2944 Results
Form:
drawings
drawings
Actions:
Reference number:
AP178.S2.1996.006
Description:
This sketchbook includes sketches and notes for the Museum of Contemporary Art of the Serralves in Porto, and for the Portuguese pavillion for the Expo '98 in Lisbon, Portugal, for the residential complex and restoration of two houses in Évora, and for the Docking pier for European Architects in Salonica, Greece. It also contains sketches of furniture and of people on horses.
AP178.S2.1996.006
Description:
This sketchbook includes sketches and notes for the Museum of Contemporary Art of the Serralves in Porto, and for the Portuguese pavillion for the Expo '98 in Lisbon, Portugal, for the residential complex and restoration of two houses in Évora, and for the Docking pier for European Architects in Salonica, Greece. It also contains sketches of furniture and of people on horses.
People:
Date:
October 1996
October 1996
Title:
Sketchbook 424: Moveis Expo - Serralves - Casas Evora - Casa Viseu - Salonica
Actions:
AP178.S2.1996.006
Description:
This sketchbook includes sketches and notes for the Museum of Contemporary Art of the Serralves in Porto, and for the Portuguese pavillion for the Expo '98 in Lisbon, Portugal, for the residential complex and restoration of two houses in Évora, and for the Docking pier for European Architects in Salonica, Greece. It also contains sketches of furniture and of people on horses.
Sketchbook 424: Moveis Expo - Serralves - Casas Evora - Casa Viseu - Salonica
Actions:
AP178.S2.1996.006
Description:
This sketchbook includes sketches and notes for the Museum of Contemporary Art of the Serralves in Porto, and for the Portuguese pavillion for the Expo '98 in Lisbon, Portugal, for the residential complex and restoration of two houses in Évora, and for the Docking pier for European Architects in Salonica, Greece. It also contains sketches of furniture and of people on horses.
Form:
drawings
drawings
Date:
October 1996
October 1996
People:
Form:
photographs
photographs
Actions:
Reference number:
PH1984:0977:614
Description:
The photographs shows the house before the 1886 Charleston earthquake, in which the giant portico was demolished, leaving only its base. The photograph shows the house with the Tower of the Winds portico intact, featuring four Corinthian Capitals modelled after the Tower of the Winds, a time keeping tower, in Athens Greece. After the earthquake, the columns were buried in the back yard.
PH1984:0977:614
Description:
The photographs shows the house before the 1886 Charleston earthquake, in which the giant portico was demolished, leaving only its base. The photograph shows the house with the Tower of the Winds portico intact, featuring four Corinthian Capitals modelled after the Tower of the Winds, a time keeping tower, in Athens Greece. After the earthquake, the columns were buried in the back yard.
People:
Date:
ca. 1860-1886
ca. 1860-1886
Title:
View of the William Ravenel house, 13 East Battery, Charleston, South Carolina, United States of America
Actions:
PH1984:0977:614
Description:
The photographs shows the house before the 1886 Charleston earthquake, in which the giant portico was demolished, leaving only its base. The photograph shows the house with the Tower of the Winds portico intact, featuring four Corinthian Capitals modelled after the Tower of the Winds, a time keeping tower, in Athens Greece. After the earthquake, the columns were buried in the back yard.
View of the William Ravenel house, 13 East Battery, Charleston, South Carolina, United States of America
Actions:
PH1984:0977:614
Description:
The photographs shows the house before the 1886 Charleston earthquake, in which the giant portico was demolished, leaving only its base. The photograph shows the house with the Tower of the Winds portico intact, featuring four Corinthian Capitals modelled after the Tower of the Winds, a time keeping tower, in Athens Greece. After the earthquake, the columns were buried in the back yard.
Form:
photographs
photographs
Date:
ca. 1860-1886
ca. 1860-1886
People:
Form:
articles
articles
Actions:
Keyword(s):
18th century, 19th century, Antiquité, antiquité, Antiquity, Buffon, Charles de Wailly, Charles-François Viel, Claude-Nicolas Ledoux, dessin, drawing, Etienne-Louis Boullée, Étienne-Louis Boullée, France, French Revolution, Grèce, Greece, hôpital, hospital, Jacques-Germain Soufflot, Jean-Louis Viel de Saint-Maux, Jean-Nicolas-Louis Durand, Lettres d’architecture des anciens et celle des moderns, Panthéon, Paris, Paul Holmquist, Principes de l’ordonnance et de la construction des bâtimens, Renaissance, Révolution française, Rome, Sainte-Geneviève, Vitruve,
18th century, 19th century, Antiquité, antiquité, Antiquity, Buffon, Charles de Wailly, Charles-François Viel, Claude-Nicolas Ledoux, dessin, drawing, Etienne-Louis Boullée, Étienne-Louis Boullée, France, French Revolution, Grèce, Greece, hôpital, hospital, Jacques-Germain Soufflot, Jean-Louis Viel de Saint-Maux, Jean-Nicolas-Louis Durand, Lettres d’architecture des anciens et celle des moderns, Panthéon, Paris, Paul Holmquist, Principes de l’ordonnance et de la construction des bâtimens, Renaissance, Révolution française, Rome, Sainte-Geneviève, Vitruve,
Published:
28 November 2011
28 November 2011
Level of archival description:
Series
Series
Title:
Academic works
Academic works
Actions:
Reference number:
AP169.S3
Description:
Series 3, Academic works, 1995 - 2011, relates to Bernard Cache’s work as a scholar and author. This series includes born-digital material and chiefly dates from 1999 to 2007. Cache pursued and academic career, teaching and lecturing at many universities while also publishing books and articles. His area of interest revolves around computational architecture, geometrics, history of geometric, stereotomy, engineering and philosophy. These records depict his investment in the study of the relation between ancient theory and the field of computational architecture drawings with CAD or BIM software. His work concentrates on prominent figures such as Greek mathematician Euclid to Roman architect Vitruvius and German painter and theorist Albrecht Dürer. Materials in this series reflect Bernard Cache’s work as a scholar. This includes notes for his articles and lectures as well as drafts for different lectures and texts. It also contains syllabi and planning materials for classes given by Cache on Non-Standard Design and Production in Architecture. The series holds a significant amount of images used for presentation or as examples during those lectures and classes (in JPEG and BMP formats). Those images are for the most part derived from CAD original drawings in TopSolid.
AP169.S3
Description:
Series 3, Academic works, 1995 - 2011, relates to Bernard Cache’s work as a scholar and author. This series includes born-digital material and chiefly dates from 1999 to 2007. Cache pursued and academic career, teaching and lecturing at many universities while also publishing books and articles. His area of interest revolves around computational architecture, geometrics, history of geometric, stereotomy, engineering and philosophy. These records depict his investment in the study of the relation between ancient theory and the field of computational architecture drawings with CAD or BIM software. His work concentrates on prominent figures such as Greek mathematician Euclid to Roman architect Vitruvius and German painter and theorist Albrecht Dürer. Materials in this series reflect Bernard Cache’s work as a scholar. This includes notes for his articles and lectures as well as drafts for different lectures and texts. It also contains syllabi and planning materials for classes given by Cache on Non-Standard Design and Production in Architecture. The series holds a significant amount of images used for presentation or as examples during those lectures and classes (in JPEG and BMP formats). Those images are for the most part derived from CAD original drawings in TopSolid.
People:
Date:
1995-2011
1995-2011
Title:
Academic works
Actions:
AP169.S3
Description:
Series 3, Academic works, 1995 - 2011, relates to Bernard Cache’s work as a scholar and author. This series includes born-digital material and chiefly dates from 1999 to 2007. Cache pursued and academic career, teaching and lecturing at many universities while also publishing books and articles. His area of interest revolves around computational architecture, geometrics, history of geometric, stereotomy, engineering and philosophy. These records depict his investment in the study of the relation between ancient theory and the field of computational architecture drawings with CAD or BIM software. His work concentrates on prominent figures such as Greek mathematician Euclid to Roman architect Vitruvius and German painter and theorist Albrecht Dürer. Materials in this series reflect Bernard Cache’s work as a scholar. This includes notes for his articles and lectures as well as drafts for different lectures and texts. It also contains syllabi and planning materials for classes given by Cache on Non-Standard Design and Production in Architecture. The series holds a significant amount of images used for presentation or as examples during those lectures and classes (in JPEG and BMP formats). Those images are for the most part derived from CAD original drawings in TopSolid.
Academic works
Actions:
AP169.S3
Description:
Series 3, Academic works, 1995 - 2011, relates to Bernard Cache’s work as a scholar and author. This series includes born-digital material and chiefly dates from 1999 to 2007. Cache pursued and academic career, teaching and lecturing at many universities while also publishing books and articles. His area of interest revolves around computational architecture, geometrics, history of geometric, stereotomy, engineering and philosophy. These records depict his investment in the study of the relation between ancient theory and the field of computational architecture drawings with CAD or BIM software. His work concentrates on prominent figures such as Greek mathematician Euclid to Roman architect Vitruvius and German painter and theorist Albrecht Dürer. Materials in this series reflect Bernard Cache’s work as a scholar. This includes notes for his articles and lectures as well as drafts for different lectures and texts. It also contains syllabi and planning materials for classes given by Cache on Non-Standard Design and Production in Architecture. The series holds a significant amount of images used for presentation or as examples during those lectures and classes (in JPEG and BMP formats). Those images are for the most part derived from CAD original drawings in TopSolid.
Level of archival description:
Series
Series
Date:
1995-2011
1995-2011
People:
Level of archival description:
Project
Project
Reference number:
AP178.S1.1988.PR03
Description:
This project series documents the Centro Galego de Arte Contemporânea in Santiago de Compostela, Spain. While the records were held in the office’s archives this project was assigned the number 54/80. The office assigned the date 1988 for this project. This project was commissioned by the Xunta de Galicia for the autonomous community of Galicia in Spain. The building was located near the Galego Pobo Museum and the Convento de Santo Domingo de Bonaval. The museum was approximately 75,000 square feet and divided into two L-shaped structures. The building had four floors and included exhibition halls, a terrace, a cafeteria, administrative spaces, an auditorium, and a library. The exterior was principally made of granite panels. The exhibition spaces were very bright, principally due to the natural light that came from multiple openings in the building as well as the white walls. The floors of the public spaces and exhibition rooms were made of Greek marble. Siza also transformed the Convento de Santo Domingo de Bonaval garden into a public park. The park was understood as an extension of the museum. Documenting this project are sketches, studies, preliminary drawings, plans and working drawings. Textual materials include project documentation and correspondence. Photographic materials document the models, project site and built project.
AP178.S1.1988.PR03
Description:
This project series documents the Centro Galego de Arte Contemporânea in Santiago de Compostela, Spain. While the records were held in the office’s archives this project was assigned the number 54/80. The office assigned the date 1988 for this project. This project was commissioned by the Xunta de Galicia for the autonomous community of Galicia in Spain. The building was located near the Galego Pobo Museum and the Convento de Santo Domingo de Bonaval. The museum was approximately 75,000 square feet and divided into two L-shaped structures. The building had four floors and included exhibition halls, a terrace, a cafeteria, administrative spaces, an auditorium, and a library. The exterior was principally made of granite panels. The exhibition spaces were very bright, principally due to the natural light that came from multiple openings in the building as well as the white walls. The floors of the public spaces and exhibition rooms were made of Greek marble. Siza also transformed the Convento de Santo Domingo de Bonaval garden into a public park. The park was understood as an extension of the museum. Documenting this project are sketches, studies, preliminary drawings, plans and working drawings. Textual materials include project documentation and correspondence. Photographic materials document the models, project site and built project.
People:
Date:
1988-1995
1988-1995
Title:
Centro Galego de Arte Contemporânea [Galician Centre of Contemporary Art], Santiago de Compostela, Spain, 1988-1993
Actions:
AP178.S1.1988.PR03
Description:
This project series documents the Centro Galego de Arte Contemporânea in Santiago de Compostela, Spain. While the records were held in the office’s archives this project was assigned the number 54/80. The office assigned the date 1988 for this project. This project was commissioned by the Xunta de Galicia for the autonomous community of Galicia in Spain. The building was located near the Galego Pobo Museum and the Convento de Santo Domingo de Bonaval. The museum was approximately 75,000 square feet and divided into two L-shaped structures. The building had four floors and included exhibition halls, a terrace, a cafeteria, administrative spaces, an auditorium, and a library. The exterior was principally made of granite panels. The exhibition spaces were very bright, principally due to the natural light that came from multiple openings in the building as well as the white walls. The floors of the public spaces and exhibition rooms were made of Greek marble. Siza also transformed the Convento de Santo Domingo de Bonaval garden into a public park. The park was understood as an extension of the museum. Documenting this project are sketches, studies, preliminary drawings, plans and working drawings. Textual materials include project documentation and correspondence. Photographic materials document the models, project site and built project.
Centro Galego de Arte Contemporânea [Galician Centre of Contemporary Art], Santiago de Compostela, Spain, 1988-1993
Actions:
AP178.S1.1988.PR03
Description:
This project series documents the Centro Galego de Arte Contemporânea in Santiago de Compostela, Spain. While the records were held in the office’s archives this project was assigned the number 54/80. The office assigned the date 1988 for this project. This project was commissioned by the Xunta de Galicia for the autonomous community of Galicia in Spain. The building was located near the Galego Pobo Museum and the Convento de Santo Domingo de Bonaval. The museum was approximately 75,000 square feet and divided into two L-shaped structures. The building had four floors and included exhibition halls, a terrace, a cafeteria, administrative spaces, an auditorium, and a library. The exterior was principally made of granite panels. The exhibition spaces were very bright, principally due to the natural light that came from multiple openings in the building as well as the white walls. The floors of the public spaces and exhibition rooms were made of Greek marble. Siza also transformed the Convento de Santo Domingo de Bonaval garden into a public park. The park was understood as an extension of the museum. Documenting this project are sketches, studies, preliminary drawings, plans and working drawings. Textual materials include project documentation and correspondence. Photographic materials document the models, project site and built project.
Level of archival description:
Project
Project
Date:
1988-1995
1988-1995
People:
Level of archival description:
Project
Project
Actions:
Reference number:
AP143.S4.D108
Description:
The project series documents the executed project for Cites of Artificial Excavation, Madrid, Spain. Material in was produced between 1994 and 1995. In 1993, the CCA invited Peter Eisenman to design an installation for the exhibition 'Cities of Artificial Excavation: The Work of Peter Eisenman, 1978-1988'. The exhibition was presented at the CCA from 2 March to 29 May 1994. The drawings and models in this project series document the development of Eisenman's installation design from late 1993 through March 1994, as well as the various processes used by the architect in his investigation of the 'Cities of Artificial Excavation'. Eisenman uses a computer to superimpose, distort and multiply a Greek cross, while simultaneously modifying its plan and section. The computer enables the architect to generate geometric figures that are extremely difficult to produce by traditional means. It also constitutes a new phase in Eisenman's research into the depersonalization of the creative process, a central concern of his 'Cities of Artificial Excavation' (1978-1988). The Greek cross was one of the elements of the grid developed for the 'Museum of Artifical Excavation', and part of the project he submitted for the Internationale Bauausstellung in Berlin (1980-1986). The project series contains material by Eisenman's office including material for schemes A and B, the first and second proposals for the installation, as well as material for the exhibition installation. Material for scheme A includes conceptual drawings (DR1994:0030:001-005), hardline design development drawings (DR1994:0030:006-011), design development computer-aided drawings (DR1994:0030:012-027), and fully developed drawings (DR1994:0030:028-034). Material for scheme B, a design which is closer to the final project, includes hardline drawings (DR1994:0030:035-044) and computer-aided drawings (DR1994:0030:045-069). Material for the exhibition installation includes: computer-aided drawings (DR1994:0030:070-196) which were generated to construct models for the installation, notably a preliminary model (DR1994:0035) and the final model (DR1994:0036) which was used for planning the exhibition layout; hardline drawings which are the final drawings for the installation (DR1994:0030:262-265); a preliminary exhibition layout (DR1994:0030:280); and Iris colour prints of computer-aided conceptual axonometrics (DR1994:0030:281-282). Three working models show different stages of the design development (DR1994:0031 - DR1994:0034). Also included are photographs of the completed installation by Richard Pare (DR1994:0037:001-028), fragments of the installation preserved after its demolition (DR1994:0038:001-0028), and paint samples (DR1994:0038:035-037). The project series contains design development drawings, working drawings, photographic materials, publication drawings, reference drawings, textual records, and models.
AP143.S4.D108
Description:
The project series documents the executed project for Cites of Artificial Excavation, Madrid, Spain. Material in was produced between 1994 and 1995. In 1993, the CCA invited Peter Eisenman to design an installation for the exhibition 'Cities of Artificial Excavation: The Work of Peter Eisenman, 1978-1988'. The exhibition was presented at the CCA from 2 March to 29 May 1994. The drawings and models in this project series document the development of Eisenman's installation design from late 1993 through March 1994, as well as the various processes used by the architect in his investigation of the 'Cities of Artificial Excavation'. Eisenman uses a computer to superimpose, distort and multiply a Greek cross, while simultaneously modifying its plan and section. The computer enables the architect to generate geometric figures that are extremely difficult to produce by traditional means. It also constitutes a new phase in Eisenman's research into the depersonalization of the creative process, a central concern of his 'Cities of Artificial Excavation' (1978-1988). The Greek cross was one of the elements of the grid developed for the 'Museum of Artifical Excavation', and part of the project he submitted for the Internationale Bauausstellung in Berlin (1980-1986). The project series contains material by Eisenman's office including material for schemes A and B, the first and second proposals for the installation, as well as material for the exhibition installation. Material for scheme A includes conceptual drawings (DR1994:0030:001-005), hardline design development drawings (DR1994:0030:006-011), design development computer-aided drawings (DR1994:0030:012-027), and fully developed drawings (DR1994:0030:028-034). Material for scheme B, a design which is closer to the final project, includes hardline drawings (DR1994:0030:035-044) and computer-aided drawings (DR1994:0030:045-069). Material for the exhibition installation includes: computer-aided drawings (DR1994:0030:070-196) which were generated to construct models for the installation, notably a preliminary model (DR1994:0035) and the final model (DR1994:0036) which was used for planning the exhibition layout; hardline drawings which are the final drawings for the installation (DR1994:0030:262-265); a preliminary exhibition layout (DR1994:0030:280); and Iris colour prints of computer-aided conceptual axonometrics (DR1994:0030:281-282). Three working models show different stages of the design development (DR1994:0031 - DR1994:0034). Also included are photographs of the completed installation by Richard Pare (DR1994:0037:001-028), fragments of the installation preserved after its demolition (DR1994:0038:001-0028), and paint samples (DR1994:0038:035-037). The project series contains design development drawings, working drawings, photographic materials, publication drawings, reference drawings, textual records, and models.
People:
Date:
1994-1995
1994-1995
Title:
Cities of Artificial Excavation, Madrid
Actions:
AP143.S4.D108
Description:
The project series documents the executed project for Cites of Artificial Excavation, Madrid, Spain. Material in was produced between 1994 and 1995. In 1993, the CCA invited Peter Eisenman to design an installation for the exhibition 'Cities of Artificial Excavation: The Work of Peter Eisenman, 1978-1988'. The exhibition was presented at the CCA from 2 March to 29 May 1994. The drawings and models in this project series document the development of Eisenman's installation design from late 1993 through March 1994, as well as the various processes used by the architect in his investigation of the 'Cities of Artificial Excavation'. Eisenman uses a computer to superimpose, distort and multiply a Greek cross, while simultaneously modifying its plan and section. The computer enables the architect to generate geometric figures that are extremely difficult to produce by traditional means. It also constitutes a new phase in Eisenman's research into the depersonalization of the creative process, a central concern of his 'Cities of Artificial Excavation' (1978-1988). The Greek cross was one of the elements of the grid developed for the 'Museum of Artifical Excavation', and part of the project he submitted for the Internationale Bauausstellung in Berlin (1980-1986). The project series contains material by Eisenman's office including material for schemes A and B, the first and second proposals for the installation, as well as material for the exhibition installation. Material for scheme A includes conceptual drawings (DR1994:0030:001-005), hardline design development drawings (DR1994:0030:006-011), design development computer-aided drawings (DR1994:0030:012-027), and fully developed drawings (DR1994:0030:028-034). Material for scheme B, a design which is closer to the final project, includes hardline drawings (DR1994:0030:035-044) and computer-aided drawings (DR1994:0030:045-069). Material for the exhibition installation includes: computer-aided drawings (DR1994:0030:070-196) which were generated to construct models for the installation, notably a preliminary model (DR1994:0035) and the final model (DR1994:0036) which was used for planning the exhibition layout; hardline drawings which are the final drawings for the installation (DR1994:0030:262-265); a preliminary exhibition layout (DR1994:0030:280); and Iris colour prints of computer-aided conceptual axonometrics (DR1994:0030:281-282). Three working models show different stages of the design development (DR1994:0031 - DR1994:0034). Also included are photographs of the completed installation by Richard Pare (DR1994:0037:001-028), fragments of the installation preserved after its demolition (DR1994:0038:001-0028), and paint samples (DR1994:0038:035-037). The project series contains design development drawings, working drawings, photographic materials, publication drawings, reference drawings, textual records, and models.
Cities of Artificial Excavation, Madrid
Actions:
AP143.S4.D108
Description:
The project series documents the executed project for Cites of Artificial Excavation, Madrid, Spain. Material in was produced between 1994 and 1995. In 1993, the CCA invited Peter Eisenman to design an installation for the exhibition 'Cities of Artificial Excavation: The Work of Peter Eisenman, 1978-1988'. The exhibition was presented at the CCA from 2 March to 29 May 1994. The drawings and models in this project series document the development of Eisenman's installation design from late 1993 through March 1994, as well as the various processes used by the architect in his investigation of the 'Cities of Artificial Excavation'. Eisenman uses a computer to superimpose, distort and multiply a Greek cross, while simultaneously modifying its plan and section. The computer enables the architect to generate geometric figures that are extremely difficult to produce by traditional means. It also constitutes a new phase in Eisenman's research into the depersonalization of the creative process, a central concern of his 'Cities of Artificial Excavation' (1978-1988). The Greek cross was one of the elements of the grid developed for the 'Museum of Artifical Excavation', and part of the project he submitted for the Internationale Bauausstellung in Berlin (1980-1986). The project series contains material by Eisenman's office including material for schemes A and B, the first and second proposals for the installation, as well as material for the exhibition installation. Material for scheme A includes conceptual drawings (DR1994:0030:001-005), hardline design development drawings (DR1994:0030:006-011), design development computer-aided drawings (DR1994:0030:012-027), and fully developed drawings (DR1994:0030:028-034). Material for scheme B, a design which is closer to the final project, includes hardline drawings (DR1994:0030:035-044) and computer-aided drawings (DR1994:0030:045-069). Material for the exhibition installation includes: computer-aided drawings (DR1994:0030:070-196) which were generated to construct models for the installation, notably a preliminary model (DR1994:0035) and the final model (DR1994:0036) which was used for planning the exhibition layout; hardline drawings which are the final drawings for the installation (DR1994:0030:262-265); a preliminary exhibition layout (DR1994:0030:280); and Iris colour prints of computer-aided conceptual axonometrics (DR1994:0030:281-282). Three working models show different stages of the design development (DR1994:0031 - DR1994:0034). Also included are photographs of the completed installation by Richard Pare (DR1994:0037:001-028), fragments of the installation preserved after its demolition (DR1994:0038:001-0028), and paint samples (DR1994:0038:035-037). The project series contains design development drawings, working drawings, photographic materials, publication drawings, reference drawings, textual records, and models.
Level of archival description:
File 108
File 108
Date:
1994-1995
1994-1995
People:
Level of archival description:
Series
Series
Title:
CIAM IV, CIRPAC and London
CIAM IV, CIRPAC and London
Reference number:
AP112.S1
Description:
The series contains seven bands of negatives, divided into groups of two and three negatives a band. The first five bands document the 4th Congrès International d'Architecture Moderne (CIAM) held on board the SS Patris II from 29 July to 13 August 1933, as it travelled between Marseilles, France, and Athens, Greece, and then returned. The conference, themed "The Functional City", presented and discussed the results of an analysis of more than thirty cities, and sought to establish new principles in urban planning. Sise participated at the conference as the Canadian delegate and presented the city of Los Angeles, California. The resolutions adopted at the conference were published for the first time in November under the title "Constatations du quatrième CIAM". These findings formed the base of the Charte d'Athenès written by Le Corbusier in 1941. The negatives show some of the participants of the conference including: Le Corbusier (1887-1965), from the French delegation; László Moholy-Nagy (1895-1946), from the German delegation, who was in charge of filming the presentations; Alvar Aalto (1898-1976), representing Finland; and the painter Fernand Léger (1881-1955), also from the French delegatation, who presented on the importance of colour in architecture. The two other bands of negatives provide evidence of Sise's attendance at Comité International pour la Résolution des Problèmes d'Architecture Contemporaine (CIRPAC), held in May 1934 at the Royal Institute of British Architects in London, England, to establish the program for the next CIAM (1). They also show his meeting in London with Georges Braque during the summer of the same year. (1) Eric Mumford states in "The CIAM Discourse on Urbanism, 1928-1960" that Le Corbusier did not participate at this conference (p. 92). _____________________ La série contient des bandes de négatifs, qui contiennent soit deux, soit trois images, et sont au nombre de sept. Les cinq premières bandes documentent le IVe Congrès International d'Architecture Moderne (CIAM) tenu à bord du SS Patris II du 29 juillet au 13 août 1933, entre Marseilles, France et Athènes, Grèce, à Athènes même, et sur le même bateau de croisière durant le retour à Marseilles. Le Congrès, qui se déroulait autour du thème de "The functional city", consistait en la communication des résultats de l'analyse de plus de trente villes et l'objectif visait à établir de nouveaux principes d'urbanisme. Hazen Sise participait au Congrès à titre de délégué du Canada et présenta la ville de Los Angeles, Californie. Les résolutions prises lors du Congrès ont été publiées pour la première fois au mois de novembre suivant sous le titre de "Constatations du quatrième CIAM". Ces "Constatations" seront ensuite à la base de la Charte d'Athènes que Le Corbusier rédigea en 1941. Les clichés montrent quelques-uns des participants au Congrès, dont Le Corbusier (1887-1965), de la délégation française, alors qu'il faisait une communication; László Moholy-Nagy (1895-1946), de la délégation allemande, à qui on avait confié la tâche de filmer les exposés; Alvar Aalto (1898-1976), représentant la Finlande; et le peintre Fernand Léger (1881-1955), délégué de la France, qui présenta un discours à l'attention des architectes au sujet de l'importance de la couleur en architecture. Les deux autres bandes de négatifs témoignent de la présence de Sise au (Comité International pour la Résolution des Problèmes d'Architecture Contemporaine (CIRPAC) à Londres, Angleterre, tenu en mai 1934 au Royal Institute of British Architects pour établir le programme du prochain CIAM (1) et de sa rencontre à Londres avec Georges Braque durant l'été de la même année. (1) Eric Mumford affirme cependant dans "The CIAM Discourse on Urbanism, 1928-1960" que Le Corbusier n'a pas participé à ce congrès (p. 92).
AP112.S1
Description:
The series contains seven bands of negatives, divided into groups of two and three negatives a band. The first five bands document the 4th Congrès International d'Architecture Moderne (CIAM) held on board the SS Patris II from 29 July to 13 August 1933, as it travelled between Marseilles, France, and Athens, Greece, and then returned. The conference, themed "The Functional City", presented and discussed the results of an analysis of more than thirty cities, and sought to establish new principles in urban planning. Sise participated at the conference as the Canadian delegate and presented the city of Los Angeles, California. The resolutions adopted at the conference were published for the first time in November under the title "Constatations du quatrième CIAM". These findings formed the base of the Charte d'Athenès written by Le Corbusier in 1941. The negatives show some of the participants of the conference including: Le Corbusier (1887-1965), from the French delegation; László Moholy-Nagy (1895-1946), from the German delegation, who was in charge of filming the presentations; Alvar Aalto (1898-1976), representing Finland; and the painter Fernand Léger (1881-1955), also from the French delegatation, who presented on the importance of colour in architecture. The two other bands of negatives provide evidence of Sise's attendance at Comité International pour la Résolution des Problèmes d'Architecture Contemporaine (CIRPAC), held in May 1934 at the Royal Institute of British Architects in London, England, to establish the program for the next CIAM (1). They also show his meeting in London with Georges Braque during the summer of the same year. (1) Eric Mumford states in "The CIAM Discourse on Urbanism, 1928-1960" that Le Corbusier did not participate at this conference (p. 92). _____________________ La série contient des bandes de négatifs, qui contiennent soit deux, soit trois images, et sont au nombre de sept. Les cinq premières bandes documentent le IVe Congrès International d'Architecture Moderne (CIAM) tenu à bord du SS Patris II du 29 juillet au 13 août 1933, entre Marseilles, France et Athènes, Grèce, à Athènes même, et sur le même bateau de croisière durant le retour à Marseilles. Le Congrès, qui se déroulait autour du thème de "The functional city", consistait en la communication des résultats de l'analyse de plus de trente villes et l'objectif visait à établir de nouveaux principes d'urbanisme. Hazen Sise participait au Congrès à titre de délégué du Canada et présenta la ville de Los Angeles, Californie. Les résolutions prises lors du Congrès ont été publiées pour la première fois au mois de novembre suivant sous le titre de "Constatations du quatrième CIAM". Ces "Constatations" seront ensuite à la base de la Charte d'Athènes que Le Corbusier rédigea en 1941. Les clichés montrent quelques-uns des participants au Congrès, dont Le Corbusier (1887-1965), de la délégation française, alors qu'il faisait une communication; László Moholy-Nagy (1895-1946), de la délégation allemande, à qui on avait confié la tâche de filmer les exposés; Alvar Aalto (1898-1976), représentant la Finlande; et le peintre Fernand Léger (1881-1955), délégué de la France, qui présenta un discours à l'attention des architectes au sujet de l'importance de la couleur en architecture. Les deux autres bandes de négatifs témoignent de la présence de Sise au (Comité International pour la Résolution des Problèmes d'Architecture Contemporaine (CIRPAC) à Londres, Angleterre, tenu en mai 1934 au Royal Institute of British Architects pour établir le programme du prochain CIAM (1) et de sa rencontre à Londres avec Georges Braque durant l'été de la même année. (1) Eric Mumford affirme cependant dans "The CIAM Discourse on Urbanism, 1928-1960" que Le Corbusier n'a pas participé à ce congrès (p. 92).
People:
Date:
1933-1934
1933-1934
Title:
CIAM IV, CIRPAC and London
Actions:
AP112.S1
Description:
The series contains seven bands of negatives, divided into groups of two and three negatives a band. The first five bands document the 4th Congrès International d'Architecture Moderne (CIAM) held on board the SS Patris II from 29 July to 13 August 1933, as it travelled between Marseilles, France, and Athens, Greece, and then returned. The conference, themed "The Functional City", presented and discussed the results of an analysis of more than thirty cities, and sought to establish new principles in urban planning. Sise participated at the conference as the Canadian delegate and presented the city of Los Angeles, California. The resolutions adopted at the conference were published for the first time in November under the title "Constatations du quatrième CIAM". These findings formed the base of the Charte d'Athenès written by Le Corbusier in 1941. The negatives show some of the participants of the conference including: Le Corbusier (1887-1965), from the French delegation; László Moholy-Nagy (1895-1946), from the German delegation, who was in charge of filming the presentations; Alvar Aalto (1898-1976), representing Finland; and the painter Fernand Léger (1881-1955), also from the French delegatation, who presented on the importance of colour in architecture. The two other bands of negatives provide evidence of Sise's attendance at Comité International pour la Résolution des Problèmes d'Architecture Contemporaine (CIRPAC), held in May 1934 at the Royal Institute of British Architects in London, England, to establish the program for the next CIAM (1). They also show his meeting in London with Georges Braque during the summer of the same year. (1) Eric Mumford states in "The CIAM Discourse on Urbanism, 1928-1960" that Le Corbusier did not participate at this conference (p. 92). _____________________ La série contient des bandes de négatifs, qui contiennent soit deux, soit trois images, et sont au nombre de sept. Les cinq premières bandes documentent le IVe Congrès International d'Architecture Moderne (CIAM) tenu à bord du SS Patris II du 29 juillet au 13 août 1933, entre Marseilles, France et Athènes, Grèce, à Athènes même, et sur le même bateau de croisière durant le retour à Marseilles. Le Congrès, qui se déroulait autour du thème de "The functional city", consistait en la communication des résultats de l'analyse de plus de trente villes et l'objectif visait à établir de nouveaux principes d'urbanisme. Hazen Sise participait au Congrès à titre de délégué du Canada et présenta la ville de Los Angeles, Californie. Les résolutions prises lors du Congrès ont été publiées pour la première fois au mois de novembre suivant sous le titre de "Constatations du quatrième CIAM". Ces "Constatations" seront ensuite à la base de la Charte d'Athènes que Le Corbusier rédigea en 1941. Les clichés montrent quelques-uns des participants au Congrès, dont Le Corbusier (1887-1965), de la délégation française, alors qu'il faisait une communication; László Moholy-Nagy (1895-1946), de la délégation allemande, à qui on avait confié la tâche de filmer les exposés; Alvar Aalto (1898-1976), représentant la Finlande; et le peintre Fernand Léger (1881-1955), délégué de la France, qui présenta un discours à l'attention des architectes au sujet de l'importance de la couleur en architecture. Les deux autres bandes de négatifs témoignent de la présence de Sise au (Comité International pour la Résolution des Problèmes d'Architecture Contemporaine (CIRPAC) à Londres, Angleterre, tenu en mai 1934 au Royal Institute of British Architects pour établir le programme du prochain CIAM (1) et de sa rencontre à Londres avec Georges Braque durant l'été de la même année. (1) Eric Mumford affirme cependant dans "The CIAM Discourse on Urbanism, 1928-1960" que Le Corbusier n'a pas participé à ce congrès (p. 92).
CIAM IV, CIRPAC and London
Actions:
AP112.S1
Description:
The series contains seven bands of negatives, divided into groups of two and three negatives a band. The first five bands document the 4th Congrès International d'Architecture Moderne (CIAM) held on board the SS Patris II from 29 July to 13 August 1933, as it travelled between Marseilles, France, and Athens, Greece, and then returned. The conference, themed "The Functional City", presented and discussed the results of an analysis of more than thirty cities, and sought to establish new principles in urban planning. Sise participated at the conference as the Canadian delegate and presented the city of Los Angeles, California. The resolutions adopted at the conference were published for the first time in November under the title "Constatations du quatrième CIAM". These findings formed the base of the Charte d'Athenès written by Le Corbusier in 1941. The negatives show some of the participants of the conference including: Le Corbusier (1887-1965), from the French delegation; László Moholy-Nagy (1895-1946), from the German delegation, who was in charge of filming the presentations; Alvar Aalto (1898-1976), representing Finland; and the painter Fernand Léger (1881-1955), also from the French delegatation, who presented on the importance of colour in architecture. The two other bands of negatives provide evidence of Sise's attendance at Comité International pour la Résolution des Problèmes d'Architecture Contemporaine (CIRPAC), held in May 1934 at the Royal Institute of British Architects in London, England, to establish the program for the next CIAM (1). They also show his meeting in London with Georges Braque during the summer of the same year. (1) Eric Mumford states in "The CIAM Discourse on Urbanism, 1928-1960" that Le Corbusier did not participate at this conference (p. 92). _____________________ La série contient des bandes de négatifs, qui contiennent soit deux, soit trois images, et sont au nombre de sept. Les cinq premières bandes documentent le IVe Congrès International d'Architecture Moderne (CIAM) tenu à bord du SS Patris II du 29 juillet au 13 août 1933, entre Marseilles, France et Athènes, Grèce, à Athènes même, et sur le même bateau de croisière durant le retour à Marseilles. Le Congrès, qui se déroulait autour du thème de "The functional city", consistait en la communication des résultats de l'analyse de plus de trente villes et l'objectif visait à établir de nouveaux principes d'urbanisme. Hazen Sise participait au Congrès à titre de délégué du Canada et présenta la ville de Los Angeles, Californie. Les résolutions prises lors du Congrès ont été publiées pour la première fois au mois de novembre suivant sous le titre de "Constatations du quatrième CIAM". Ces "Constatations" seront ensuite à la base de la Charte d'Athènes que Le Corbusier rédigea en 1941. Les clichés montrent quelques-uns des participants au Congrès, dont Le Corbusier (1887-1965), de la délégation française, alors qu'il faisait une communication; László Moholy-Nagy (1895-1946), de la délégation allemande, à qui on avait confié la tâche de filmer les exposés; Alvar Aalto (1898-1976), représentant la Finlande; et le peintre Fernand Léger (1881-1955), délégué de la France, qui présenta un discours à l'attention des architectes au sujet de l'importance de la couleur en architecture. Les deux autres bandes de négatifs témoignent de la présence de Sise au (Comité International pour la Résolution des Problèmes d'Architecture Contemporaine (CIRPAC) à Londres, Angleterre, tenu en mai 1934 au Royal Institute of British Architects pour établir le programme du prochain CIAM (1) et de sa rencontre à Londres avec Georges Braque durant l'été de la même année. (1) Eric Mumford affirme cependant dans "The CIAM Discourse on Urbanism, 1928-1960" que Le Corbusier n'a pas participé à ce congrès (p. 92).
Level of archival description:
Series
Series
Date:
1933-1934
1933-1934
People:
Level of archival description:
Project
Project
Actions:
Reference number:
AP056.S1.1991.PR04
Description:
This project series documents Phase 2A of work completed for Hasbro Headquarters in Pawtucket, Rhode Island from 1991-1992. The office identified the project number as 9104. This project consisted of interior work for part of the company's headquarters and was the second in a series of projects that the firm would complete for the headquarters. The 300,000 square foot building was predominantly one-storey and located on the block between Saratoga, Grand, London and Newport Avenues. The three projects were known as Main Street, Phase 2A and Phase 2B. Phase 1 was completed in 1986 by Barton Myers Associates with Shirley Blumberg as partner-in-charge. These subsequent projects by KPMB were also headed by Shirley Blumberg and continued the initial style she had established in Phase 1. These projects saw the conversion of a historic brick and masonry mill into the company's new offices. The office structure was inspired by the layout of a Greek town, with a main street running through it. This phase included office areas for the engineering soft toys department, the creative services department, human resources and legal services, as well as a fabric library, fabric storage room, conference rooms, and a presentation theatre with a curved backdrop. Planning for the next phase and an east wing also began during this time. The project is recorded through drawings and a project model dating from 1988-1992. These are mostly original drawings and include sketches, plans, sections, elevations, perspectives, details, and some construction drawings. Many of the drawings focus on the office furniture.
AP056.S1.1991.PR04
Description:
This project series documents Phase 2A of work completed for Hasbro Headquarters in Pawtucket, Rhode Island from 1991-1992. The office identified the project number as 9104. This project consisted of interior work for part of the company's headquarters and was the second in a series of projects that the firm would complete for the headquarters. The 300,000 square foot building was predominantly one-storey and located on the block between Saratoga, Grand, London and Newport Avenues. The three projects were known as Main Street, Phase 2A and Phase 2B. Phase 1 was completed in 1986 by Barton Myers Associates with Shirley Blumberg as partner-in-charge. These subsequent projects by KPMB were also headed by Shirley Blumberg and continued the initial style she had established in Phase 1. These projects saw the conversion of a historic brick and masonry mill into the company's new offices. The office structure was inspired by the layout of a Greek town, with a main street running through it. This phase included office areas for the engineering soft toys department, the creative services department, human resources and legal services, as well as a fabric library, fabric storage room, conference rooms, and a presentation theatre with a curved backdrop. Planning for the next phase and an east wing also began during this time. The project is recorded through drawings and a project model dating from 1988-1992. These are mostly original drawings and include sketches, plans, sections, elevations, perspectives, details, and some construction drawings. Many of the drawings focus on the office furniture.
People:
Date:
1988-1992
1988-1992
Title:
Hasbro Headquarters, Phase 2A, Rhode Island (1991-1992)
Actions:
AP056.S1.1991.PR04
Description:
This project series documents Phase 2A of work completed for Hasbro Headquarters in Pawtucket, Rhode Island from 1991-1992. The office identified the project number as 9104. This project consisted of interior work for part of the company's headquarters and was the second in a series of projects that the firm would complete for the headquarters. The 300,000 square foot building was predominantly one-storey and located on the block between Saratoga, Grand, London and Newport Avenues. The three projects were known as Main Street, Phase 2A and Phase 2B. Phase 1 was completed in 1986 by Barton Myers Associates with Shirley Blumberg as partner-in-charge. These subsequent projects by KPMB were also headed by Shirley Blumberg and continued the initial style she had established in Phase 1. These projects saw the conversion of a historic brick and masonry mill into the company's new offices. The office structure was inspired by the layout of a Greek town, with a main street running through it. This phase included office areas for the engineering soft toys department, the creative services department, human resources and legal services, as well as a fabric library, fabric storage room, conference rooms, and a presentation theatre with a curved backdrop. Planning for the next phase and an east wing also began during this time. The project is recorded through drawings and a project model dating from 1988-1992. These are mostly original drawings and include sketches, plans, sections, elevations, perspectives, details, and some construction drawings. Many of the drawings focus on the office furniture.
Hasbro Headquarters, Phase 2A, Rhode Island (1991-1992)
Actions:
AP056.S1.1991.PR04
Description:
This project series documents Phase 2A of work completed for Hasbro Headquarters in Pawtucket, Rhode Island from 1991-1992. The office identified the project number as 9104. This project consisted of interior work for part of the company's headquarters and was the second in a series of projects that the firm would complete for the headquarters. The 300,000 square foot building was predominantly one-storey and located on the block between Saratoga, Grand, London and Newport Avenues. The three projects were known as Main Street, Phase 2A and Phase 2B. Phase 1 was completed in 1986 by Barton Myers Associates with Shirley Blumberg as partner-in-charge. These subsequent projects by KPMB were also headed by Shirley Blumberg and continued the initial style she had established in Phase 1. These projects saw the conversion of a historic brick and masonry mill into the company's new offices. The office structure was inspired by the layout of a Greek town, with a main street running through it. This phase included office areas for the engineering soft toys department, the creative services department, human resources and legal services, as well as a fabric library, fabric storage room, conference rooms, and a presentation theatre with a curved backdrop. Planning for the next phase and an east wing also began during this time. The project is recorded through drawings and a project model dating from 1988-1992. These are mostly original drawings and include sketches, plans, sections, elevations, perspectives, details, and some construction drawings. Many of the drawings focus on the office furniture.
Level of archival description:
Project
Project
Date:
1988-1992
1988-1992
People:
Form:
textual records
textual records
Title:
Correspondence files
Correspondence files
Actions:
Reference number:
DR2001:0036
Description:
documents include correspondence files, 1991-1992: Architecture in Greece, Academy Group Ltd., AIA, Anyone, ARCHIS, Architects for SOS, Architectural Article, Architectural Design, Architecture d'aujourd'hui, Architectural Digest, Arquitectura & Viviendas, Atlanta Theft (insurance claim), Blast, Brasil Bienale, Bologna Arte Architectura, B.D., Brooklyn Museum - Isozaki & Polshek, CAYC (Center for Arts and Communications, Buenos Aires), The Century Club, Cloverdale (Transportation Services) 2 files, Commissio Internacional, Connaissance des arts, Correspondence (miscellaneous), Declines (invitations), Design Book Review, Ingersoll, For Your Signature (Hall of Wisdom), Flores & Wollny, Design Edition, Gallery 91, Hamberg, Harvard Architectural Review, Interiors (magazine), IDCNY (International Design Center, New York), Invites, Kosmopolis, Kreisberg Projects, Lufthansa. Correspondence Files, 1991-1992: Morgensen undergrad essay, New York State Association of Architects, NYC / AIA, Hiroshi Maruyama, Office Tours, PDE / Draft Correspondence: Projects, PDE - 27th W. 10th St., Pending Invitations, Permission Agreements, Perspecta - pending, Petrafina, Inc., The Pritzker Prize, Progressive Architecture, Max Protech, Requests for Drawings, Articles, Photos, Slides, etc., SKALA, National Gallery of Art / Smithsonian, Staff, Stuttgart - AW Architektur & Wettbewerbe / Martina Schlumberger, Synetics, Inc, Thesis Requests, Urban Center Books, Vanity Fair, Westweek 92 (Pacific Design Center, Knoll).
DR2001:0036
Description:
documents include correspondence files, 1991-1992: Architecture in Greece, Academy Group Ltd., AIA, Anyone, ARCHIS, Architects for SOS, Architectural Article, Architectural Design, Architecture d'aujourd'hui, Architectural Digest, Arquitectura & Viviendas, Atlanta Theft (insurance claim), Blast, Brasil Bienale, Bologna Arte Architectura, B.D., Brooklyn Museum - Isozaki & Polshek, CAYC (Center for Arts and Communications, Buenos Aires), The Century Club, Cloverdale (Transportation Services) 2 files, Commissio Internacional, Connaissance des arts, Correspondence (miscellaneous), Declines (invitations), Design Book Review, Ingersoll, For Your Signature (Hall of Wisdom), Flores & Wollny, Design Edition, Gallery 91, Hamberg, Harvard Architectural Review, Interiors (magazine), IDCNY (International Design Center, New York), Invites, Kosmopolis, Kreisberg Projects, Lufthansa. Correspondence Files, 1991-1992: Morgensen undergrad essay, New York State Association of Architects, NYC / AIA, Hiroshi Maruyama, Office Tours, PDE / Draft Correspondence: Projects, PDE - 27th W. 10th St., Pending Invitations, Permission Agreements, Perspecta - pending, Petrafina, Inc., The Pritzker Prize, Progressive Architecture, Max Protech, Requests for Drawings, Articles, Photos, Slides, etc., SKALA, National Gallery of Art / Smithsonian, Staff, Stuttgart - AW Architektur & Wettbewerbe / Martina Schlumberger, Synetics, Inc, Thesis Requests, Urban Center Books, Vanity Fair, Westweek 92 (Pacific Design Center, Knoll).
People:
Title:
Correspondence files
Actions:
DR2001:0036
Description:
documents include correspondence files, 1991-1992: Architecture in Greece, Academy Group Ltd., AIA, Anyone, ARCHIS, Architects for SOS, Architectural Article, Architectural Design, Architecture d'aujourd'hui, Architectural Digest, Arquitectura & Viviendas, Atlanta Theft (insurance claim), Blast, Brasil Bienale, Bologna Arte Architectura, B.D., Brooklyn Museum - Isozaki & Polshek, CAYC (Center for Arts and Communications, Buenos Aires), The Century Club, Cloverdale (Transportation Services) 2 files, Commissio Internacional, Connaissance des arts, Correspondence (miscellaneous), Declines (invitations), Design Book Review, Ingersoll, For Your Signature (Hall of Wisdom), Flores & Wollny, Design Edition, Gallery 91, Hamberg, Harvard Architectural Review, Interiors (magazine), IDCNY (International Design Center, New York), Invites, Kosmopolis, Kreisberg Projects, Lufthansa. Correspondence Files, 1991-1992: Morgensen undergrad essay, New York State Association of Architects, NYC / AIA, Hiroshi Maruyama, Office Tours, PDE / Draft Correspondence: Projects, PDE - 27th W. 10th St., Pending Invitations, Permission Agreements, Perspecta - pending, Petrafina, Inc., The Pritzker Prize, Progressive Architecture, Max Protech, Requests for Drawings, Articles, Photos, Slides, etc., SKALA, National Gallery of Art / Smithsonian, Staff, Stuttgart - AW Architektur & Wettbewerbe / Martina Schlumberger, Synetics, Inc, Thesis Requests, Urban Center Books, Vanity Fair, Westweek 92 (Pacific Design Center, Knoll).
Correspondence files
Actions:
DR2001:0036
Description:
documents include correspondence files, 1991-1992: Architecture in Greece, Academy Group Ltd., AIA, Anyone, ARCHIS, Architects for SOS, Architectural Article, Architectural Design, Architecture d'aujourd'hui, Architectural Digest, Arquitectura & Viviendas, Atlanta Theft (insurance claim), Blast, Brasil Bienale, Bologna Arte Architectura, B.D., Brooklyn Museum - Isozaki & Polshek, CAYC (Center for Arts and Communications, Buenos Aires), The Century Club, Cloverdale (Transportation Services) 2 files, Commissio Internacional, Connaissance des arts, Correspondence (miscellaneous), Declines (invitations), Design Book Review, Ingersoll, For Your Signature (Hall of Wisdom), Flores & Wollny, Design Edition, Gallery 91, Hamberg, Harvard Architectural Review, Interiors (magazine), IDCNY (International Design Center, New York), Invites, Kosmopolis, Kreisberg Projects, Lufthansa. Correspondence Files, 1991-1992: Morgensen undergrad essay, New York State Association of Architects, NYC / AIA, Hiroshi Maruyama, Office Tours, PDE / Draft Correspondence: Projects, PDE - 27th W. 10th St., Pending Invitations, Permission Agreements, Perspecta - pending, Petrafina, Inc., The Pritzker Prize, Progressive Architecture, Max Protech, Requests for Drawings, Articles, Photos, Slides, etc., SKALA, National Gallery of Art / Smithsonian, Staff, Stuttgart - AW Architektur & Wettbewerbe / Martina Schlumberger, Synetics, Inc, Thesis Requests, Urban Center Books, Vanity Fair, Westweek 92 (Pacific Design Center, Knoll).
Form:
textual records
textual records
People:
Form:
drawings
drawings
Title:
Perspective study of the effects of natural lightthrough the cupola of the Mosque of Santa Sophia
Perspective study of the effects of natural lightthrough the cupola of the Mosque of Santa Sophia
Actions:
Reference number:
DR1983:0877
Description:
- Combination basilical and central plan, called martyria, with Greek cross plan and dome.
DR1983:0877
Description:
- Combination basilical and central plan, called martyria, with Greek cross plan and dome.
People:
Subject:
architecture
architecture
Date:
May-June 1929
May-June 1929
Title:
Perspective study of the effects of natural lightthrough the cupola of the Mosque of Santa Sophia
Actions:
DR1983:0877
Description:
- Combination basilical and central plan, called martyria, with Greek cross plan and dome.
Perspective study of the effects of natural lightthrough the cupola of the Mosque of Santa Sophia
Actions:
DR1983:0877
Description:
- Combination basilical and central plan, called martyria, with Greek cross plan and dome.
Form:
drawings
drawings
Date:
May-June 1929
May-June 1929
People:
Subject:
architecture
architecture
