33214 Results
Level of archival description:
Project
Project
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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:
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
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 theatre seated on a litter certainly refers to a non-Roman figure, possibly Hannibal. Behind this figure is a theatre 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 theatre seated on a litter certainly refers to a non-Roman figure, possibly Hannibal. Behind this figure is a theatre 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 theatre seated on a litter certainly refers to a non-Roman figure, possibly Hannibal. Behind this figure is a theatre 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 theatre seated on a litter certainly refers to a non-Roman figure, possibly Hannibal. Behind this figure is a theatre 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
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:
Series
Series
Title:
Research
Research
Actions:
Reference number:
CD042.S1
Description:
The series documents Susan Wagg's research for the exhibition “Money Matters: A Critical Look at Bank Architecture”on bank buildings in the United States and in Canada. It contains her research files on each bank building presented in the exhibition and more general research on bank architecture and architects or architectural firms who designed banks. The series contains a research file for each of the bank buildings studied for the exhibition, which mainly consist of photocopies of articles and press clippings. Also included are more general research files on banks, which include press clippings and photocopies of publicatons, leaflets, and promotional material, as well as some reference photographs. Furthermore, the series contains texts and labels for the exhibition at the Museum of Fine Arts, Houston, and for the venue at Columbia University.
CD042.S1
Description:
The series documents Susan Wagg's research for the exhibition “Money Matters: A Critical Look at Bank Architecture”on bank buildings in the United States and in Canada. It contains her research files on each bank building presented in the exhibition and more general research on bank architecture and architects or architectural firms who designed banks. The series contains a research file for each of the bank buildings studied for the exhibition, which mainly consist of photocopies of articles and press clippings. Also included are more general research files on banks, which include press clippings and photocopies of publicatons, leaflets, and promotional material, as well as some reference photographs. Furthermore, the series contains texts and labels for the exhibition at the Museum of Fine Arts, Houston, and for the venue at Columbia University.
People:
Date:
1929-1993
1929-1993
Title:
Research
Actions:
CD042.S1
Description:
The series documents Susan Wagg's research for the exhibition “Money Matters: A Critical Look at Bank Architecture”on bank buildings in the United States and in Canada. It contains her research files on each bank building presented in the exhibition and more general research on bank architecture and architects or architectural firms who designed banks. The series contains a research file for each of the bank buildings studied for the exhibition, which mainly consist of photocopies of articles and press clippings. Also included are more general research files on banks, which include press clippings and photocopies of publicatons, leaflets, and promotional material, as well as some reference photographs. Furthermore, the series contains texts and labels for the exhibition at the Museum of Fine Arts, Houston, and for the venue at Columbia University.
Research
Actions:
CD042.S1
Description:
The series documents Susan Wagg's research for the exhibition “Money Matters: A Critical Look at Bank Architecture”on bank buildings in the United States and in Canada. It contains her research files on each bank building presented in the exhibition and more general research on bank architecture and architects or architectural firms who designed banks. The series contains a research file for each of the bank buildings studied for the exhibition, which mainly consist of photocopies of articles and press clippings. Also included are more general research files on banks, which include press clippings and photocopies of publicatons, leaflets, and promotional material, as well as some reference photographs. Furthermore, the series contains texts and labels for the exhibition at the Museum of Fine Arts, Houston, and for the venue at Columbia University.
Level of archival description:
Series
Series
Date:
1929-1993
1929-1993
People:
Level of archival description:
Project
Project
Actions:
Reference number:
AP206.S1.1985.PR07
Description:
This project series documents a housing study for Dr. Bhimrao Ambedker University in Lucknow, India around 1985. This project consisted of multi-storey buildings arranged in clusters. The buildings had three apartments on each floor and were joined to create common courtyards. Diamond shaped buildings with centre courtyards were also investigated for a different area of the campus, as well as a nursery school, shopping complex, administrative block and information tower. The architect also made recommendations to build facilities near the campus for recycling, waste water, vegetables and livestock, stating that doing so would avoid the natural occurrence of slums that served a similar purpose. The project is recorded through original drawings of site, floor and landscaping plans, as well as elevations and photographic negatives of the project model, likely dating from around 1985.
AP206.S1.1985.PR07
Description:
This project series documents a housing study for Dr. Bhimrao Ambedker University in Lucknow, India around 1985. This project consisted of multi-storey buildings arranged in clusters. The buildings had three apartments on each floor and were joined to create common courtyards. Diamond shaped buildings with centre courtyards were also investigated for a different area of the campus, as well as a nursery school, shopping complex, administrative block and information tower. The architect also made recommendations to build facilities near the campus for recycling, waste water, vegetables and livestock, stating that doing so would avoid the natural occurrence of slums that served a similar purpose. The project is recorded through original drawings of site, floor and landscaping plans, as well as elevations and photographic negatives of the project model, likely dating from around 1985.
People:
Date:
circa 1985
circa 1985
Title:
Dr. Bhimrao Ambedker University, housing study, Lucknow, India (circa 1985)
Actions:
AP206.S1.1985.PR07
Description:
This project series documents a housing study for Dr. Bhimrao Ambedker University in Lucknow, India around 1985. This project consisted of multi-storey buildings arranged in clusters. The buildings had three apartments on each floor and were joined to create common courtyards. Diamond shaped buildings with centre courtyards were also investigated for a different area of the campus, as well as a nursery school, shopping complex, administrative block and information tower. The architect also made recommendations to build facilities near the campus for recycling, waste water, vegetables and livestock, stating that doing so would avoid the natural occurrence of slums that served a similar purpose. The project is recorded through original drawings of site, floor and landscaping plans, as well as elevations and photographic negatives of the project model, likely dating from around 1985.
Dr. Bhimrao Ambedker University, housing study, Lucknow, India (circa 1985)
Actions:
AP206.S1.1985.PR07
Description:
This project series documents a housing study for Dr. Bhimrao Ambedker University in Lucknow, India around 1985. This project consisted of multi-storey buildings arranged in clusters. The buildings had three apartments on each floor and were joined to create common courtyards. Diamond shaped buildings with centre courtyards were also investigated for a different area of the campus, as well as a nursery school, shopping complex, administrative block and information tower. The architect also made recommendations to build facilities near the campus for recycling, waste water, vegetables and livestock, stating that doing so would avoid the natural occurrence of slums that served a similar purpose. The project is recorded through original drawings of site, floor and landscaping plans, as well as elevations and photographic negatives of the project model, likely dating from around 1985.
Level of archival description:
Project
Project
Date:
circa 1985
circa 1985
People:
Level of archival description:
Project
Project
Actions:
Reference number:
AP207.S1.2014.PR04
Description:
The project series documents the performance "La Mia Idea Di Architettura" held at Base, Spazio per l'arte in Florence, in 2014. The performance consists of a lecture given by Pettena, standing in a window frame, speaking to people passing in the street. "To illustrate his idea of architecture, Pettena chose to address not only experts in the field but also a random audience, passers-by on the street as he spoke." [1] The lecture was held in the context of an exhibition on Radical Tools, the Florentine group of the ‘radical’ movement architects and artists. Each protagonist of the group were invited to present a lecture. The project series contains photographs of the performance. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/perf-my-idea-2014/ (last accessed 28 January 2020)
AP207.S1.2014.PR04
Description:
The project series documents the performance "La Mia Idea Di Architettura" held at Base, Spazio per l'arte in Florence, in 2014. The performance consists of a lecture given by Pettena, standing in a window frame, speaking to people passing in the street. "To illustrate his idea of architecture, Pettena chose to address not only experts in the field but also a random audience, passers-by on the street as he spoke." [1] The lecture was held in the context of an exhibition on Radical Tools, the Florentine group of the ‘radical’ movement architects and artists. Each protagonist of the group were invited to present a lecture. The project series contains photographs of the performance. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/perf-my-idea-2014/ (last accessed 28 January 2020)
People:
Date:
circa 2014
circa 2014
Title:
La Mia Idea Di Architettura [My Idea of Architecture] (2014)
Actions:
AP207.S1.2014.PR04
Description:
The project series documents the performance "La Mia Idea Di Architettura" held at Base, Spazio per l'arte in Florence, in 2014. The performance consists of a lecture given by Pettena, standing in a window frame, speaking to people passing in the street. "To illustrate his idea of architecture, Pettena chose to address not only experts in the field but also a random audience, passers-by on the street as he spoke." [1] The lecture was held in the context of an exhibition on Radical Tools, the Florentine group of the ‘radical’ movement architects and artists. Each protagonist of the group were invited to present a lecture. The project series contains photographs of the performance. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/perf-my-idea-2014/ (last accessed 28 January 2020)
La Mia Idea Di Architettura [My Idea of Architecture] (2014)
Actions:
AP207.S1.2014.PR04
Description:
The project series documents the performance "La Mia Idea Di Architettura" held at Base, Spazio per l'arte in Florence, in 2014. The performance consists of a lecture given by Pettena, standing in a window frame, speaking to people passing in the street. "To illustrate his idea of architecture, Pettena chose to address not only experts in the field but also a random audience, passers-by on the street as he spoke." [1] The lecture was held in the context of an exhibition on Radical Tools, the Florentine group of the ‘radical’ movement architects and artists. Each protagonist of the group were invited to present a lecture. The project series contains photographs of the performance. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/perf-my-idea-2014/ (last accessed 28 January 2020)
Level of archival description:
Project
Project
Date:
circa 2014
circa 2014
People:
