4455 Results
Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Title:
Luc Laporte fonds
Luc Laporte fonds
Actions:
Reference number:
AP068
Synopsis:
Le Fond Luc Laporte documente les propositions et les réalisations issus de l'atelier de Luc Laporte pour le secteur est du Vieux-Port de Montréal.
AP068
Synopsis:
Le Fond Luc Laporte documente les propositions et les réalisations issus de l'atelier de Luc Laporte pour le secteur est du Vieux-Port de Montréal.
People:
Date:
1991-1993
1991-1993
Title:
Luc Laporte fonds
Actions:
AP068
Synopsis:
Le Fond Luc Laporte documente les propositions et les réalisations issus de l'atelier de Luc Laporte pour le secteur est du Vieux-Port de Montréal.
Luc Laporte fonds
Actions:
AP068
Synopsis:
Le Fond Luc Laporte documente les propositions et les réalisations issus de l'atelier de Luc Laporte pour le secteur est du Vieux-Port de Montréal.
Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Date:
1991-1993
1991-1993
People:
Level of archival description:
Series
Series
Title:
Objectile records
Objectile records
Actions:
Reference number:
AP169.S1
Description:
Series 1, Objectile, 1993 - 2011, relates to the firm’s activities, from the production of decorative panels to the management of daily business. This series includes born-digital material and chiefly dates from 2004-2008. “Objectile” is a term first proposed by philosopher Gilles Deleuze in his book The Fold, published in 1988. It was used to name the research conducted by Bernard Cache and his associate Patrick Beaucé around the development of industrial means to produce “non-standard” objects. In his book Earth Moves (Terre Meuble), Bernard Cache describes non-standard objects as repeatable variations on a theme, such as a family of curves declining the same mathematical model. The randomness of their patterns recalls earth’s forms and curves, the way geography generates nature’s topography. Cache also wanted these folds and curves to express a relationship between the exterior (geography) and the interior (furniture) of architecture. From these ideas, the firm Objectile was founded created to industrially produce and market those non-standard objects mostly taking the form of decorative panels. Those panels and other furniture were among the first objects to be computationally designed with computer-aided design software (CAD) and then industrially built through computer numerical control (CNC). The patterns were designed through unique algorithms that could endlessly be modified and personalized. Materials in this series reflect the work of Objectile. This includes design and execution records for the different wooden panels and other furniture, which are primarily in still image and CAD formats (TopSolid, AutoCAD). There is also a significant body of material for the Objectile website (in HTML and XML formats). The series additionally includes textual documentation reflecting the administration of the firm, including accounting and legal documentation, as well as correspondence. These materials are in typical office formats and include email.
AP169.S1
Description:
Series 1, Objectile, 1993 - 2011, relates to the firm’s activities, from the production of decorative panels to the management of daily business. This series includes born-digital material and chiefly dates from 2004-2008. “Objectile” is a term first proposed by philosopher Gilles Deleuze in his book The Fold, published in 1988. It was used to name the research conducted by Bernard Cache and his associate Patrick Beaucé around the development of industrial means to produce “non-standard” objects. In his book Earth Moves (Terre Meuble), Bernard Cache describes non-standard objects as repeatable variations on a theme, such as a family of curves declining the same mathematical model. The randomness of their patterns recalls earth’s forms and curves, the way geography generates nature’s topography. Cache also wanted these folds and curves to express a relationship between the exterior (geography) and the interior (furniture) of architecture. From these ideas, the firm Objectile was founded created to industrially produce and market those non-standard objects mostly taking the form of decorative panels. Those panels and other furniture were among the first objects to be computationally designed with computer-aided design software (CAD) and then industrially built through computer numerical control (CNC). The patterns were designed through unique algorithms that could endlessly be modified and personalized. Materials in this series reflect the work of Objectile. This includes design and execution records for the different wooden panels and other furniture, which are primarily in still image and CAD formats (TopSolid, AutoCAD). There is also a significant body of material for the Objectile website (in HTML and XML formats). The series additionally includes textual documentation reflecting the administration of the firm, including accounting and legal documentation, as well as correspondence. These materials are in typical office formats and include email.
People:
Date:
1993-2011
1993-2011
Title:
Objectile records
Actions:
AP169.S1
Description:
Series 1, Objectile, 1993 - 2011, relates to the firm’s activities, from the production of decorative panels to the management of daily business. This series includes born-digital material and chiefly dates from 2004-2008. “Objectile” is a term first proposed by philosopher Gilles Deleuze in his book The Fold, published in 1988. It was used to name the research conducted by Bernard Cache and his associate Patrick Beaucé around the development of industrial means to produce “non-standard” objects. In his book Earth Moves (Terre Meuble), Bernard Cache describes non-standard objects as repeatable variations on a theme, such as a family of curves declining the same mathematical model. The randomness of their patterns recalls earth’s forms and curves, the way geography generates nature’s topography. Cache also wanted these folds and curves to express a relationship between the exterior (geography) and the interior (furniture) of architecture. From these ideas, the firm Objectile was founded created to industrially produce and market those non-standard objects mostly taking the form of decorative panels. Those panels and other furniture were among the first objects to be computationally designed with computer-aided design software (CAD) and then industrially built through computer numerical control (CNC). The patterns were designed through unique algorithms that could endlessly be modified and personalized. Materials in this series reflect the work of Objectile. This includes design and execution records for the different wooden panels and other furniture, which are primarily in still image and CAD formats (TopSolid, AutoCAD). There is also a significant body of material for the Objectile website (in HTML and XML formats). The series additionally includes textual documentation reflecting the administration of the firm, including accounting and legal documentation, as well as correspondence. These materials are in typical office formats and include email.
Objectile records
Actions:
AP169.S1
Description:
Series 1, Objectile, 1993 - 2011, relates to the firm’s activities, from the production of decorative panels to the management of daily business. This series includes born-digital material and chiefly dates from 2004-2008. “Objectile” is a term first proposed by philosopher Gilles Deleuze in his book The Fold, published in 1988. It was used to name the research conducted by Bernard Cache and his associate Patrick Beaucé around the development of industrial means to produce “non-standard” objects. In his book Earth Moves (Terre Meuble), Bernard Cache describes non-standard objects as repeatable variations on a theme, such as a family of curves declining the same mathematical model. The randomness of their patterns recalls earth’s forms and curves, the way geography generates nature’s topography. Cache also wanted these folds and curves to express a relationship between the exterior (geography) and the interior (furniture) of architecture. From these ideas, the firm Objectile was founded created to industrially produce and market those non-standard objects mostly taking the form of decorative panels. Those panels and other furniture were among the first objects to be computationally designed with computer-aided design software (CAD) and then industrially built through computer numerical control (CNC). The patterns were designed through unique algorithms that could endlessly be modified and personalized. Materials in this series reflect the work of Objectile. This includes design and execution records for the different wooden panels and other furniture, which are primarily in still image and CAD formats (TopSolid, AutoCAD). There is also a significant body of material for the Objectile website (in HTML and XML formats). The series additionally includes textual documentation reflecting the administration of the firm, including accounting and legal documentation, as well as correspondence. These materials are in typical office formats and include email.
Level of archival description:
Series
Series
Date:
1993-2011
1993-2011
People:
Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Title:
Victor Depocas fonds
Victor Depocas fonds
Actions:
Reference number:
AP028
Synopsis:
Victor Depocas fonds is composed of documents and graphic materials produced between 1921 and 1986, predominantly between 1956 and 1984. It records Depocas activities as a member of the Province of Québec Association of Architects (A.A.P.Q.), the Ordre d’Architects du Québec (O.A.P.), and the Commission des monuments historiques du Québec; his activities as a Professor of architectural composition at l’École de Beaux-arts de Montréal (1953-1957); and his work as a professional architect along with general office files of the short-life firms David & Depocas and Deshaies & Depocas (1946-1950). The fonds documents mainly the architectural projects from the Commission that include restorations, renovations and modifications of residential, educational, ecclesiastical, and commercial buildings across Québec. Represented in drawings, textual records and photographs.
AP028
Synopsis:
Victor Depocas fonds is composed of documents and graphic materials produced between 1921 and 1986, predominantly between 1956 and 1984. It records Depocas activities as a member of the Province of Québec Association of Architects (A.A.P.Q.), the Ordre d’Architects du Québec (O.A.P.), and the Commission des monuments historiques du Québec; his activities as a Professor of architectural composition at l’École de Beaux-arts de Montréal (1953-1957); and his work as a professional architect along with general office files of the short-life firms David & Depocas and Deshaies & Depocas (1946-1950). The fonds documents mainly the architectural projects from the Commission that include restorations, renovations and modifications of residential, educational, ecclesiastical, and commercial buildings across Québec. Represented in drawings, textual records and photographs.
People:
Date:
1921-1986
1921-1986
Title:
Victor Depocas fonds
Actions:
AP028
Synopsis:
Victor Depocas fonds is composed of documents and graphic materials produced between 1921 and 1986, predominantly between 1956 and 1984. It records Depocas activities as a member of the Province of Québec Association of Architects (A.A.P.Q.), the Ordre d’Architects du Québec (O.A.P.), and the Commission des monuments historiques du Québec; his activities as a Professor of architectural composition at l’École de Beaux-arts de Montréal (1953-1957); and his work as a professional architect along with general office files of the short-life firms David & Depocas and Deshaies & Depocas (1946-1950). The fonds documents mainly the architectural projects from the Commission that include restorations, renovations and modifications of residential, educational, ecclesiastical, and commercial buildings across Québec. Represented in drawings, textual records and photographs.
Victor Depocas fonds
Actions:
AP028
Synopsis:
Victor Depocas fonds is composed of documents and graphic materials produced between 1921 and 1986, predominantly between 1956 and 1984. It records Depocas activities as a member of the Province of Québec Association of Architects (A.A.P.Q.), the Ordre d’Architects du Québec (O.A.P.), and the Commission des monuments historiques du Québec; his activities as a Professor of architectural composition at l’École de Beaux-arts de Montréal (1953-1957); and his work as a professional architect along with general office files of the short-life firms David & Depocas and Deshaies & Depocas (1946-1950). The fonds documents mainly the architectural projects from the Commission that include restorations, renovations and modifications of residential, educational, ecclesiastical, and commercial buildings across Québec. Represented in drawings, textual records and photographs.
Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Date:
1921-1986
1921-1986
People:
Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Reference number:
AP189
Synopsis:
L’installation Météorologie d’intérieur fut présentée au Centre Canadien d’Architecture (CCA) lors de l’exposition Environ(ne)ment (18 octobre 2006-10 juin 2007) et à Rovereto en Italie lors de l’exposition Manifesta 7 (19 juillet-2 novembre 2008). Les documents d’archives de l’installation comprennent le logiciel développé pour l’installation et une sélection des objets installés dans les deux espaces d’exposition. *** The installation Interior Weather was presented at the Candian Centre for Architecture (CCA) as part of the exhibition Environ(ne)ment (October 18, 2006-June 10, 2007) and in Rovereto, Italy as part of Manifesta 7 (July 19-November 2, 2008). The records of the installation Interior Weather include the software developed for the installation and a selection of objects installed in the exhibition spaces.
AP189
Synopsis:
L’installation Météorologie d’intérieur fut présentée au Centre Canadien d’Architecture (CCA) lors de l’exposition Environ(ne)ment (18 octobre 2006-10 juin 2007) et à Rovereto en Italie lors de l’exposition Manifesta 7 (19 juillet-2 novembre 2008). Les documents d’archives de l’installation comprennent le logiciel développé pour l’installation et une sélection des objets installés dans les deux espaces d’exposition. *** The installation Interior Weather was presented at the Candian Centre for Architecture (CCA) as part of the exhibition Environ(ne)ment (October 18, 2006-June 10, 2007) and in Rovereto, Italy as part of Manifesta 7 (July 19-November 2, 2008). The records of the installation Interior Weather include the software developed for the installation and a selection of objects installed in the exhibition spaces.
People:
Date:
2000-2008
2000-2008
Title:
Philippe Rahm "Interior Weather" installation records
Actions:
AP189
Synopsis:
L’installation Météorologie d’intérieur fut présentée au Centre Canadien d’Architecture (CCA) lors de l’exposition Environ(ne)ment (18 octobre 2006-10 juin 2007) et à Rovereto en Italie lors de l’exposition Manifesta 7 (19 juillet-2 novembre 2008). Les documents d’archives de l’installation comprennent le logiciel développé pour l’installation et une sélection des objets installés dans les deux espaces d’exposition. *** The installation Interior Weather was presented at the Candian Centre for Architecture (CCA) as part of the exhibition Environ(ne)ment (October 18, 2006-June 10, 2007) and in Rovereto, Italy as part of Manifesta 7 (July 19-November 2, 2008). The records of the installation Interior Weather include the software developed for the installation and a selection of objects installed in the exhibition spaces.
Philippe Rahm "Interior Weather" installation records
Actions:
AP189
Synopsis:
L’installation Météorologie d’intérieur fut présentée au Centre Canadien d’Architecture (CCA) lors de l’exposition Environ(ne)ment (18 octobre 2006-10 juin 2007) et à Rovereto en Italie lors de l’exposition Manifesta 7 (19 juillet-2 novembre 2008). Les documents d’archives de l’installation comprennent le logiciel développé pour l’installation et une sélection des objets installés dans les deux espaces d’exposition. *** The installation Interior Weather was presented at the Candian Centre for Architecture (CCA) as part of the exhibition Environ(ne)ment (October 18, 2006-June 10, 2007) and in Rovereto, Italy as part of Manifesta 7 (July 19-November 2, 2008). The records of the installation Interior Weather include the software developed for the installation and a selection of objects installed in the exhibition spaces.
Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Date:
2000-2008
2000-2008
People:
Level of archival description:
Series
Series
Title:
Une architecture des humeurs
Une architecture des humeurs
Actions:
Reference number:
AP193.S4
Description:
Series 4, Une architecture des humeurs, 2008-2011, documents the conception and the presentation of exhibition and project Une architecture des humeurs. Presented at Le laboratoire art gallery in Paris between January and May 2010, Une architecture des humeurs is a conceptual, unbuilt, residential urban structure based on a potential future in which contemporary science reads human physiology and chemical balance. The idea is to acquire a chemistry of the “humors”, or the moods and temperament, of future purchasers. Taken as input, the information generates a diversity of habitable morphologies and relationships between them. With this process, the project attempts to make palpable and graspable, through technologies, the emotions of the participants captured via the chemistry of their body. The goal is to gather information on their capacity of adaptation, their level of sympathy and empathy while confronted to a situation or an environment. This information is then analyzed by computational, mathematical, and machinist procedures. This leads to the design and production of an urban structure submitted to the improbable and uncertain protocols produced by emotions, also creating aggregations and layouts that rearticulate the links between the individual and the collective. These structures are calculated following simultaneously incremental and recursive structural optimization protocols resulting in the physicality and morphology of architecture. The layout of the residential units and the structural trajectories are conceived and developed as posterior to the constructs supporting social life and not as an a priori. The structure of each components of the urban structure is generated by a secretion and weaving machine called Viab02. The machine is the second prototype of VIAB which was developed with Robotics Research Lab of the University of Southern California and takes its name from the terms viability and variability. With a process similar to contour crafting, the machine produces bio-cement, a mix between cement and bio-resin, giving form to the adapted residential structures. The records consist largely of images detailing the creative process of the firm, photographs of the exhibition, and 3D models. It also contains animated renderings representing the machine in action and sequences of the construction of the building or the structure. The records include a video orienting the project into François Roche theoretical stance, research as speculation, that can be summarize as the use of technological tools to take a critical and political position through esthetic in order to open new lines of thoughts. AP193.S2 contains updated previous version of the VIAB machine
AP193.S4
Description:
Series 4, Une architecture des humeurs, 2008-2011, documents the conception and the presentation of exhibition and project Une architecture des humeurs. Presented at Le laboratoire art gallery in Paris between January and May 2010, Une architecture des humeurs is a conceptual, unbuilt, residential urban structure based on a potential future in which contemporary science reads human physiology and chemical balance. The idea is to acquire a chemistry of the “humors”, or the moods and temperament, of future purchasers. Taken as input, the information generates a diversity of habitable morphologies and relationships between them. With this process, the project attempts to make palpable and graspable, through technologies, the emotions of the participants captured via the chemistry of their body. The goal is to gather information on their capacity of adaptation, their level of sympathy and empathy while confronted to a situation or an environment. This information is then analyzed by computational, mathematical, and machinist procedures. This leads to the design and production of an urban structure submitted to the improbable and uncertain protocols produced by emotions, also creating aggregations and layouts that rearticulate the links between the individual and the collective. These structures are calculated following simultaneously incremental and recursive structural optimization protocols resulting in the physicality and morphology of architecture. The layout of the residential units and the structural trajectories are conceived and developed as posterior to the constructs supporting social life and not as an a priori. The structure of each components of the urban structure is generated by a secretion and weaving machine called Viab02. The machine is the second prototype of VIAB which was developed with Robotics Research Lab of the University of Southern California and takes its name from the terms viability and variability. With a process similar to contour crafting, the machine produces bio-cement, a mix between cement and bio-resin, giving form to the adapted residential structures. The records consist largely of images detailing the creative process of the firm, photographs of the exhibition, and 3D models. It also contains animated renderings representing the machine in action and sequences of the construction of the building or the structure. The records include a video orienting the project into François Roche theoretical stance, research as speculation, that can be summarize as the use of technological tools to take a critical and political position through esthetic in order to open new lines of thoughts. AP193.S2 contains updated previous version of the VIAB machine
People:
Date:
2008-2011
2008-2011
Title:
Une architecture des humeurs
Actions:
AP193.S4
Description:
Series 4, Une architecture des humeurs, 2008-2011, documents the conception and the presentation of exhibition and project Une architecture des humeurs. Presented at Le laboratoire art gallery in Paris between January and May 2010, Une architecture des humeurs is a conceptual, unbuilt, residential urban structure based on a potential future in which contemporary science reads human physiology and chemical balance. The idea is to acquire a chemistry of the “humors”, or the moods and temperament, of future purchasers. Taken as input, the information generates a diversity of habitable morphologies and relationships between them. With this process, the project attempts to make palpable and graspable, through technologies, the emotions of the participants captured via the chemistry of their body. The goal is to gather information on their capacity of adaptation, their level of sympathy and empathy while confronted to a situation or an environment. This information is then analyzed by computational, mathematical, and machinist procedures. This leads to the design and production of an urban structure submitted to the improbable and uncertain protocols produced by emotions, also creating aggregations and layouts that rearticulate the links between the individual and the collective. These structures are calculated following simultaneously incremental and recursive structural optimization protocols resulting in the physicality and morphology of architecture. The layout of the residential units and the structural trajectories are conceived and developed as posterior to the constructs supporting social life and not as an a priori. The structure of each components of the urban structure is generated by a secretion and weaving machine called Viab02. The machine is the second prototype of VIAB which was developed with Robotics Research Lab of the University of Southern California and takes its name from the terms viability and variability. With a process similar to contour crafting, the machine produces bio-cement, a mix between cement and bio-resin, giving form to the adapted residential structures. The records consist largely of images detailing the creative process of the firm, photographs of the exhibition, and 3D models. It also contains animated renderings representing the machine in action and sequences of the construction of the building or the structure. The records include a video orienting the project into François Roche theoretical stance, research as speculation, that can be summarize as the use of technological tools to take a critical and political position through esthetic in order to open new lines of thoughts. AP193.S2 contains updated previous version of the VIAB machine
Une architecture des humeurs
Actions:
AP193.S4
Description:
Series 4, Une architecture des humeurs, 2008-2011, documents the conception and the presentation of exhibition and project Une architecture des humeurs. Presented at Le laboratoire art gallery in Paris between January and May 2010, Une architecture des humeurs is a conceptual, unbuilt, residential urban structure based on a potential future in which contemporary science reads human physiology and chemical balance. The idea is to acquire a chemistry of the “humors”, or the moods and temperament, of future purchasers. Taken as input, the information generates a diversity of habitable morphologies and relationships between them. With this process, the project attempts to make palpable and graspable, through technologies, the emotions of the participants captured via the chemistry of their body. The goal is to gather information on their capacity of adaptation, their level of sympathy and empathy while confronted to a situation or an environment. This information is then analyzed by computational, mathematical, and machinist procedures. This leads to the design and production of an urban structure submitted to the improbable and uncertain protocols produced by emotions, also creating aggregations and layouts that rearticulate the links between the individual and the collective. These structures are calculated following simultaneously incremental and recursive structural optimization protocols resulting in the physicality and morphology of architecture. The layout of the residential units and the structural trajectories are conceived and developed as posterior to the constructs supporting social life and not as an a priori. The structure of each components of the urban structure is generated by a secretion and weaving machine called Viab02. The machine is the second prototype of VIAB which was developed with Robotics Research Lab of the University of Southern California and takes its name from the terms viability and variability. With a process similar to contour crafting, the machine produces bio-cement, a mix between cement and bio-resin, giving form to the adapted residential structures. The records consist largely of images detailing the creative process of the firm, photographs of the exhibition, and 3D models. It also contains animated renderings representing the machine in action and sequences of the construction of the building or the structure. The records include a video orienting the project into François Roche theoretical stance, research as speculation, that can be summarize as the use of technological tools to take a critical and political position through esthetic in order to open new lines of thoughts. AP193.S2 contains updated previous version of the VIAB machine
Level of archival description:
Series
Series
Date:
2008-2011
2008-2011
People:
Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Title:
Kenneth Frampton fonds
Kenneth Frampton fonds
Reference number:
AP197
Synopsis:
The Kenneth Frampton fonds, 1958-2016, documents the professional career of Kenneth Frampton – British architect, historian, theorist, and Ware professor of Architecture at the Graduate School of Architecture, Planning and Preservation (GSAPP) at Columbia University. Materials in the fonds consist of approximately 28.37 l.m. of textual records, 3966 photographs and prints, 3168 postcards, 2733 slides, 824 drawings (including reprographic copies), 470 negatives, 151 35 mm negatives, 105 posters, 30 objects, 23 audio cassettes, 18 VHS tapes, 15 transparencies, 3 tape reels, 2 microfilms, and 2 vinyl records.
AP197
Synopsis:
The Kenneth Frampton fonds, 1958-2016, documents the professional career of Kenneth Frampton – British architect, historian, theorist, and Ware professor of Architecture at the Graduate School of Architecture, Planning and Preservation (GSAPP) at Columbia University. Materials in the fonds consist of approximately 28.37 l.m. of textual records, 3966 photographs and prints, 3168 postcards, 2733 slides, 824 drawings (including reprographic copies), 470 negatives, 151 35 mm negatives, 105 posters, 30 objects, 23 audio cassettes, 18 VHS tapes, 15 transparencies, 3 tape reels, 2 microfilms, and 2 vinyl records.
People:
Date:
1958-2016
1958-2016
Title:
Kenneth Frampton fonds
Actions:
AP197
Synopsis:
The Kenneth Frampton fonds, 1958-2016, documents the professional career of Kenneth Frampton – British architect, historian, theorist, and Ware professor of Architecture at the Graduate School of Architecture, Planning and Preservation (GSAPP) at Columbia University. Materials in the fonds consist of approximately 28.37 l.m. of textual records, 3966 photographs and prints, 3168 postcards, 2733 slides, 824 drawings (including reprographic copies), 470 negatives, 151 35 mm negatives, 105 posters, 30 objects, 23 audio cassettes, 18 VHS tapes, 15 transparencies, 3 tape reels, 2 microfilms, and 2 vinyl records.
Kenneth Frampton fonds
Actions:
AP197
Synopsis:
The Kenneth Frampton fonds, 1958-2016, documents the professional career of Kenneth Frampton – British architect, historian, theorist, and Ware professor of Architecture at the Graduate School of Architecture, Planning and Preservation (GSAPP) at Columbia University. Materials in the fonds consist of approximately 28.37 l.m. of textual records, 3966 photographs and prints, 3168 postcards, 2733 slides, 824 drawings (including reprographic copies), 470 negatives, 151 35 mm negatives, 105 posters, 30 objects, 23 audio cassettes, 18 VHS tapes, 15 transparencies, 3 tape reels, 2 microfilms, and 2 vinyl records.
Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Date:
1958-2016
1958-2016
People:
Level of archival description:
Project
Project
Reference number:
AP056.S1.2000.PR08
Description:
This project series documents buildings for Concordia University's downtown campus in Montréal from 2000-2009. The office identified the project number as 0004. This project eventually became known as Le Quartier Concordia. This project was the winning submission of an architectural competition by Kuwabara Payne McKenna Blumberg Architects, in joint-venture with Fichten Soiferman et Associés Architectes, to design an integrated, vertical campus to revitalize and reinvent the University. This project consisted of three interconnected high-rise buildings on either side of Montreal's Guy Street, below De Maisonneuve Boulevard, to rehouse three important faculties: Visual Arts, Engineering and Computer Science, and the John Molson School of Business. These three buildings had glazed curtain wall exteriors with copper-coloured metal lines that created visual consistency inside and outside of all three buildings. Large art installations were also included on the façades. Triple-height atriums on the ground floors of the Engineering Building and the John Molson building added welcoming, public areas to the campus, and connected pedestrians to the Guy-Concordia metro station below. The tops of these two buildings featured massive north-south canopies that pointed from Montreal's Mont Royal down to the St. Lawrence River. The shorter Visual Arts building was directly connected to the Engineering building and today they are known together as the EV Building. The building interiors, comprised largely of stone tiles and concrete, featured large, multi-storey spiral staircases in a nod to the famous exterior spiral stairs of Montreal homes.[1] The Engineering and Visual Arts buildings were completed in 2005 and the John Molson building in 2009. Recladding of the exterior of another campus building to match these was completed in 2011.[2] It should be noted that these project materials were donated to the CCA part way through the project's realization. The project is recorded through drawings and textual records dating from 2000-2003. The drawings are mostly originals but reprographic copies and printouts of CAD drawings are also included. The drawings consist of sketches, digital renderings, plans, elevations, sections, perspectives, details and construction drawings. The textual records are arranged within the drawings and consist of research. [1]Contributions from Phyllis Lambert et al., The Architecture of Kuwabara, Payne, McKenna, Blumberg (Boston, MA: Birkhäuser-Publishers for Architecture, 2004), 180. [2]"Le Quartier Concordia." KPMB. Accessed July 11, 2019. http://www.kpmb.com/project/concordia-university-john-molson-school-of-business/
AP056.S1.2000.PR08
Description:
This project series documents buildings for Concordia University's downtown campus in Montréal from 2000-2009. The office identified the project number as 0004. This project eventually became known as Le Quartier Concordia. This project was the winning submission of an architectural competition by Kuwabara Payne McKenna Blumberg Architects, in joint-venture with Fichten Soiferman et Associés Architectes, to design an integrated, vertical campus to revitalize and reinvent the University. This project consisted of three interconnected high-rise buildings on either side of Montreal's Guy Street, below De Maisonneuve Boulevard, to rehouse three important faculties: Visual Arts, Engineering and Computer Science, and the John Molson School of Business. These three buildings had glazed curtain wall exteriors with copper-coloured metal lines that created visual consistency inside and outside of all three buildings. Large art installations were also included on the façades. Triple-height atriums on the ground floors of the Engineering Building and the John Molson building added welcoming, public areas to the campus, and connected pedestrians to the Guy-Concordia metro station below. The tops of these two buildings featured massive north-south canopies that pointed from Montreal's Mont Royal down to the St. Lawrence River. The shorter Visual Arts building was directly connected to the Engineering building and today they are known together as the EV Building. The building interiors, comprised largely of stone tiles and concrete, featured large, multi-storey spiral staircases in a nod to the famous exterior spiral stairs of Montreal homes.[1] The Engineering and Visual Arts buildings were completed in 2005 and the John Molson building in 2009. Recladding of the exterior of another campus building to match these was completed in 2011.[2] It should be noted that these project materials were donated to the CCA part way through the project's realization. The project is recorded through drawings and textual records dating from 2000-2003. The drawings are mostly originals but reprographic copies and printouts of CAD drawings are also included. The drawings consist of sketches, digital renderings, plans, elevations, sections, perspectives, details and construction drawings. The textual records are arranged within the drawings and consist of research. [1]Contributions from Phyllis Lambert et al., The Architecture of Kuwabara, Payne, McKenna, Blumberg (Boston, MA: Birkhäuser-Publishers for Architecture, 2004), 180. [2]"Le Quartier Concordia." KPMB. Accessed July 11, 2019. http://www.kpmb.com/project/concordia-university-john-molson-school-of-business/
People:
Date:
2000-2003
2000-2003
Title:
Concordia University, Montréal (2000-2009)
Actions:
AP056.S1.2000.PR08
Description:
This project series documents buildings for Concordia University's downtown campus in Montréal from 2000-2009. The office identified the project number as 0004. This project eventually became known as Le Quartier Concordia. This project was the winning submission of an architectural competition by Kuwabara Payne McKenna Blumberg Architects, in joint-venture with Fichten Soiferman et Associés Architectes, to design an integrated, vertical campus to revitalize and reinvent the University. This project consisted of three interconnected high-rise buildings on either side of Montreal's Guy Street, below De Maisonneuve Boulevard, to rehouse three important faculties: Visual Arts, Engineering and Computer Science, and the John Molson School of Business. These three buildings had glazed curtain wall exteriors with copper-coloured metal lines that created visual consistency inside and outside of all three buildings. Large art installations were also included on the façades. Triple-height atriums on the ground floors of the Engineering Building and the John Molson building added welcoming, public areas to the campus, and connected pedestrians to the Guy-Concordia metro station below. The tops of these two buildings featured massive north-south canopies that pointed from Montreal's Mont Royal down to the St. Lawrence River. The shorter Visual Arts building was directly connected to the Engineering building and today they are known together as the EV Building. The building interiors, comprised largely of stone tiles and concrete, featured large, multi-storey spiral staircases in a nod to the famous exterior spiral stairs of Montreal homes.[1] The Engineering and Visual Arts buildings were completed in 2005 and the John Molson building in 2009. Recladding of the exterior of another campus building to match these was completed in 2011.[2] It should be noted that these project materials were donated to the CCA part way through the project's realization. The project is recorded through drawings and textual records dating from 2000-2003. The drawings are mostly originals but reprographic copies and printouts of CAD drawings are also included. The drawings consist of sketches, digital renderings, plans, elevations, sections, perspectives, details and construction drawings. The textual records are arranged within the drawings and consist of research. [1]Contributions from Phyllis Lambert et al., The Architecture of Kuwabara, Payne, McKenna, Blumberg (Boston, MA: Birkhäuser-Publishers for Architecture, 2004), 180. [2]"Le Quartier Concordia." KPMB. Accessed July 11, 2019. http://www.kpmb.com/project/concordia-university-john-molson-school-of-business/
Concordia University, Montréal (2000-2009)
Actions:
AP056.S1.2000.PR08
Description:
This project series documents buildings for Concordia University's downtown campus in Montréal from 2000-2009. The office identified the project number as 0004. This project eventually became known as Le Quartier Concordia. This project was the winning submission of an architectural competition by Kuwabara Payne McKenna Blumberg Architects, in joint-venture with Fichten Soiferman et Associés Architectes, to design an integrated, vertical campus to revitalize and reinvent the University. This project consisted of three interconnected high-rise buildings on either side of Montreal's Guy Street, below De Maisonneuve Boulevard, to rehouse three important faculties: Visual Arts, Engineering and Computer Science, and the John Molson School of Business. These three buildings had glazed curtain wall exteriors with copper-coloured metal lines that created visual consistency inside and outside of all three buildings. Large art installations were also included on the façades. Triple-height atriums on the ground floors of the Engineering Building and the John Molson building added welcoming, public areas to the campus, and connected pedestrians to the Guy-Concordia metro station below. The tops of these two buildings featured massive north-south canopies that pointed from Montreal's Mont Royal down to the St. Lawrence River. The shorter Visual Arts building was directly connected to the Engineering building and today they are known together as the EV Building. The building interiors, comprised largely of stone tiles and concrete, featured large, multi-storey spiral staircases in a nod to the famous exterior spiral stairs of Montreal homes.[1] The Engineering and Visual Arts buildings were completed in 2005 and the John Molson building in 2009. Recladding of the exterior of another campus building to match these was completed in 2011.[2] It should be noted that these project materials were donated to the CCA part way through the project's realization. The project is recorded through drawings and textual records dating from 2000-2003. The drawings are mostly originals but reprographic copies and printouts of CAD drawings are also included. The drawings consist of sketches, digital renderings, plans, elevations, sections, perspectives, details and construction drawings. The textual records are arranged within the drawings and consist of research. [1]Contributions from Phyllis Lambert et al., The Architecture of Kuwabara, Payne, McKenna, Blumberg (Boston, MA: Birkhäuser-Publishers for Architecture, 2004), 180. [2]"Le Quartier Concordia." KPMB. Accessed July 11, 2019. http://www.kpmb.com/project/concordia-university-john-molson-school-of-business/
Level of archival description:
Project
Project
Date:
2000-2003
2000-2003
People:
Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Reference number:
AP181
Synopsis:
The COOP HIMMELB(L)AU BMW Welt project records, 1994-2007, document the design of the firm’s BMW Welt project, also known as BMW World, in Munich, Germany. The archive consists of approximately 52, 400 born-digital files representing the greater part of the digital archive of the project, as well as 52 of the study models made in the earlier stages of the project.
AP181
Synopsis:
The COOP HIMMELB(L)AU BMW Welt project records, 1994-2007, document the design of the firm’s BMW Welt project, also known as BMW World, in Munich, Germany. The archive consists of approximately 52, 400 born-digital files representing the greater part of the digital archive of the project, as well as 52 of the study models made in the earlier stages of the project.
People:
Date:
1994-2015
1994-2015
Title:
COOP HIMMELB(L)AU BMW Welt project records
Actions:
AP181
Synopsis:
The COOP HIMMELB(L)AU BMW Welt project records, 1994-2007, document the design of the firm’s BMW Welt project, also known as BMW World, in Munich, Germany. The archive consists of approximately 52, 400 born-digital files representing the greater part of the digital archive of the project, as well as 52 of the study models made in the earlier stages of the project.
COOP HIMMELB(L)AU BMW Welt project records
Actions:
AP181
Synopsis:
The COOP HIMMELB(L)AU BMW Welt project records, 1994-2007, document the design of the firm’s BMW Welt project, also known as BMW World, in Munich, Germany. The archive consists of approximately 52, 400 born-digital files representing the greater part of the digital archive of the project, as well as 52 of the study models made in the earlier stages of the project.
Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Date:
1994-2015
1994-2015
People:
Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Reference number:
AP195
Synopsis:
The Zaha Hadid Architects Phaeno Science Centre project records, 1996-2015, consist of approximately 43,800 digital files that document the design and construction of an interactive science museum in Wolfsburg, Germany. Materials related to presentations, publications, events, and the press are also represented. Formats include chiefly CAD files, especially plotter files and AutoCAD drawings, though related text documents and images are also represented. The majority of the records date from 2000 to 2006.
AP195
Synopsis:
The Zaha Hadid Architects Phaeno Science Centre project records, 1996-2015, consist of approximately 43,800 digital files that document the design and construction of an interactive science museum in Wolfsburg, Germany. Materials related to presentations, publications, events, and the press are also represented. Formats include chiefly CAD files, especially plotter files and AutoCAD drawings, though related text documents and images are also represented. The majority of the records date from 2000 to 2006.
People:
Date:
1996 - 2015
1996 - 2015
Title:
Zaha Hadid Architects Phaeno Science Centre project records
Actions:
AP195
Synopsis:
The Zaha Hadid Architects Phaeno Science Centre project records, 1996-2015, consist of approximately 43,800 digital files that document the design and construction of an interactive science museum in Wolfsburg, Germany. Materials related to presentations, publications, events, and the press are also represented. Formats include chiefly CAD files, especially plotter files and AutoCAD drawings, though related text documents and images are also represented. The majority of the records date from 2000 to 2006.
Zaha Hadid Architects Phaeno Science Centre project records
Actions:
AP195
Synopsis:
The Zaha Hadid Architects Phaeno Science Centre project records, 1996-2015, consist of approximately 43,800 digital files that document the design and construction of an interactive science museum in Wolfsburg, Germany. Materials related to presentations, publications, events, and the press are also represented. Formats include chiefly CAD files, especially plotter files and AutoCAD drawings, though related text documents and images are also represented. The majority of the records date from 2000 to 2006.
Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Date:
1996 - 2015
1996 - 2015
People:
Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Reference number:
AP177
Synopsis:
The RUR Architecture Kansai-kan of the National Diet Library project records, circa 1996, document the New York based firm’s competition entry for the Kansai Science City branch of Japan’s National Diet Library. Records show integration of landscape in the building’s design, exploration of the relationship between structure and surface, and a multimedia approach to building design. Records include 169 digital files, mostly CAD models and images; 42 drawings and printed renderings; and 5 models and casts.
AP177
Synopsis:
The RUR Architecture Kansai-kan of the National Diet Library project records, circa 1996, document the New York based firm’s competition entry for the Kansai Science City branch of Japan’s National Diet Library. Records show integration of landscape in the building’s design, exploration of the relationship between structure and surface, and a multimedia approach to building design. Records include 169 digital files, mostly CAD models and images; 42 drawings and printed renderings; and 5 models and casts.
People:
Date:
1996-2015
1996-2015
Title:
RUR Architecture Kansai-kan of the National Diet Library project records
Actions:
AP177
Synopsis:
The RUR Architecture Kansai-kan of the National Diet Library project records, circa 1996, document the New York based firm’s competition entry for the Kansai Science City branch of Japan’s National Diet Library. Records show integration of landscape in the building’s design, exploration of the relationship between structure and surface, and a multimedia approach to building design. Records include 169 digital files, mostly CAD models and images; 42 drawings and printed renderings; and 5 models and casts.
RUR Architecture Kansai-kan of the National Diet Library project records
Actions:
AP177
Synopsis:
The RUR Architecture Kansai-kan of the National Diet Library project records, circa 1996, document the New York based firm’s competition entry for the Kansai Science City branch of Japan’s National Diet Library. Records show integration of landscape in the building’s design, exploration of the relationship between structure and surface, and a multimedia approach to building design. Records include 169 digital files, mostly CAD models and images; 42 drawings and printed renderings; and 5 models and casts.
Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Date:
1996-2015
1996-2015
People:
