33061 Results
Level of archival description:
Project
Project
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Reference number:
AP075.S1.2006.PR01
Description:
Project series documents Cornelia Hahn Oberlander's landscape project for the restauration of the Evergreen Building, a ten-story office tower on West Pender Street, in Vancouver, British Columbia. The building was previously known as the Laxton Building. The project consisted in renovations work to the building, design by architect Arthur Erickson in the 1980. Oberlander herself worked with Erickson at the time. After helping to save the building from demolition in the early 2000s, Oberlander worked as a landscape consultant for Omicron Architecture Engineering Construction Co. in 2006-2007. She was consulted for the restoration of the landscaping at the street level and the replanting of the planted balconies she had created while working with Erickson. As the building facade consisted in a stepped facade with an alternance of zigzag floor plates and straight floor plates, Oberlander chose cascading plants for the zigzag floors and upright planting for the straight floors. "Since the plants were brought to the structure's edges, the geometries of the building were dramatically amplified." [1] The Evergreen Building received a heritage status in the mid-2000s. This project series contains only materials related to the 2006-2007 renovations project. The project series comprises sketches, design development drawings, including site plans, plantings plans and landscape elevations, and buildings plans used as reference. The project series is also documented through corrsepondence, including correspondence with architects and contractors, specifications, plant lists, digital files of a presentation on the existing site condition, financial material, and research material for the project. Source: [1] Herrington, Susan. Cornelia Hahn Oberlander: Making the Modern Landscape, University of Virginia Press, 2014, 304 pages, p. 139.
AP075.S1.2006.PR01
Description:
Project series documents Cornelia Hahn Oberlander's landscape project for the restauration of the Evergreen Building, a ten-story office tower on West Pender Street, in Vancouver, British Columbia. The building was previously known as the Laxton Building. The project consisted in renovations work to the building, design by architect Arthur Erickson in the 1980. Oberlander herself worked with Erickson at the time. After helping to save the building from demolition in the early 2000s, Oberlander worked as a landscape consultant for Omicron Architecture Engineering Construction Co. in 2006-2007. She was consulted for the restoration of the landscaping at the street level and the replanting of the planted balconies she had created while working with Erickson. As the building facade consisted in a stepped facade with an alternance of zigzag floor plates and straight floor plates, Oberlander chose cascading plants for the zigzag floors and upright planting for the straight floors. "Since the plants were brought to the structure's edges, the geometries of the building were dramatically amplified." [1] The Evergreen Building received a heritage status in the mid-2000s. This project series contains only materials related to the 2006-2007 renovations project. The project series comprises sketches, design development drawings, including site plans, plantings plans and landscape elevations, and buildings plans used as reference. The project series is also documented through corrsepondence, including correspondence with architects and contractors, specifications, plant lists, digital files of a presentation on the existing site condition, financial material, and research material for the project. Source: [1] Herrington, Susan. Cornelia Hahn Oberlander: Making the Modern Landscape, University of Virginia Press, 2014, 304 pages, p. 139.
People:
Date:
2006-2007
2006-2007
Title:
Evergreen Building restoration, Vancouver, British Columbia (2006)
Actions:
AP075.S1.2006.PR01
Description:
Project series documents Cornelia Hahn Oberlander's landscape project for the restauration of the Evergreen Building, a ten-story office tower on West Pender Street, in Vancouver, British Columbia. The building was previously known as the Laxton Building. The project consisted in renovations work to the building, design by architect Arthur Erickson in the 1980. Oberlander herself worked with Erickson at the time. After helping to save the building from demolition in the early 2000s, Oberlander worked as a landscape consultant for Omicron Architecture Engineering Construction Co. in 2006-2007. She was consulted for the restoration of the landscaping at the street level and the replanting of the planted balconies she had created while working with Erickson. As the building facade consisted in a stepped facade with an alternance of zigzag floor plates and straight floor plates, Oberlander chose cascading plants for the zigzag floors and upright planting for the straight floors. "Since the plants were brought to the structure's edges, the geometries of the building were dramatically amplified." [1] The Evergreen Building received a heritage status in the mid-2000s. This project series contains only materials related to the 2006-2007 renovations project. The project series comprises sketches, design development drawings, including site plans, plantings plans and landscape elevations, and buildings plans used as reference. The project series is also documented through corrsepondence, including correspondence with architects and contractors, specifications, plant lists, digital files of a presentation on the existing site condition, financial material, and research material for the project. Source: [1] Herrington, Susan. Cornelia Hahn Oberlander: Making the Modern Landscape, University of Virginia Press, 2014, 304 pages, p. 139.
Evergreen Building restoration, Vancouver, British Columbia (2006)
Actions:
AP075.S1.2006.PR01
Description:
Project series documents Cornelia Hahn Oberlander's landscape project for the restauration of the Evergreen Building, a ten-story office tower on West Pender Street, in Vancouver, British Columbia. The building was previously known as the Laxton Building. The project consisted in renovations work to the building, design by architect Arthur Erickson in the 1980. Oberlander herself worked with Erickson at the time. After helping to save the building from demolition in the early 2000s, Oberlander worked as a landscape consultant for Omicron Architecture Engineering Construction Co. in 2006-2007. She was consulted for the restoration of the landscaping at the street level and the replanting of the planted balconies she had created while working with Erickson. As the building facade consisted in a stepped facade with an alternance of zigzag floor plates and straight floor plates, Oberlander chose cascading plants for the zigzag floors and upright planting for the straight floors. "Since the plants were brought to the structure's edges, the geometries of the building were dramatically amplified." [1] The Evergreen Building received a heritage status in the mid-2000s. This project series contains only materials related to the 2006-2007 renovations project. The project series comprises sketches, design development drawings, including site plans, plantings plans and landscape elevations, and buildings plans used as reference. The project series is also documented through corrsepondence, including correspondence with architects and contractors, specifications, plant lists, digital files of a presentation on the existing site condition, financial material, and research material for the project. Source: [1] Herrington, Susan. Cornelia Hahn Oberlander: Making the Modern Landscape, University of Virginia Press, 2014, 304 pages, p. 139.
