5873 Results
Form:
exhibitions
exhibitions
Description:
Other Soundings: Selected Works by John Hejduk, 1954–1997, the first major retrospective of Hejduk’s work, explores the themes that have always preoccupied him: architecture as a social act, the wall, the house, the church, passage and transformation, the experience of the city. The importance of John Hejduk rests on his teaching and on the originality of his vision of(...)
Other Soundings: Selected Works by John Hejduk, 1954–1997, the first major retrospective of Hejduk’s work, explores the themes that have always preoccupied him: architecture as a social act, the wall, the house, the church, passage and transformation, the experience of the city. The importance of John Hejduk rests on his teaching and on the originality of his vision of(...)
Location:
Main galleries
Main galleries
Date:
22 October 1997 to 15 February 1998
22 October 1997 to 15 February 1998
Title:
Other Soundings: Selected Works by John Hejduk, 1954-1997
Actions:
Description:
Other Soundings: Selected Works by John Hejduk, 1954–1997, the first major retrospective of Hejduk’s work, explores the themes that have always preoccupied him: architecture as a social act, the wall, the house, the church, passage and transformation, the experience of the city. The importance of John Hejduk rests on his teaching and on the originality of his vision of(...)
Other Soundings: Selected Works by John Hejduk, 1954-1997
Actions:
Description:
Other Soundings: Selected Works by John Hejduk, 1954–1997, the first major retrospective of Hejduk’s work, explores the themes that have always preoccupied him: architecture as a social act, the wall, the house, the church, passage and transformation, the experience of the city. The importance of John Hejduk rests on his teaching and on the originality of his vision of(...)
Form:
exhibitions
exhibitions
Date:
22 October 1997 to
15 February 1998
22 October 1997 to
15 February 1998
Location:
Main galleries
Main galleries
Level of archival description:
Project
Project
Reference number:
AP066.S3.D3
Description:
Le dossier documente la soumission pour le concour ouvert pour le Musée d'art contemporain de Montréal qui s'est tenu à Montréal, Québec, pendant l'hiver 1984. Le dossier contient des dessins, des reprographies, des panneaux, des artéfacts, des documents textuels et des documents photographiques. Objectifs du concours: "Dans le cadre de sa politique culturelle, le Québec posait récemment un geste attendu depuis longtemps: celui de relocaliser, au centre-ville de Montréal, le Musée d'art contemporain de Montréal installé depuis 1967 sur l'ancien site de l'Exposition universelle." Odile Hénault, " Le concours du Musée d'art contemporain: un constat ", Section A, vol. 2, nº 2, p. 11. Description du projet par l'architecte: "Réaliser une architecture qui manifeste, fière, l'audace et la recherche, en explorant un thème qui apparaît être un centre du débat contemporain, soit la pertinence de la nature dans la culture et plus largement du naturel dans le culturel." Jacques Rousseau, "Du lieu, vu du lieu vu", Parachute, nº 36, septembre 1984, p. 29.
AP066.S3.D3
Description:
Le dossier documente la soumission pour le concour ouvert pour le Musée d'art contemporain de Montréal qui s'est tenu à Montréal, Québec, pendant l'hiver 1984. Le dossier contient des dessins, des reprographies, des panneaux, des artéfacts, des documents textuels et des documents photographiques. Objectifs du concours: "Dans le cadre de sa politique culturelle, le Québec posait récemment un geste attendu depuis longtemps: celui de relocaliser, au centre-ville de Montréal, le Musée d'art contemporain de Montréal installé depuis 1967 sur l'ancien site de l'Exposition universelle." Odile Hénault, " Le concours du Musée d'art contemporain: un constat ", Section A, vol. 2, nº 2, p. 11. Description du projet par l'architecte: "Réaliser une architecture qui manifeste, fière, l'audace et la recherche, en explorant un thème qui apparaît être un centre du débat contemporain, soit la pertinence de la nature dans la culture et plus largement du naturel dans le culturel." Jacques Rousseau, "Du lieu, vu du lieu vu", Parachute, nº 36, septembre 1984, p. 29.
People:
Date:
1984
1984
Title:
Concours du Musée d'art contemporain de Montréal
Actions:
AP066.S3.D3
Description:
Le dossier documente la soumission pour le concour ouvert pour le Musée d'art contemporain de Montréal qui s'est tenu à Montréal, Québec, pendant l'hiver 1984. Le dossier contient des dessins, des reprographies, des panneaux, des artéfacts, des documents textuels et des documents photographiques. Objectifs du concours: "Dans le cadre de sa politique culturelle, le Québec posait récemment un geste attendu depuis longtemps: celui de relocaliser, au centre-ville de Montréal, le Musée d'art contemporain de Montréal installé depuis 1967 sur l'ancien site de l'Exposition universelle." Odile Hénault, " Le concours du Musée d'art contemporain: un constat ", Section A, vol. 2, nº 2, p. 11. Description du projet par l'architecte: "Réaliser une architecture qui manifeste, fière, l'audace et la recherche, en explorant un thème qui apparaît être un centre du débat contemporain, soit la pertinence de la nature dans la culture et plus largement du naturel dans le culturel." Jacques Rousseau, "Du lieu, vu du lieu vu", Parachute, nº 36, septembre 1984, p. 29.
Concours du Musée d'art contemporain de Montréal
Actions:
AP066.S3.D3
Description:
Le dossier documente la soumission pour le concour ouvert pour le Musée d'art contemporain de Montréal qui s'est tenu à Montréal, Québec, pendant l'hiver 1984. Le dossier contient des dessins, des reprographies, des panneaux, des artéfacts, des documents textuels et des documents photographiques. Objectifs du concours: "Dans le cadre de sa politique culturelle, le Québec posait récemment un geste attendu depuis longtemps: celui de relocaliser, au centre-ville de Montréal, le Musée d'art contemporain de Montréal installé depuis 1967 sur l'ancien site de l'Exposition universelle." Odile Hénault, " Le concours du Musée d'art contemporain: un constat ", Section A, vol. 2, nº 2, p. 11. Description du projet par l'architecte: "Réaliser une architecture qui manifeste, fière, l'audace et la recherche, en explorant un thème qui apparaît être un centre du débat contemporain, soit la pertinence de la nature dans la culture et plus largement du naturel dans le culturel." Jacques Rousseau, "Du lieu, vu du lieu vu", Parachute, nº 36, septembre 1984, p. 29.
Level of archival description:
Dossier 3
Dossier 3
Date:
1984
1984
People:
Form:
exhibitions
exhibitions
Description:
Disneyland, with its far-flung colonies in Florida, Japan, and France, is a key symbol of contemporary American culture that has been both celebrated and attacked as the ultimate embodiment of consumer society, of simulation and pastiche, of the blurring of distinctions between reality and mass-media imagery. The Architecture of Reassurance: Designing the Disney Theme(...)
Disneyland, with its far-flung colonies in Florida, Japan, and France, is a key symbol of contemporary American culture that has been both celebrated and attacked as the ultimate embodiment of consumer society, of simulation and pastiche, of the blurring of distinctions between reality and mass-media imagery. The Architecture of Reassurance: Designing the Disney Theme(...)
Location:
Main galleries
Main galleries
Date:
17 June 1997 to 28 September 1997
17 June 1997 to 28 September 1997
Title:
The Architecture of Reassurance: Designing the Disney Theme Parks
Actions:
Description:
Disneyland, with its far-flung colonies in Florida, Japan, and France, is a key symbol of contemporary American culture that has been both celebrated and attacked as the ultimate embodiment of consumer society, of simulation and pastiche, of the blurring of distinctions between reality and mass-media imagery. The Architecture of Reassurance: Designing the Disney Theme(...)
The Architecture of Reassurance: Designing the Disney Theme Parks
Actions:
Description:
Disneyland, with its far-flung colonies in Florida, Japan, and France, is a key symbol of contemporary American culture that has been both celebrated and attacked as the ultimate embodiment of consumer society, of simulation and pastiche, of the blurring of distinctions between reality and mass-media imagery. The Architecture of Reassurance: Designing the Disney Theme(...)
Form:
exhibitions
exhibitions
Date:
17 June 1997 to
28 September 1997
17 June 1997 to
28 September 1997
Location:
Main galleries
Main galleries
Level of archival description:
Project
Project
Reference number:
AP178.S1.1999.PR03
Description:
This project series documents the Plano de Urbanização da Nova Maia, Parque do Millenium in Maia, Portugal. While the records were held in the office's archives, this project was assigned the number 109/90. The office assigned the date 1999 to this project. This project is part of the city's larger urbanization plan. The city council commissioned Álvaro Siza along with two other Portugeuese architects, Eduardo Souto de Moura and João Álvaro Rocha to carry out the urban plan for Nova Maia. Siza is responsible for Parque do Millenium, an area of 320 hectres, which includes a multi-purpose space with hotels, restaurants, residential housing, a science and technology park, a nature park, a sports field, a pavillion, and a new stadium. The project is in progress. Documenting this project are exisiting studies and plans from the Câmara Municipal da Maia, working plans, a study model, elevations and measurements for the project site. Photographic material includes photographs of the model and aerial views of the project site. Textual material includes project documentation, contracts, and correpondence with the Câmara Municipal da Maia and Mergarden Imobiliaria, S.A.
AP178.S1.1999.PR03
Description:
This project series documents the Plano de Urbanização da Nova Maia, Parque do Millenium in Maia, Portugal. While the records were held in the office's archives, this project was assigned the number 109/90. The office assigned the date 1999 to this project. This project is part of the city's larger urbanization plan. The city council commissioned Álvaro Siza along with two other Portugeuese architects, Eduardo Souto de Moura and João Álvaro Rocha to carry out the urban plan for Nova Maia. Siza is responsible for Parque do Millenium, an area of 320 hectres, which includes a multi-purpose space with hotels, restaurants, residential housing, a science and technology park, a nature park, a sports field, a pavillion, and a new stadium. The project is in progress. Documenting this project are exisiting studies and plans from the Câmara Municipal da Maia, working plans, a study model, elevations and measurements for the project site. Photographic material includes photographs of the model and aerial views of the project site. Textual material includes project documentation, contracts, and correpondence with the Câmara Municipal da Maia and Mergarden Imobiliaria, S.A.
People:
Date:
1999-2011
1999-2011
Title:
Plano de Urbanização da Nova Maia, Parque do Millenium [Urban plan for Nova Maia, Millenium Park], Maia, Portugal (1999)
Actions:
AP178.S1.1999.PR03
Description:
This project series documents the Plano de Urbanização da Nova Maia, Parque do Millenium in Maia, Portugal. While the records were held in the office's archives, this project was assigned the number 109/90. The office assigned the date 1999 to this project. This project is part of the city's larger urbanization plan. The city council commissioned Álvaro Siza along with two other Portugeuese architects, Eduardo Souto de Moura and João Álvaro Rocha to carry out the urban plan for Nova Maia. Siza is responsible for Parque do Millenium, an area of 320 hectres, which includes a multi-purpose space with hotels, restaurants, residential housing, a science and technology park, a nature park, a sports field, a pavillion, and a new stadium. The project is in progress. Documenting this project are exisiting studies and plans from the Câmara Municipal da Maia, working plans, a study model, elevations and measurements for the project site. Photographic material includes photographs of the model and aerial views of the project site. Textual material includes project documentation, contracts, and correpondence with the Câmara Municipal da Maia and Mergarden Imobiliaria, S.A.
Plano de Urbanização da Nova Maia, Parque do Millenium [Urban plan for Nova Maia, Millenium Park], Maia, Portugal (1999)
Actions:
AP178.S1.1999.PR03
Description:
This project series documents the Plano de Urbanização da Nova Maia, Parque do Millenium in Maia, Portugal. While the records were held in the office's archives, this project was assigned the number 109/90. The office assigned the date 1999 to this project. This project is part of the city's larger urbanization plan. The city council commissioned Álvaro Siza along with two other Portugeuese architects, Eduardo Souto de Moura and João Álvaro Rocha to carry out the urban plan for Nova Maia. Siza is responsible for Parque do Millenium, an area of 320 hectres, which includes a multi-purpose space with hotels, restaurants, residential housing, a science and technology park, a nature park, a sports field, a pavillion, and a new stadium. The project is in progress. Documenting this project are exisiting studies and plans from the Câmara Municipal da Maia, working plans, a study model, elevations and measurements for the project site. Photographic material includes photographs of the model and aerial views of the project site. Textual material includes project documentation, contracts, and correpondence with the Câmara Municipal da Maia and Mergarden Imobiliaria, S.A.
Level of archival description:
Project
Project
Date:
1999-2011
1999-2011
People:
Level of archival description:
Sub-series
Sub-series
Actions:
Reference number:
AP075.S2.SS4
Description:
This sub-series documents an exhibition held at the Smith College in Northampton, Massachusetts on Cornelia Hahn Oberlander and a selection of her landscape project in 2003. Oberlander's projects exhibited included Robson Square Provincial Government Complex (1974-1982), Museum of Anthropology (1975-1977), National Gallery of Canada (1983-1990), Canadian Chancery (1983-1990), Library Square (1992-1995), Liu Centre for Global Studies (1992), C. K. Choi Institute of Asian Research, University of British Columbia (1993-1996), Jim Everett Memorial Park (2000-2001), New York Times Building (2001), and Wellesley Central Health Corporation Neighbourhood Project (2003). Each projects were divided under five themes: Nature, Science, Space, Art and the Future. The sub-series also includes some documents related to the application for another exhibition at the Smith College in 2005 entitled "Designed Landscape: A Smith College Alumnae Exhibit". The sub-series contains correspondence, draft exhibition texts, proof of the presentation panels, including digital versions, and some installation plans. Document related to the 2005 exhibition project includes correspondence with Smith College and application form.
AP075.S2.SS4
Description:
This sub-series documents an exhibition held at the Smith College in Northampton, Massachusetts on Cornelia Hahn Oberlander and a selection of her landscape project in 2003. Oberlander's projects exhibited included Robson Square Provincial Government Complex (1974-1982), Museum of Anthropology (1975-1977), National Gallery of Canada (1983-1990), Canadian Chancery (1983-1990), Library Square (1992-1995), Liu Centre for Global Studies (1992), C. K. Choi Institute of Asian Research, University of British Columbia (1993-1996), Jim Everett Memorial Park (2000-2001), New York Times Building (2001), and Wellesley Central Health Corporation Neighbourhood Project (2003). Each projects were divided under five themes: Nature, Science, Space, Art and the Future. The sub-series also includes some documents related to the application for another exhibition at the Smith College in 2005 entitled "Designed Landscape: A Smith College Alumnae Exhibit". The sub-series contains correspondence, draft exhibition texts, proof of the presentation panels, including digital versions, and some installation plans. Document related to the 2005 exhibition project includes correspondence with Smith College and application form.
People:
Date:
2003-2005
2003-2005
Title:
Exhibition at the Smith College, Northampton, Massachusetts (circa 2003)
Actions:
AP075.S2.SS4
Description:
This sub-series documents an exhibition held at the Smith College in Northampton, Massachusetts on Cornelia Hahn Oberlander and a selection of her landscape project in 2003. Oberlander's projects exhibited included Robson Square Provincial Government Complex (1974-1982), Museum of Anthropology (1975-1977), National Gallery of Canada (1983-1990), Canadian Chancery (1983-1990), Library Square (1992-1995), Liu Centre for Global Studies (1992), C. K. Choi Institute of Asian Research, University of British Columbia (1993-1996), Jim Everett Memorial Park (2000-2001), New York Times Building (2001), and Wellesley Central Health Corporation Neighbourhood Project (2003). Each projects were divided under five themes: Nature, Science, Space, Art and the Future. The sub-series also includes some documents related to the application for another exhibition at the Smith College in 2005 entitled "Designed Landscape: A Smith College Alumnae Exhibit". The sub-series contains correspondence, draft exhibition texts, proof of the presentation panels, including digital versions, and some installation plans. Document related to the 2005 exhibition project includes correspondence with Smith College and application form.
Exhibition at the Smith College, Northampton, Massachusetts (circa 2003)
Actions:
AP075.S2.SS4
Description:
This sub-series documents an exhibition held at the Smith College in Northampton, Massachusetts on Cornelia Hahn Oberlander and a selection of her landscape project in 2003. Oberlander's projects exhibited included Robson Square Provincial Government Complex (1974-1982), Museum of Anthropology (1975-1977), National Gallery of Canada (1983-1990), Canadian Chancery (1983-1990), Library Square (1992-1995), Liu Centre for Global Studies (1992), C. K. Choi Institute of Asian Research, University of British Columbia (1993-1996), Jim Everett Memorial Park (2000-2001), New York Times Building (2001), and Wellesley Central Health Corporation Neighbourhood Project (2003). Each projects were divided under five themes: Nature, Science, Space, Art and the Future. The sub-series also includes some documents related to the application for another exhibition at the Smith College in 2005 entitled "Designed Landscape: A Smith College Alumnae Exhibit". The sub-series contains correspondence, draft exhibition texts, proof of the presentation panels, including digital versions, and some installation plans. Document related to the 2005 exhibition project includes correspondence with Smith College and application form.
Level of archival description:
Sub-series
Sub-series
Date:
2003-2005
2003-2005
People:
Form:
exhibitions
exhibitions
Description:
Celebrating the opening of the CCAs new building, Canadian Centre for Architecture: Building and Gardens reveals the potential of a museum of architecture as a statement: about the nature of the works it collects and exhibits; about its role in the life of a culture or a city; and about architecture itself. Both the restoration of the nineteenth-century Shaughnessy House(...)
Celebrating the opening of the CCAs new building, Canadian Centre for Architecture: Building and Gardens reveals the potential of a museum of architecture as a statement: about the nature of the works it collects and exhibits; about its role in the life of a culture or a city; and about architecture itself. Both the restoration of the nineteenth-century Shaughnessy House(...)
Location:
Octagonal gallery
Octagonal gallery
Date:
7 May 1989 to 25 March 1990
7 May 1989 to 25 March 1990
Title:
Canadian Centre for Architecture: Building and Gardens
Actions:
Description:
Celebrating the opening of the CCAs new building, Canadian Centre for Architecture: Building and Gardens reveals the potential of a museum of architecture as a statement: about the nature of the works it collects and exhibits; about its role in the life of a culture or a city; and about architecture itself. Both the restoration of the nineteenth-century Shaughnessy House(...)
Canadian Centre for Architecture: Building and Gardens
Actions:
Description:
Celebrating the opening of the CCAs new building, Canadian Centre for Architecture: Building and Gardens reveals the potential of a museum of architecture as a statement: about the nature of the works it collects and exhibits; about its role in the life of a culture or a city; and about architecture itself. Both the restoration of the nineteenth-century Shaughnessy House(...)
Form:
exhibitions
exhibitions
Date:
7 May 1989 to
25 March 1990
7 May 1989 to
25 March 1990
Location:
Octagonal gallery
Octagonal gallery
Level of archival description:
Project
Project
Actions:
Reference number:
AP207.S1.1985.PR01
Description:
The project series documents "Integrazioni" an installation by Pettena for the Expo Arte at the Galleria Megapoli in Bari in 1985. The installation consisted of a framed three dimensional 'picture' in which is placed two benches and a table, and perspective is added in with paint to give the impression of depth. "A picture that, for once, has a depth (so that you can enter it) is in fact a place, the place where names change, the place where natures change, the location of a shift between real and imaginary, a door opening onto a reality that is certainly imagined, but that you can pass through." [1] The project series contains sketches and photographs of the installation, and a leaflet from the Galleria Megapoli on the exhibition and the installations presented. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/inst-integrations-1984/ (last accessed 11 December 2019).
AP207.S1.1985.PR01
Description:
The project series documents "Integrazioni" an installation by Pettena for the Expo Arte at the Galleria Megapoli in Bari in 1985. The installation consisted of a framed three dimensional 'picture' in which is placed two benches and a table, and perspective is added in with paint to give the impression of depth. "A picture that, for once, has a depth (so that you can enter it) is in fact a place, the place where names change, the place where natures change, the location of a shift between real and imaginary, a door opening onto a reality that is certainly imagined, but that you can pass through." [1] The project series contains sketches and photographs of the installation, and a leaflet from the Galleria Megapoli on the exhibition and the installations presented. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/inst-integrations-1984/ (last accessed 11 December 2019).
People:
Date:
circa 1985-2015
circa 1985-2015
Title:
Integrazioni [Integrations] (1985)
Actions:
AP207.S1.1985.PR01
Description:
The project series documents "Integrazioni" an installation by Pettena for the Expo Arte at the Galleria Megapoli in Bari in 1985. The installation consisted of a framed three dimensional 'picture' in which is placed two benches and a table, and perspective is added in with paint to give the impression of depth. "A picture that, for once, has a depth (so that you can enter it) is in fact a place, the place where names change, the place where natures change, the location of a shift between real and imaginary, a door opening onto a reality that is certainly imagined, but that you can pass through." [1] The project series contains sketches and photographs of the installation, and a leaflet from the Galleria Megapoli on the exhibition and the installations presented. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/inst-integrations-1984/ (last accessed 11 December 2019).
Integrazioni [Integrations] (1985)
Actions:
AP207.S1.1985.PR01
Description:
The project series documents "Integrazioni" an installation by Pettena for the Expo Arte at the Galleria Megapoli in Bari in 1985. The installation consisted of a framed three dimensional 'picture' in which is placed two benches and a table, and perspective is added in with paint to give the impression of depth. "A picture that, for once, has a depth (so that you can enter it) is in fact a place, the place where names change, the place where natures change, the location of a shift between real and imaginary, a door opening onto a reality that is certainly imagined, but that you can pass through." [1] The project series contains sketches and photographs of the installation, and a leaflet from the Galleria Megapoli on the exhibition and the installations presented. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/inst-integrations-1984/ (last accessed 11 December 2019).
Level of archival description:
Project
Project
Date:
circa 1985-2015
circa 1985-2015
People:
Level of archival description:
Project
Project
Title:
Donmar
Donmar
Reference number:
AP144.S2.D53
Description:
File documents the unexecuted conversion of the Donmar rehearsal studio in Covent Garden, London, England, United Kingdom into an experimental theatre and late night meeting place. The client was the Fun Palace Trust ("Cedric Price Supplement", 'Architectural Design', vol. 40, (October 1970), 515) and negotiations for the conversion were undertaken with Donald Albery of New Theatre and Donmar Productions Limited. Movable platforms, furniture, and fittings were designed so that various seating and performance areas of different sizes could be created to accommodate a wide range of activities and entertainment of an impromptu nature. Survey drawings show the Donmar rehearsal studio and environs. Drawings for the conversion include plans, sections, axonometric projections, cutaway axonometric drawings showing the interior layout from two points of view, and conceptual sketches and perspectives of interior spaces in use. Axonometric drawings for fittings and furniture show platforms, a small stage, a chair/table, and a "conversation box". A drawing examines the sightlines of the converted interior by showing human figures in relationship with the movable units. Amended floor plans and sections show variations for the interior layout. Material in this file was produced between 1963 and 1964. File contains design development drawings and textual records.
AP144.S2.D53
Description:
File documents the unexecuted conversion of the Donmar rehearsal studio in Covent Garden, London, England, United Kingdom into an experimental theatre and late night meeting place. The client was the Fun Palace Trust ("Cedric Price Supplement", 'Architectural Design', vol. 40, (October 1970), 515) and negotiations for the conversion were undertaken with Donald Albery of New Theatre and Donmar Productions Limited. Movable platforms, furniture, and fittings were designed so that various seating and performance areas of different sizes could be created to accommodate a wide range of activities and entertainment of an impromptu nature. Survey drawings show the Donmar rehearsal studio and environs. Drawings for the conversion include plans, sections, axonometric projections, cutaway axonometric drawings showing the interior layout from two points of view, and conceptual sketches and perspectives of interior spaces in use. Axonometric drawings for fittings and furniture show platforms, a small stage, a chair/table, and a "conversation box". A drawing examines the sightlines of the converted interior by showing human figures in relationship with the movable units. Amended floor plans and sections show variations for the interior layout. Material in this file was produced between 1963 and 1964. File contains design development drawings and textual records.
People:
Date:
1963-1964
1963-1964
Title:
Donmar
Actions:
AP144.S2.D53
Description:
File documents the unexecuted conversion of the Donmar rehearsal studio in Covent Garden, London, England, United Kingdom into an experimental theatre and late night meeting place. The client was the Fun Palace Trust ("Cedric Price Supplement", 'Architectural Design', vol. 40, (October 1970), 515) and negotiations for the conversion were undertaken with Donald Albery of New Theatre and Donmar Productions Limited. Movable platforms, furniture, and fittings were designed so that various seating and performance areas of different sizes could be created to accommodate a wide range of activities and entertainment of an impromptu nature. Survey drawings show the Donmar rehearsal studio and environs. Drawings for the conversion include plans, sections, axonometric projections, cutaway axonometric drawings showing the interior layout from two points of view, and conceptual sketches and perspectives of interior spaces in use. Axonometric drawings for fittings and furniture show platforms, a small stage, a chair/table, and a "conversation box". A drawing examines the sightlines of the converted interior by showing human figures in relationship with the movable units. Amended floor plans and sections show variations for the interior layout. Material in this file was produced between 1963 and 1964. File contains design development drawings and textual records.
Donmar
Actions:
AP144.S2.D53
Description:
File documents the unexecuted conversion of the Donmar rehearsal studio in Covent Garden, London, England, United Kingdom into an experimental theatre and late night meeting place. The client was the Fun Palace Trust ("Cedric Price Supplement", 'Architectural Design', vol. 40, (October 1970), 515) and negotiations for the conversion were undertaken with Donald Albery of New Theatre and Donmar Productions Limited. Movable platforms, furniture, and fittings were designed so that various seating and performance areas of different sizes could be created to accommodate a wide range of activities and entertainment of an impromptu nature. Survey drawings show the Donmar rehearsal studio and environs. Drawings for the conversion include plans, sections, axonometric projections, cutaway axonometric drawings showing the interior layout from two points of view, and conceptual sketches and perspectives of interior spaces in use. Axonometric drawings for fittings and furniture show platforms, a small stage, a chair/table, and a "conversation box". A drawing examines the sightlines of the converted interior by showing human figures in relationship with the movable units. Amended floor plans and sections show variations for the interior layout. Material in this file was produced between 1963 and 1964. File contains design development drawings and textual records.
Level of archival description:
File 53
File 53
Date:
1963-1964
1963-1964
People:
Form:
events
events
Actions:
Description:
That digital tools have changed the very nature of designing and making buildings is unquestioned. Yet formal innovation and ingenuity—and the technical competence needed to achieve those ends—are not merely a function of the virtuosity of form-making. Rather, they also make evident the dramatic impact that digital capabilities have on the roles, responsibility, and(...)
That digital tools have changed the very nature of designing and making buildings is unquestioned. Yet formal innovation and ingenuity—and the technical competence needed to achieve those ends—are not merely a function of the virtuosity of form-making. Rather, they also make evident the dramatic impact that digital capabilities have on the roles, responsibility, and(...)
Location:
Paul Desmarais Theatre
Paul Desmarais Theatre
Date:
20 October 2016, 6pm
20 October 2016, 6pm
Title:
Sound Advice and Clear Drawings: Design and Computation in the Second Machine Age
Actions:
Description:
That digital tools have changed the very nature of designing and making buildings is unquestioned. Yet formal innovation and ingenuity—and the technical competence needed to achieve those ends—are not merely a function of the virtuosity of form-making. Rather, they also make evident the dramatic impact that digital capabilities have on the roles, responsibility, and(...)
Sound Advice and Clear Drawings: Design and Computation in the Second Machine Age
Actions:
Description:
That digital tools have changed the very nature of designing and making buildings is unquestioned. Yet formal innovation and ingenuity—and the technical competence needed to achieve those ends—are not merely a function of the virtuosity of form-making. Rather, they also make evident the dramatic impact that digital capabilities have on the roles, responsibility, and(...)
Form:
events
events
Date:
20 October 2016
6pm
20 October 2016
6pm
Location:
Paul Desmarais Theatre
Paul Desmarais Theatre
Level of archival description:
Series
Series
Actions:
Reference number:
AP179.S1
Description:
Series 1, Casa La Roca, Caracas, Venezuela, 1995 – 2001, documents the development of a project (unrealized) for a residential home situated among the hills at the southern edge of Caracas. The majority of records were produced between 1995 and 1997. The series consists of sketches, drawings and reprographic copies for the conceptual and design development phases of the project, a wood model and model pieces, photographs of the site, and textual records including correspondence and zoning records. The series also contains an oversized banner printed with an image of the model that was featured in the Fabrications exhibition at the Museum of Modern Art, New York, in 1998, as well as plans for the show. The digital material in this series consists of an animated rendering of the brick patio wall and photographs of the physical drawings and the model for Casa La Roca. The name of the project, Casa la Roca (in English, “the rock house”), is derived from a large mass of rock that occupies the back of the property. The design utilizes the presence of the rock, in combination with sliding glass doors and windows, to create an “outdoor room” that functions both as a living space and back yard. The design also incorporates the nature of the site through the use of materials such as terracotta block, brick, and tile.
AP179.S1
Description:
Series 1, Casa La Roca, Caracas, Venezuela, 1995 – 2001, documents the development of a project (unrealized) for a residential home situated among the hills at the southern edge of Caracas. The majority of records were produced between 1995 and 1997. The series consists of sketches, drawings and reprographic copies for the conceptual and design development phases of the project, a wood model and model pieces, photographs of the site, and textual records including correspondence and zoning records. The series also contains an oversized banner printed with an image of the model that was featured in the Fabrications exhibition at the Museum of Modern Art, New York, in 1998, as well as plans for the show. The digital material in this series consists of an animated rendering of the brick patio wall and photographs of the physical drawings and the model for Casa La Roca. The name of the project, Casa la Roca (in English, “the rock house”), is derived from a large mass of rock that occupies the back of the property. The design utilizes the presence of the rock, in combination with sliding glass doors and windows, to create an “outdoor room” that functions both as a living space and back yard. The design also incorporates the nature of the site through the use of materials such as terracotta block, brick, and tile.
People:
Date:
1995 - 2001
1995 - 2001
Title:
Casa La Roca, Caracas, Venezuela (1995 - 2001)
Actions:
AP179.S1
Description:
Series 1, Casa La Roca, Caracas, Venezuela, 1995 – 2001, documents the development of a project (unrealized) for a residential home situated among the hills at the southern edge of Caracas. The majority of records were produced between 1995 and 1997. The series consists of sketches, drawings and reprographic copies for the conceptual and design development phases of the project, a wood model and model pieces, photographs of the site, and textual records including correspondence and zoning records. The series also contains an oversized banner printed with an image of the model that was featured in the Fabrications exhibition at the Museum of Modern Art, New York, in 1998, as well as plans for the show. The digital material in this series consists of an animated rendering of the brick patio wall and photographs of the physical drawings and the model for Casa La Roca. The name of the project, Casa la Roca (in English, “the rock house”), is derived from a large mass of rock that occupies the back of the property. The design utilizes the presence of the rock, in combination with sliding glass doors and windows, to create an “outdoor room” that functions both as a living space and back yard. The design also incorporates the nature of the site through the use of materials such as terracotta block, brick, and tile.
Casa La Roca, Caracas, Venezuela (1995 - 2001)
Actions:
AP179.S1
Description:
Series 1, Casa La Roca, Caracas, Venezuela, 1995 – 2001, documents the development of a project (unrealized) for a residential home situated among the hills at the southern edge of Caracas. The majority of records were produced between 1995 and 1997. The series consists of sketches, drawings and reprographic copies for the conceptual and design development phases of the project, a wood model and model pieces, photographs of the site, and textual records including correspondence and zoning records. The series also contains an oversized banner printed with an image of the model that was featured in the Fabrications exhibition at the Museum of Modern Art, New York, in 1998, as well as plans for the show. The digital material in this series consists of an animated rendering of the brick patio wall and photographs of the physical drawings and the model for Casa La Roca. The name of the project, Casa la Roca (in English, “the rock house”), is derived from a large mass of rock that occupies the back of the property. The design utilizes the presence of the rock, in combination with sliding glass doors and windows, to create an “outdoor room” that functions both as a living space and back yard. The design also incorporates the nature of the site through the use of materials such as terracotta block, brick, and tile.
Level of archival description:
Series
Series
Date:
1995 - 2001
1995 - 2001
People:
