Bucci; William Butterfield; James Carpenter; la Casa Cooper; Alan Colquhuon; Casco Centrale; Charles Correa; constructivism; Czech architecture; the Duetsche Werkbund; developments in contemporary architecture; architectural education; Peter Eisenman; Shushei Endo; English architecture; and Arthur Erikson.
Form:
textual records
textual records
Date:
1965-2015
1965-2015
People:
Form:
events
events
Title:
Learning from... Bahrain
Learning from... Bahrain
Actions:
Description:
Noura al Sayeh presents the third lecture in the Learning From… the Middle East series. The presentation will survey the photographic documentation of the Bahrain coast by photographer Camille Zakharia. The urban transformations in the last 30 years have redrawn the Bahraini landscape and triggered the development of a contemporary vernacular culture. The presentation(...)
Noura al Sayeh presents the third lecture in the Learning From… the Middle East series. The presentation will survey the photographic documentation of the Bahrain coast by photographer Camille Zakharia. The urban transformations in the last 30 years have redrawn the Bahraini landscape and triggered the development of a contemporary vernacular culture. The presentation(...)
Location:
Paul-Desmarais Theatre
Paul-Desmarais Theatre
Date:
6 October 2011 , 7pm
6 October 2011 , 7pm
Title:
Learning from... Bahrain
Actions:
Description:
Noura al Sayeh presents the third lecture in the Learning From… the Middle East series. The presentation will survey the photographic documentation of the Bahrain coast by photographer Camille Zakharia. The urban transformations in the last 30 years have redrawn the Bahraini landscape and triggered the development of a contemporary vernacular culture. The presentation(...)
Learning from... Bahrain
Actions:
Description:
Noura al Sayeh presents the third lecture in the Learning From… the Middle East series. The presentation will survey the photographic documentation of the Bahrain coast by photographer Camille Zakharia. The urban transformations in the last 30 years have redrawn the Bahraini landscape and triggered the development of a contemporary vernacular culture. The presentation(...)
Form:
events
events
Date:
6 October 2011
7pm
6 October 2011
7pm
Location:
Paul-Desmarais Theatre
Paul-Desmarais Theatre