Level of archival description:
Project
Project
Date:
2006-2007
2006-2007
People:
Level of archival description:
Project
Project
Reference number:
AP075.S1.2008.PR02
Description:
Project series documents Cornelia Hahn Oberlander's project for the Inuvik School, later known as East Three School, in Inuvik, Northwest Territories. The project consisted in the landscape design and a playground design for the new school replacing the Sir Alexander MacKenzie elementary school and the Samuel Herne Secondary School. Oberlander worked on this project from 2008 to 2012 with architects Pin/Taylor. During her design process, Oberlander consulted the teachers, parents, staff and students on ways to express their culture in the landscape design. She also had to adapt her design to the extreme climate of the region. Oberlander located the play court at the angle of the two buildings of the elementary school and the secondary school, to shelter it from the wind, and allowing small children to play outside. The plant selection was made by "harvesting local site and surrounding area for plant material" [1] and was also inspired by traditional cuisine. The project was completed in 2012. The project series also includes some documents related to a project possibly unrealized of the Jim Koe Park also in Inuvik, near the school. The project series contains design development drawings and working drawings, such as planting plans, irrigation plans, grading plans, landscape sections, and site plans. The drawings also includes sets of building plans used as reference. The project is also documented through correspondence, including with architects, suppliers, and consultants, specifications, scope of work, schematic design and design reports from architectural firm, minutes of meetings, and research material. Source: [1] Herrington, Susan. Cornelia Hahn Oberlander: Making the Modern Landscape, University of Virginia Press, 2014, 304 pages, p. 197.
AP075.S1.2008.PR02
Description:
Project series documents Cornelia Hahn Oberlander's project for the Inuvik School, later known as East Three School, in Inuvik, Northwest Territories. The project consisted in the landscape design and a playground design for the new school replacing the Sir Alexander MacKenzie elementary school and the Samuel Herne Secondary School. Oberlander worked on this project from 2008 to 2012 with architects Pin/Taylor. During her design process, Oberlander consulted the teachers, parents, staff and students on ways to express their culture in the landscape design. She also had to adapt her design to the extreme climate of the region. Oberlander located the play court at the angle of the two buildings of the elementary school and the secondary school, to shelter it from the wind, and allowing small children to play outside. The plant selection was made by "harvesting local site and surrounding area for plant material" [1] and was also inspired by traditional cuisine. The project was completed in 2012. The project series also includes some documents related to a project possibly unrealized of the Jim Koe Park also in Inuvik, near the school. The project series contains design development drawings and working drawings, such as planting plans, irrigation plans, grading plans, landscape sections, and site plans. The drawings also includes sets of building plans used as reference. The project is also documented through correspondence, including with architects, suppliers, and consultants, specifications, scope of work, schematic design and design reports from architectural firm, minutes of meetings, and research material. Source: [1] Herrington, Susan. Cornelia Hahn Oberlander: Making the Modern Landscape, University of Virginia Press, 2014, 304 pages, p. 197.
People:
Date:
1999-2014
1999-2014
Title:
Inuvik School, Inuvik, Northwest Territories (2008)
Actions:
AP075.S1.2008.PR02
Description:
Project series documents Cornelia Hahn Oberlander's project for the Inuvik School, later known as East Three School, in Inuvik, Northwest Territories. The project consisted in the landscape design and a playground design for the new school replacing the Sir Alexander MacKenzie elementary school and the Samuel Herne Secondary School. Oberlander worked on this project from 2008 to 2012 with architects Pin/Taylor. During her design process, Oberlander consulted the teachers, parents, staff and students on ways to express their culture in the landscape design. She also had to adapt her design to the extreme climate of the region. Oberlander located the play court at the angle of the two buildings of the elementary school and the secondary school, to shelter it from the wind, and allowing small children to play outside. The plant selection was made by "harvesting local site and surrounding area for plant material" [1] and was also inspired by traditional cuisine. The project was completed in 2012. The project series also includes some documents related to a project possibly unrealized of the Jim Koe Park also in Inuvik, near the school. The project series contains design development drawings and working drawings, such as planting plans, irrigation plans, grading plans, landscape sections, and site plans. The drawings also includes sets of building plans used as reference. The project is also documented through correspondence, including with architects, suppliers, and consultants, specifications, scope of work, schematic design and design reports from architectural firm, minutes of meetings, and research material. Source: [1] Herrington, Susan. Cornelia Hahn Oberlander: Making the Modern Landscape, University of Virginia Press, 2014, 304 pages, p. 197.
Inuvik School, Inuvik, Northwest Territories (2008)
Actions:
AP075.S1.2008.PR02
Description:
Project series documents Cornelia Hahn Oberlander's project for the Inuvik School, later known as East Three School, in Inuvik, Northwest Territories. The project consisted in the landscape design and a playground design for the new school replacing the Sir Alexander MacKenzie elementary school and the Samuel Herne Secondary School. Oberlander worked on this project from 2008 to 2012 with architects Pin/Taylor. During her design process, Oberlander consulted the teachers, parents, staff and students on ways to express their culture in the landscape design. She also had to adapt her design to the extreme climate of the region. Oberlander located the play court at the angle of the two buildings of the elementary school and the secondary school, to shelter it from the wind, and allowing small children to play outside. The plant selection was made by "harvesting local site and surrounding area for plant material" [1] and was also inspired by traditional cuisine. The project was completed in 2012. The project series also includes some documents related to a project possibly unrealized of the Jim Koe Park also in Inuvik, near the school. The project series contains design development drawings and working drawings, such as planting plans, irrigation plans, grading plans, landscape sections, and site plans. The drawings also includes sets of building plans used as reference. The project is also documented through correspondence, including with architects, suppliers, and consultants, specifications, scope of work, schematic design and design reports from architectural firm, minutes of meetings, and research material. Source: [1] Herrington, Susan. Cornelia Hahn Oberlander: Making the Modern Landscape, University of Virginia Press, 2014, 304 pages, p. 197.
Level of archival description:
Project
Project
Date:
1999-2014
1999-2014
People:
Level of archival description:
Project
Project
Actions:
Reference number:
AP056.S1.1991.PR01
Description:
This project series documents a competition entry for the Vancouver Public Library in Vancouver from 1991-1992. The office identified the project number as 69112. The competition entry, submitted in 1991, consisted of the design of Vancouver's new public library, to be situated on the block between Homer, Georgia, Hamilton and Robson Streets. The project design included a seven-floor library connected by a walkway to an adjacent twenty-floor office tower that would house Public Works Canada. Both buildings had V shaped canopies on their roofs that looked like open books when viewed at an elevation. To the front of the library at ground level was the two-storey Library Concourse; a large hall made of glass windows and stone. The Concourse connected to the Robson Street entrance, and the Library Hall entrance at the corner of Homer and Georgia Streets. The architects described this as a porch-like space to be used for gatherings, public events, exhibits and displays. Moving into the heart of the library, patrons would pass through a cylindrical rotunda which extended upwards through every floor and above the roof terrace. The library would also have 2 levels of underground parking and a basement level with a circular theatre, concession areas and staff work areas. The ground floor would primarily consist of library stacks and tables but also included would be a gift shop, children's area, daycare, staff spaces, and an outdoor play area. The remaining floors were designated for library stacks, staff work areas and services. The top floor would hold administrative offices, built in a U shape around a large terrace. The terrace, complete with gardens, could be used for library events. This building would largely be made of glass windows at its exterior, with a round glass rotunda piercing through its rectangular shape. This project was never built. Although Kuwabara, Payne, McKenna, Blumberg Architects were finalists in this competition, the contract was eventually won and built by architect Moshe Safdie. The project is recorded through drawings, presentation panels, paintings, photographs and a model dating from 1991-1992. The drawings, which are mostly originals, include sketches, plans, sections, elevations, perspectives and isometrics. There are a number of watercolours (some mounted) and drawing panels used as presentation materials which have small texts about the project's design intention. The aquisition records for the 1993 donation of these project materials identify Michael McCann as the artist of 7 paintings in this project series; however it is not clear which 7 paintings were completed by this artist. The photographs show the completed project model, which is also contained in this project series.
AP056.S1.1991.PR01
Description:
This project series documents a competition entry for the Vancouver Public Library in Vancouver from 1991-1992. The office identified the project number as 69112. The competition entry, submitted in 1991, consisted of the design of Vancouver's new public library, to be situated on the block between Homer, Georgia, Hamilton and Robson Streets. The project design included a seven-floor library connected by a walkway to an adjacent twenty-floor office tower that would house Public Works Canada. Both buildings had V shaped canopies on their roofs that looked like open books when viewed at an elevation. To the front of the library at ground level was the two-storey Library Concourse; a large hall made of glass windows and stone. The Concourse connected to the Robson Street entrance, and the Library Hall entrance at the corner of Homer and Georgia Streets. The architects described this as a porch-like space to be used for gatherings, public events, exhibits and displays. Moving into the heart of the library, patrons would pass through a cylindrical rotunda which extended upwards through every floor and above the roof terrace. The library would also have 2 levels of underground parking and a basement level with a circular theatre, concession areas and staff work areas. The ground floor would primarily consist of library stacks and tables but also included would be a gift shop, children's area, daycare, staff spaces, and an outdoor play area. The remaining floors were designated for library stacks, staff work areas and services. The top floor would hold administrative offices, built in a U shape around a large terrace. The terrace, complete with gardens, could be used for library events. This building would largely be made of glass windows at its exterior, with a round glass rotunda piercing through its rectangular shape. This project was never built. Although Kuwabara, Payne, McKenna, Blumberg Architects were finalists in this competition, the contract was eventually won and built by architect Moshe Safdie. The project is recorded through drawings, presentation panels, paintings, photographs and a model dating from 1991-1992. The drawings, which are mostly originals, include sketches, plans, sections, elevations, perspectives and isometrics. There are a number of watercolours (some mounted) and drawing panels used as presentation materials which have small texts about the project's design intention. The aquisition records for the 1993 donation of these project materials identify Michael McCann as the artist of 7 paintings in this project series; however it is not clear which 7 paintings were completed by this artist. The photographs show the completed project model, which is also contained in this project series.
People:
Date:
1991-1992
1991-1992
Title:
Vancouver Public Library Competition, British Columbia (1991)
Actions:
AP056.S1.1991.PR01
Description:
This project series documents a competition entry for the Vancouver Public Library in Vancouver from 1991-1992. The office identified the project number as 69112. The competition entry, submitted in 1991, consisted of the design of Vancouver's new public library, to be situated on the block between Homer, Georgia, Hamilton and Robson Streets. The project design included a seven-floor library connected by a walkway to an adjacent twenty-floor office tower that would house Public Works Canada. Both buildings had V shaped canopies on their roofs that looked like open books when viewed at an elevation. To the front of the library at ground level was the two-storey Library Concourse; a large hall made of glass windows and stone. The Concourse connected to the Robson Street entrance, and the Library Hall entrance at the corner of Homer and Georgia Streets. The architects described this as a porch-like space to be used for gatherings, public events, exhibits and displays. Moving into the heart of the library, patrons would pass through a cylindrical rotunda which extended upwards through every floor and above the roof terrace. The library would also have 2 levels of underground parking and a basement level with a circular theatre, concession areas and staff work areas. The ground floor would primarily consist of library stacks and tables but also included would be a gift shop, children's area, daycare, staff spaces, and an outdoor play area. The remaining floors were designated for library stacks, staff work areas and services. The top floor would hold administrative offices, built in a U shape around a large terrace. The terrace, complete with gardens, could be used for library events. This building would largely be made of glass windows at its exterior, with a round glass rotunda piercing through its rectangular shape. This project was never built. Although Kuwabara, Payne, McKenna, Blumberg Architects were finalists in this competition, the contract was eventually won and built by architect Moshe Safdie. The project is recorded through drawings, presentation panels, paintings, photographs and a model dating from 1991-1992. The drawings, which are mostly originals, include sketches, plans, sections, elevations, perspectives and isometrics. There are a number of watercolours (some mounted) and drawing panels used as presentation materials which have small texts about the project's design intention. The aquisition records for the 1993 donation of these project materials identify Michael McCann as the artist of 7 paintings in this project series; however it is not clear which 7 paintings were completed by this artist. The photographs show the completed project model, which is also contained in this project series.
Vancouver Public Library Competition, British Columbia (1991)
Actions:
AP056.S1.1991.PR01
Description:
This project series documents a competition entry for the Vancouver Public Library in Vancouver from 1991-1992. The office identified the project number as 69112. The competition entry, submitted in 1991, consisted of the design of Vancouver's new public library, to be situated on the block between Homer, Georgia, Hamilton and Robson Streets. The project design included a seven-floor library connected by a walkway to an adjacent twenty-floor office tower that would house Public Works Canada. Both buildings had V shaped canopies on their roofs that looked like open books when viewed at an elevation. To the front of the library at ground level was the two-storey Library Concourse; a large hall made of glass windows and stone. The Concourse connected to the Robson Street entrance, and the Library Hall entrance at the corner of Homer and Georgia Streets. The architects described this as a porch-like space to be used for gatherings, public events, exhibits and displays. Moving into the heart of the library, patrons would pass through a cylindrical rotunda which extended upwards through every floor and above the roof terrace. The library would also have 2 levels of underground parking and a basement level with a circular theatre, concession areas and staff work areas. The ground floor would primarily consist of library stacks and tables but also included would be a gift shop, children's area, daycare, staff spaces, and an outdoor play area. The remaining floors were designated for library stacks, staff work areas and services. The top floor would hold administrative offices, built in a U shape around a large terrace. The terrace, complete with gardens, could be used for library events. This building would largely be made of glass windows at its exterior, with a round glass rotunda piercing through its rectangular shape. This project was never built. Although Kuwabara, Payne, McKenna, Blumberg Architects were finalists in this competition, the contract was eventually won and built by architect Moshe Safdie. The project is recorded through drawings, presentation panels, paintings, photographs and a model dating from 1991-1992. The drawings, which are mostly originals, include sketches, plans, sections, elevations, perspectives and isometrics. There are a number of watercolours (some mounted) and drawing panels used as presentation materials which have small texts about the project's design intention. The aquisition records for the 1993 donation of these project materials identify Michael McCann as the artist of 7 paintings in this project series; however it is not clear which 7 paintings were completed by this artist. The photographs show the completed project model, which is also contained in this project series.
Level of archival description:
Project
Project
Date:
1991-1992
1991-1992
People:
Form:
archives
Level of archival description:
Collection
archives
Level of archival description:
Collection
Actions:
Reference number:
CD042
Synopsis:
The collection documents the research of Susan Wagg, one of the curators of the exhibition “Money Matters: A Critical Look at Bank Architecture”, on bank buildings in the United States and in Canada, from 1795 to 1979. It contains her research files on each of the bank buildings presented in the exhibition and the photograhic commission of the banks by photographers Robert Bourdeau, Edward Burtynsky, David Duchow, David Miller, Marilyn Bridges, James Iska, Len Jenshel, John Pfahl, George Tice, Catherine Wagner and Serge Hambourg.
CD042
Synopsis:
The collection documents the research of Susan Wagg, one of the curators of the exhibition “Money Matters: A Critical Look at Bank Architecture”, on bank buildings in the United States and in Canada, from 1795 to 1979. It contains her research files on each of the bank buildings presented in the exhibition and the photograhic commission of the banks by photographers Robert Bourdeau, Edward Burtynsky, David Duchow, David Miller, Marilyn Bridges, James Iska, Len Jenshel, John Pfahl, George Tice, Catherine Wagner and Serge Hambourg.
People:
Date:
1926-1993
1926-1993
Title:
Money Matters exhibition collection
Actions:
CD042
Synopsis:
The collection documents the research of Susan Wagg, one of the curators of the exhibition “Money Matters: A Critical Look at Bank Architecture”, on bank buildings in the United States and in Canada, from 1795 to 1979. It contains her research files on each of the bank buildings presented in the exhibition and the photograhic commission of the banks by photographers Robert Bourdeau, Edward Burtynsky, David Duchow, David Miller, Marilyn Bridges, James Iska, Len Jenshel, John Pfahl, George Tice, Catherine Wagner and Serge Hambourg.
Money Matters exhibition collection
Actions:
CD042
Synopsis:
The collection documents the research of Susan Wagg, one of the curators of the exhibition “Money Matters: A Critical Look at Bank Architecture”, on bank buildings in the United States and in Canada, from 1795 to 1979. It contains her research files on each of the bank buildings presented in the exhibition and the photograhic commission of the banks by photographers Robert Bourdeau, Edward Burtynsky, David Duchow, David Miller, Marilyn Bridges, James Iska, Len Jenshel, John Pfahl, George Tice, Catherine Wagner and Serge Hambourg.
Form:
archives
Level of archival description:
Collection
archives
Level of archival description:
Collection
Date:
1926-1993
1926-1993
People:
Form:
works of art
works of art
Reference number:
DR1986:0442:001-022
Description:
- Michele Marieschi was a short-lived Venetian vedutista whose small graphic output was limited almost exclusively to this group of twenty-one etchings. The album is a modern-bound collection of the first edition (before the addition of plate numbers) of Marieschi's prints. The prints were all designed and etched by Marieschi himself, with only two exceptions. The frontpiece, with its portrait of Marieschi (and proud proclamation of his status as painter and architect) was drawn by Anzolo Trivisan (Angelo Trevisani, 1669-after 1753) and engraved by Carlo Orsolini (1710-1780). The dedication to the Prince of Beauvau-Craon and the prince's coat of arms, which appear below Marieschi's view of the Piazzetta and Ducal Palace, were also engraved by Orsolini. RH - Marieschi was probably called an architect in the frontispiece to this volume of etchings (folio 1) in reference to his activity as a stage designer. Folio 21 gives us an indication of Marieschi's activity as a stage designer. According to Fabio Mauroner (Print Collector's Quarterly, vol. 27), the painted façade shown on the Church of San Rocco on the first state of folio 21 was designed by Marieschi. Here Marieschi is probably illustrating a festival which took place on the saint's feast day, since easel paintings are also shown placed against the façades of the buildings to the right in the square. It is interesting that in the second state of the same folio, another façade is shown, the one added to the church by the architect Macarazzi in 1768. According to the text on the first state of the same folio, the original façade on San Rocco was constructed in marble according to a design by Sebastiano Serlio (Mauroner, pl. 16). In addition, the exaggerated two-point and multi-point perspectives which Marieschi uses in many of his views of Venice, also reveal the influence of the principles of stage set design as illustrated in the contemporary drawings of the Bibiera family. MNR
DR1986:0442:001-022
Description:
- Michele Marieschi was a short-lived Venetian vedutista whose small graphic output was limited almost exclusively to this group of twenty-one etchings. The album is a modern-bound collection of the first edition (before the addition of plate numbers) of Marieschi's prints. The prints were all designed and etched by Marieschi himself, with only two exceptions. The frontpiece, with its portrait of Marieschi (and proud proclamation of his status as painter and architect) was drawn by Anzolo Trivisan (Angelo Trevisani, 1669-after 1753) and engraved by Carlo Orsolini (1710-1780). The dedication to the Prince of Beauvau-Craon and the prince's coat of arms, which appear below Marieschi's view of the Piazzetta and Ducal Palace, were also engraved by Orsolini. RH - Marieschi was probably called an architect in the frontispiece to this volume of etchings (folio 1) in reference to his activity as a stage designer. Folio 21 gives us an indication of Marieschi's activity as a stage designer. According to Fabio Mauroner (Print Collector's Quarterly, vol. 27), the painted façade shown on the Church of San Rocco on the first state of folio 21 was designed by Marieschi. Here Marieschi is probably illustrating a festival which took place on the saint's feast day, since easel paintings are also shown placed against the façades of the buildings to the right in the square. It is interesting that in the second state of the same folio, another façade is shown, the one added to the church by the architect Macarazzi in 1768. According to the text on the first state of the same folio, the original façade on San Rocco was constructed in marble according to a design by Sebastiano Serlio (Mauroner, pl. 16). In addition, the exaggerated two-point and multi-point perspectives which Marieschi uses in many of his views of Venice, also reveal the influence of the principles of stage set design as illustrated in the contemporary drawings of the Bibiera family. MNR
People:
Subject:
architecture
architecture
Date:
ca. 1741
ca. 1741
Title:
Magnificentiores Selectioresque Urbis Venetiarum Prospectus
Actions:
DR1986:0442:001-022
Description:
- Michele Marieschi was a short-lived Venetian vedutista whose small graphic output was limited almost exclusively to this group of twenty-one etchings. The album is a modern-bound collection of the first edition (before the addition of plate numbers) of Marieschi's prints. The prints were all designed and etched by Marieschi himself, with only two exceptions. The frontpiece, with its portrait of Marieschi (and proud proclamation of his status as painter and architect) was drawn by Anzolo Trivisan (Angelo Trevisani, 1669-after 1753) and engraved by Carlo Orsolini (1710-1780). The dedication to the Prince of Beauvau-Craon and the prince's coat of arms, which appear below Marieschi's view of the Piazzetta and Ducal Palace, were also engraved by Orsolini. RH - Marieschi was probably called an architect in the frontispiece to this volume of etchings (folio 1) in reference to his activity as a stage designer. Folio 21 gives us an indication of Marieschi's activity as a stage designer. According to Fabio Mauroner (Print Collector's Quarterly, vol. 27), the painted façade shown on the Church of San Rocco on the first state of folio 21 was designed by Marieschi. Here Marieschi is probably illustrating a festival which took place on the saint's feast day, since easel paintings are also shown placed against the façades of the buildings to the right in the square. It is interesting that in the second state of the same folio, another façade is shown, the one added to the church by the architect Macarazzi in 1768. According to the text on the first state of the same folio, the original façade on San Rocco was constructed in marble according to a design by Sebastiano Serlio (Mauroner, pl. 16). In addition, the exaggerated two-point and multi-point perspectives which Marieschi uses in many of his views of Venice, also reveal the influence of the principles of stage set design as illustrated in the contemporary drawings of the Bibiera family. MNR
Magnificentiores Selectioresque Urbis Venetiarum Prospectus
Actions:
DR1986:0442:001-022
Description:
- Michele Marieschi was a short-lived Venetian vedutista whose small graphic output was limited almost exclusively to this group of twenty-one etchings. The album is a modern-bound collection of the first edition (before the addition of plate numbers) of Marieschi's prints. The prints were all designed and etched by Marieschi himself, with only two exceptions. The frontpiece, with its portrait of Marieschi (and proud proclamation of his status as painter and architect) was drawn by Anzolo Trivisan (Angelo Trevisani, 1669-after 1753) and engraved by Carlo Orsolini (1710-1780). The dedication to the Prince of Beauvau-Craon and the prince's coat of arms, which appear below Marieschi's view of the Piazzetta and Ducal Palace, were also engraved by Orsolini. RH - Marieschi was probably called an architect in the frontispiece to this volume of etchings (folio 1) in reference to his activity as a stage designer. Folio 21 gives us an indication of Marieschi's activity as a stage designer. According to Fabio Mauroner (Print Collector's Quarterly, vol. 27), the painted façade shown on the Church of San Rocco on the first state of folio 21 was designed by Marieschi. Here Marieschi is probably illustrating a festival which took place on the saint's feast day, since easel paintings are also shown placed against the façades of the buildings to the right in the square. It is interesting that in the second state of the same folio, another façade is shown, the one added to the church by the architect Macarazzi in 1768. According to the text on the first state of the same folio, the original façade on San Rocco was constructed in marble according to a design by Sebastiano Serlio (Mauroner, pl. 16). In addition, the exaggerated two-point and multi-point perspectives which Marieschi uses in many of his views of Venice, also reveal the influence of the principles of stage set design as illustrated in the contemporary drawings of the Bibiera family. MNR
Form:
works of art
works of art
Date:
ca. 1741
ca. 1741
People:
Subject:
architecture
architecture
Form:
works of art
works of art
Actions:
Reference number:
DR1987:0342
Description:
- This engraving depicts a design for an order of architecture showing the capital and the base. Although the inscriptions refer to "DORICA[E]", this is not one of the traditional orders of architecture: the acanthus leaves on the capital suggest a Corinthian model while other details, such as the dolphin heads, suggest a more personal interpretation. - This print is one of a set of four prints of capitals and bases which were engraved by Hans Sebald Beham. Patricia Condon suggests that these prints were made for a general audience rather than for architects ('Ornament and Architecture', 29). Three of the prints in the CCA collection are from the collection of the Ducs d'Arenburg, while the provenance of this print is unknown.
DR1987:0342
Description:
- This engraving depicts a design for an order of architecture showing the capital and the base. Although the inscriptions refer to "DORICA[E]", this is not one of the traditional orders of architecture: the acanthus leaves on the capital suggest a Corinthian model while other details, such as the dolphin heads, suggest a more personal interpretation. - This print is one of a set of four prints of capitals and bases which were engraved by Hans Sebald Beham. Patricia Condon suggests that these prints were made for a general audience rather than for architects ('Ornament and Architecture', 29). Three of the prints in the CCA collection are from the collection of the Ducs d'Arenburg, while the provenance of this print is unknown.
People:
Subject:
architecture
architecture
Date:
1543
1543
Title:
Design for the capital and base of a column
Actions:
DR1987:0342
Description:
- This engraving depicts a design for an order of architecture showing the capital and the base. Although the inscriptions refer to "DORICA[E]", this is not one of the traditional orders of architecture: the acanthus leaves on the capital suggest a Corinthian model while other details, such as the dolphin heads, suggest a more personal interpretation. - This print is one of a set of four prints of capitals and bases which were engraved by Hans Sebald Beham. Patricia Condon suggests that these prints were made for a general audience rather than for architects ('Ornament and Architecture', 29). Three of the prints in the CCA collection are from the collection of the Ducs d'Arenburg, while the provenance of this print is unknown.
Design for the capital and base of a column
Actions:
DR1987:0342
Description:
- This engraving depicts a design for an order of architecture showing the capital and the base. Although the inscriptions refer to "DORICA[E]", this is not one of the traditional orders of architecture: the acanthus leaves on the capital suggest a Corinthian model while other details, such as the dolphin heads, suggest a more personal interpretation. - This print is one of a set of four prints of capitals and bases which were engraved by Hans Sebald Beham. Patricia Condon suggests that these prints were made for a general audience rather than for architects ('Ornament and Architecture', 29). Three of the prints in the CCA collection are from the collection of the Ducs d'Arenburg, while the provenance of this print is unknown.
Form:
works of art
works of art
Date:
1543
1543
People:
Subject:
architecture
architecture
Form:
drawings
drawings
Title:
The Triumph of Hannibal
The Triumph of Hannibal
Actions:
Reference number:
DR1984:1641
Description:
- The turbaned figure being carried into the theater seated on a litter certainly refers to a non-Roman figure, possibly Hannibal. Behind this figure is a theater and an imaginary town on a hill. The town buildings recall the Sicilian monuments in the 'Voyage pittoresque ou description des royaumes de Naples et de Sicile' published by the Abbé de Saint-Non in Paris between 1781 and 1786. Desprez interrupted his studies at the French Academy in Rome from December 1777 to January 1779 to accompany Dominique Vivant Denon and several other artists to Naples and Sicily in order to make drawings for this publication. The town buildings also recall several buildings Desprez planned in Stockholm while stage designer and architect to Gustavus III of Sweden from 1784 to 1792.
DR1984:1641
Description:
- The turbaned figure being carried into the theater seated on a litter certainly refers to a non-Roman figure, possibly Hannibal. Behind this figure is a theater and an imaginary town on a hill. The town buildings recall the Sicilian monuments in the 'Voyage pittoresque ou description des royaumes de Naples et de Sicile' published by the Abbé de Saint-Non in Paris between 1781 and 1786. Desprez interrupted his studies at the French Academy in Rome from December 1777 to January 1779 to accompany Dominique Vivant Denon and several other artists to Naples and Sicily in order to make drawings for this publication. The town buildings also recall several buildings Desprez planned in Stockholm while stage designer and architect to Gustavus III of Sweden from 1784 to 1792.
People:
Subject:
theatre design
theatre design
Date:
ca. 1780-1790
ca. 1780-1790
Title:
The Triumph of Hannibal
Actions:
DR1984:1641
Description:
- The turbaned figure being carried into the theater seated on a litter certainly refers to a non-Roman figure, possibly Hannibal. Behind this figure is a theater and an imaginary town on a hill. The town buildings recall the Sicilian monuments in the 'Voyage pittoresque ou description des royaumes de Naples et de Sicile' published by the Abbé de Saint-Non in Paris between 1781 and 1786. Desprez interrupted his studies at the French Academy in Rome from December 1777 to January 1779 to accompany Dominique Vivant Denon and several other artists to Naples and Sicily in order to make drawings for this publication. The town buildings also recall several buildings Desprez planned in Stockholm while stage designer and architect to Gustavus III of Sweden from 1784 to 1792.
The Triumph of Hannibal
Actions:
DR1984:1641
Description:
- The turbaned figure being carried into the theater seated on a litter certainly refers to a non-Roman figure, possibly Hannibal. Behind this figure is a theater and an imaginary town on a hill. The town buildings recall the Sicilian monuments in the 'Voyage pittoresque ou description des royaumes de Naples et de Sicile' published by the Abbé de Saint-Non in Paris between 1781 and 1786. Desprez interrupted his studies at the French Academy in Rome from December 1777 to January 1779 to accompany Dominique Vivant Denon and several other artists to Naples and Sicily in order to make drawings for this publication. The town buildings also recall several buildings Desprez planned in Stockholm while stage designer and architect to Gustavus III of Sweden from 1784 to 1792.
Form:
drawings
drawings
Date:
ca. 1780-1790
ca. 1780-1790
People:
Subject:
theatre design
theatre design
Form:
exhibitions
exhibitions
Actions:
Description:
As part of the CCA’s ongoing exploration of key issues in contemporary architecture with a specific focus on urban, social, and environmental concerns, Some Ideas on Living in London and Tokyo by Stephen Taylor and Ryue Nishizawa features recent architectural projects that propose new solutions to the challenges of building homes in dense urban environments. London and(...)
As part of the CCA’s ongoing exploration of key issues in contemporary architecture with a specific focus on urban, social, and environmental concerns, Some Ideas on Living in London and Tokyo by Stephen Taylor and Ryue Nishizawa features recent architectural projects that propose new solutions to the challenges of building homes in dense urban environments. London and(...)
Location:
Main galleries
Main galleries
Date:
14 May 2008 to 26 October 2008
14 May 2008 to 26 October 2008
Title:
Some Ideas on Living in London and Tokyo by Stephen Taylor and Ryue Nishizawa
Actions:
Description:
As part of the CCA’s ongoing exploration of key issues in contemporary architecture with a specific focus on urban, social, and environmental concerns, Some Ideas on Living in London and Tokyo by Stephen Taylor and Ryue Nishizawa features recent architectural projects that propose new solutions to the challenges of building homes in dense urban environments. London and(...)
Some Ideas on Living in London and Tokyo by Stephen Taylor and Ryue Nishizawa
Actions:
Description:
As part of the CCA’s ongoing exploration of key issues in contemporary architecture with a specific focus on urban, social, and environmental concerns, Some Ideas on Living in London and Tokyo by Stephen Taylor and Ryue Nishizawa features recent architectural projects that propose new solutions to the challenges of building homes in dense urban environments. London and(...)
Form:
exhibitions
exhibitions
Date:
14 May 2008 to
26 October 2008
14 May 2008 to
26 October 2008
Location:
Main galleries
Main galleries
Level of archival description:
Project
Project
Reference number:
AP164.S1.1995.D1
Description:
The project series documents the competition entry, design, and execution of the José Hierro public library in the Usera district, Madrid, Spain. Abalos & Herreros were invited to participate in the competition organised by Consejería de Educación y Cultura (Council for Education and Culture), of the Comunidad de Autónoma de Madrid, and their entry won. The firm worked in collaboration with architect Ángel S. Jaramillo and artist Peter Halley. The firm identified this project as number 94. In 2003, this project was a finalist at the 7th edition of the Bienal de Arquitectua Española and received a mention at the 17th edition of the Premios de Urbanismo, Arquitectura y Obra Publica 2003 from the Madrid City Council. Documenting the project are design development and working drawings, correspondence, notes, project descriptions, studies, specifications, photographic materials and a model.
AP164.S1.1995.D1
Description:
The project series documents the competition entry, design, and execution of the José Hierro public library in the Usera district, Madrid, Spain. Abalos & Herreros were invited to participate in the competition organised by Consejería de Educación y Cultura (Council for Education and Culture), of the Comunidad de Autónoma de Madrid, and their entry won. The firm worked in collaboration with architect Ángel S. Jaramillo and artist Peter Halley. The firm identified this project as number 94. In 2003, this project was a finalist at the 7th edition of the Bienal de Arquitectua Española and received a mention at the 17th edition of the Premios de Urbanismo, Arquitectura y Obra Publica 2003 from the Madrid City Council. Documenting the project are design development and working drawings, correspondence, notes, project descriptions, studies, specifications, photographic materials and a model.
People:
Date:
1995-2003
1995-2003
Title:
Biblioteca de Usera, Madrid, Spain (1995-2003)
Actions:
AP164.S1.1995.D1
Description:
The project series documents the competition entry, design, and execution of the José Hierro public library in the Usera district, Madrid, Spain. Abalos & Herreros were invited to participate in the competition organised by Consejería de Educación y Cultura (Council for Education and Culture), of the Comunidad de Autónoma de Madrid, and their entry won. The firm worked in collaboration with architect Ángel S. Jaramillo and artist Peter Halley. The firm identified this project as number 94. In 2003, this project was a finalist at the 7th edition of the Bienal de Arquitectua Española and received a mention at the 17th edition of the Premios de Urbanismo, Arquitectura y Obra Publica 2003 from the Madrid City Council. Documenting the project are design development and working drawings, correspondence, notes, project descriptions, studies, specifications, photographic materials and a model.
Biblioteca de Usera, Madrid, Spain (1995-2003)
Actions:
AP164.S1.1995.D1
Description:
The project series documents the competition entry, design, and execution of the José Hierro public library in the Usera district, Madrid, Spain. Abalos & Herreros were invited to participate in the competition organised by Consejería de Educación y Cultura (Council for Education and Culture), of the Comunidad de Autónoma de Madrid, and their entry won. The firm worked in collaboration with architect Ángel S. Jaramillo and artist Peter Halley. The firm identified this project as number 94. In 2003, this project was a finalist at the 7th edition of the Bienal de Arquitectua Española and received a mention at the 17th edition of the Premios de Urbanismo, Arquitectura y Obra Publica 2003 from the Madrid City Council. Documenting the project are design development and working drawings, correspondence, notes, project descriptions, studies, specifications, photographic materials and a model.
Level of archival description:
Project
Project
Date:
1995-2003
1995-2003
People:
Level of archival description:
Project
Project
Title:
Strike
Strike
Reference number:
AP144.S2.D99
Description:
File documents the exhibition design for 'Remember 1926: An Exhibition on the General Strike' which took place in July 1976 at the Flower Market in Covent Garden, London, England. Cedric Price was the architect for the exhibition which was organized by the Committee to Commemorate the 50th Anniversary of the General Strike. Archigram appear as collaborators for projection and photographic materials. Competition drawings for Domain (AP144.S2.D108) are included in the file. Material in the file was produced between 1976 and 1977. Many of the drawings in group DR2004:1273 in Strike (AP144.S2.D99) are attributed to David Price. The Small Works Department of Sir Robert McAlpine & Sons Ltd were involved in the exhibition installation. File contains design drawings, photographic materials, posters, a model, and textual records.
AP144.S2.D99
Description:
File documents the exhibition design for 'Remember 1926: An Exhibition on the General Strike' which took place in July 1976 at the Flower Market in Covent Garden, London, England. Cedric Price was the architect for the exhibition which was organized by the Committee to Commemorate the 50th Anniversary of the General Strike. Archigram appear as collaborators for projection and photographic materials. Competition drawings for Domain (AP144.S2.D108) are included in the file. Material in the file was produced between 1976 and 1977. Many of the drawings in group DR2004:1273 in Strike (AP144.S2.D99) are attributed to David Price. The Small Works Department of Sir Robert McAlpine & Sons Ltd were involved in the exhibition installation. File contains design drawings, photographic materials, posters, a model, and textual records.
People:
Date:
1976-1977
1976-1977
Title:
Strike
Actions:
AP144.S2.D99
Description:
File documents the exhibition design for 'Remember 1926: An Exhibition on the General Strike' which took place in July 1976 at the Flower Market in Covent Garden, London, England. Cedric Price was the architect for the exhibition which was organized by the Committee to Commemorate the 50th Anniversary of the General Strike. Archigram appear as collaborators for projection and photographic materials. Competition drawings for Domain (AP144.S2.D108) are included in the file. Material in the file was produced between 1976 and 1977. Many of the drawings in group DR2004:1273 in Strike (AP144.S2.D99) are attributed to David Price. The Small Works Department of Sir Robert McAlpine & Sons Ltd were involved in the exhibition installation. File contains design drawings, photographic materials, posters, a model, and textual records.
Strike
Actions:
AP144.S2.D99
Description:
File documents the exhibition design for 'Remember 1926: An Exhibition on the General Strike' which took place in July 1976 at the Flower Market in Covent Garden, London, England. Cedric Price was the architect for the exhibition which was organized by the Committee to Commemorate the 50th Anniversary of the General Strike. Archigram appear as collaborators for projection and photographic materials. Competition drawings for Domain (AP144.S2.D108) are included in the file. Material in the file was produced between 1976 and 1977. Many of the drawings in group DR2004:1273 in Strike (AP144.S2.D99) are attributed to David Price. The Small Works Department of Sir Robert McAlpine & Sons Ltd were involved in the exhibition installation. File contains design drawings, photographic materials, posters, a model, and textual records.
Level of archival description:
File 99
File 99
Date:
1976-1977
1976-1977
People:
