21400 Results
Level of archival description:
Project
Project
Reference number:
AP148.S1.1970.PR02
Description:
The project series documents Poli's work on the Interplanetary Architecture project, which was also made into a film by Superstudio directed by Alessandro Poli (the film is not included in the fonds). The project reflects Poli's deep fascination with the moon landing in 1969. Poli uses this major media event as a catalyst for thinking about a new approach to architecture and tools for design, including the idea that film and the movie camera should become part of the toolset. The project also seems to be in some way a response to Epoch magazine's challenge for a "Primo concorso di architettura nello spazio" (the first architectural competition in space), and includes much imagery and textual references to a new road or architectural links between the earth and other planets, including an earth moon highway. In his storyboard, Poli also makes reference to his earlier Piper project, and some imagery features wheels and an amusement park. The Interplanetary Architecture project was exhibited by Superstudio in Rome in 1972 and featured in "Casabella" magazine in April 1972 (no. 364). The project was also featured in the 2010 CCA exhibition "Other Space Odysseys". In the accompanying CCA publication, Poli describes this project as "a voyage off earthbound routes in quest of architecture unfettered by the urban nightmare, by induced needs or by planning as the only tool for regulating and solving the world's problems" (Poli quoted in Borasi and Zardini, 2010, 110). Poli's work on this project is deeply tied to the Zeno project, which was also featured in this exhibition and is included in this fonds (see AP148.S1.1972.PR01). For the Zeno project, Poli envisioned a dialogue between astronaut Buzz Aldrin and an Italian peasant, Zeno of Riparbella. Poli felt that these two shared a similarity in that both their homes were isolated capsules, one that provided a lens from which to see the rest of the world and understand their place in it. The material in the series includes numerous photomontages and collages of astronauts in space, as well as drawings of plantery shapes and structures. There are also texts, some of which include calculations of distances and diameters of planets, as well as notebooks and sketchbooks, many of which Poli included in a folder he entitled "Storyboard." The series also includes an unsent letter from Poli to Adolfo Natalini which describes how, after the moon landing, everything - the planet, the moon, the stars - is architecture, and that this will necessitate the need for new design tools, such as the movie camera. Some works are signed Alessandro Poli-Superstudio. Source cited: Giovanna Borasi and Mirko Zardini, eds., Other Space Odysseys, Montreal and Baden: Canadian Centre for Architecture/Lars Müller Publishers, 2010.
AP148.S1.1970.PR02
Description:
The project series documents Poli's work on the Interplanetary Architecture project, which was also made into a film by Superstudio directed by Alessandro Poli (the film is not included in the fonds). The project reflects Poli's deep fascination with the moon landing in 1969. Poli uses this major media event as a catalyst for thinking about a new approach to architecture and tools for design, including the idea that film and the movie camera should become part of the toolset. The project also seems to be in some way a response to Epoch magazine's challenge for a "Primo concorso di architettura nello spazio" (the first architectural competition in space), and includes much imagery and textual references to a new road or architectural links between the earth and other planets, including an earth moon highway. In his storyboard, Poli also makes reference to his earlier Piper project, and some imagery features wheels and an amusement park. The Interplanetary Architecture project was exhibited by Superstudio in Rome in 1972 and featured in "Casabella" magazine in April 1972 (no. 364). The project was also featured in the 2010 CCA exhibition "Other Space Odysseys". In the accompanying CCA publication, Poli describes this project as "a voyage off earthbound routes in quest of architecture unfettered by the urban nightmare, by induced needs or by planning as the only tool for regulating and solving the world's problems" (Poli quoted in Borasi and Zardini, 2010, 110). Poli's work on this project is deeply tied to the Zeno project, which was also featured in this exhibition and is included in this fonds (see AP148.S1.1972.PR01). For the Zeno project, Poli envisioned a dialogue between astronaut Buzz Aldrin and an Italian peasant, Zeno of Riparbella. Poli felt that these two shared a similarity in that both their homes were isolated capsules, one that provided a lens from which to see the rest of the world and understand their place in it. The material in the series includes numerous photomontages and collages of astronauts in space, as well as drawings of plantery shapes and structures. There are also texts, some of which include calculations of distances and diameters of planets, as well as notebooks and sketchbooks, many of which Poli included in a folder he entitled "Storyboard." The series also includes an unsent letter from Poli to Adolfo Natalini which describes how, after the moon landing, everything - the planet, the moon, the stars - is architecture, and that this will necessitate the need for new design tools, such as the movie camera. Some works are signed Alessandro Poli-Superstudio. Source cited: Giovanna Borasi and Mirko Zardini, eds., Other Space Odysseys, Montreal and Baden: Canadian Centre for Architecture/Lars Müller Publishers, 2010.
People:
Date:
1969-1971
1969-1971
Title:
Architettura Interplanetaria [Interplanetary Architecture] (1970-1971)
Actions:
AP148.S1.1970.PR02
Description:
The project series documents Poli's work on the Interplanetary Architecture project, which was also made into a film by Superstudio directed by Alessandro Poli (the film is not included in the fonds). The project reflects Poli's deep fascination with the moon landing in 1969. Poli uses this major media event as a catalyst for thinking about a new approach to architecture and tools for design, including the idea that film and the movie camera should become part of the toolset. The project also seems to be in some way a response to Epoch magazine's challenge for a "Primo concorso di architettura nello spazio" (the first architectural competition in space), and includes much imagery and textual references to a new road or architectural links between the earth and other planets, including an earth moon highway. In his storyboard, Poli also makes reference to his earlier Piper project, and some imagery features wheels and an amusement park. The Interplanetary Architecture project was exhibited by Superstudio in Rome in 1972 and featured in "Casabella" magazine in April 1972 (no. 364). The project was also featured in the 2010 CCA exhibition "Other Space Odysseys". In the accompanying CCA publication, Poli describes this project as "a voyage off earthbound routes in quest of architecture unfettered by the urban nightmare, by induced needs or by planning as the only tool for regulating and solving the world's problems" (Poli quoted in Borasi and Zardini, 2010, 110). Poli's work on this project is deeply tied to the Zeno project, which was also featured in this exhibition and is included in this fonds (see AP148.S1.1972.PR01). For the Zeno project, Poli envisioned a dialogue between astronaut Buzz Aldrin and an Italian peasant, Zeno of Riparbella. Poli felt that these two shared a similarity in that both their homes were isolated capsules, one that provided a lens from which to see the rest of the world and understand their place in it. The material in the series includes numerous photomontages and collages of astronauts in space, as well as drawings of plantery shapes and structures. There are also texts, some of which include calculations of distances and diameters of planets, as well as notebooks and sketchbooks, many of which Poli included in a folder he entitled "Storyboard." The series also includes an unsent letter from Poli to Adolfo Natalini which describes how, after the moon landing, everything - the planet, the moon, the stars - is architecture, and that this will necessitate the need for new design tools, such as the movie camera. Some works are signed Alessandro Poli-Superstudio. Source cited: Giovanna Borasi and Mirko Zardini, eds., Other Space Odysseys, Montreal and Baden: Canadian Centre for Architecture/Lars Müller Publishers, 2010.
Architettura Interplanetaria [Interplanetary Architecture] (1970-1971)
Actions:
AP148.S1.1970.PR02
Description:
The project series documents Poli's work on the Interplanetary Architecture project, which was also made into a film by Superstudio directed by Alessandro Poli (the film is not included in the fonds). The project reflects Poli's deep fascination with the moon landing in 1969. Poli uses this major media event as a catalyst for thinking about a new approach to architecture and tools for design, including the idea that film and the movie camera should become part of the toolset. The project also seems to be in some way a response to Epoch magazine's challenge for a "Primo concorso di architettura nello spazio" (the first architectural competition in space), and includes much imagery and textual references to a new road or architectural links between the earth and other planets, including an earth moon highway. In his storyboard, Poli also makes reference to his earlier Piper project, and some imagery features wheels and an amusement park. The Interplanetary Architecture project was exhibited by Superstudio in Rome in 1972 and featured in "Casabella" magazine in April 1972 (no. 364). The project was also featured in the 2010 CCA exhibition "Other Space Odysseys". In the accompanying CCA publication, Poli describes this project as "a voyage off earthbound routes in quest of architecture unfettered by the urban nightmare, by induced needs or by planning as the only tool for regulating and solving the world's problems" (Poli quoted in Borasi and Zardini, 2010, 110). Poli's work on this project is deeply tied to the Zeno project, which was also featured in this exhibition and is included in this fonds (see AP148.S1.1972.PR01). For the Zeno project, Poli envisioned a dialogue between astronaut Buzz Aldrin and an Italian peasant, Zeno of Riparbella. Poli felt that these two shared a similarity in that both their homes were isolated capsules, one that provided a lens from which to see the rest of the world and understand their place in it. The material in the series includes numerous photomontages and collages of astronauts in space, as well as drawings of plantery shapes and structures. There are also texts, some of which include calculations of distances and diameters of planets, as well as notebooks and sketchbooks, many of which Poli included in a folder he entitled "Storyboard." The series also includes an unsent letter from Poli to Adolfo Natalini which describes how, after the moon landing, everything - the planet, the moon, the stars - is architecture, and that this will necessitate the need for new design tools, such as the movie camera. Some works are signed Alessandro Poli-Superstudio. Source cited: Giovanna Borasi and Mirko Zardini, eds., Other Space Odysseys, Montreal and Baden: Canadian Centre for Architecture/Lars Müller Publishers, 2010.
Level of archival description:
Project
Project
Date:
1969-1971
1969-1971
People:
Level of archival description:
Project
Project
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Reference number:
AP198.S1.1997.PR02
Description:
Project records document the design process for OCEAN North’s competition entry for the Jyväskylä Music and Arts Centre in 1997. The project was titled Terra Cultura by OCEAN North. The international competition called to create a multi-usage space that would include a venue for the symphonic orchestra, a music school, exhibition spaces, and the possibility to host a variety of small cultural events in the Finnish city of Jyväskylä. The proposed site is in the center of the town, across the street from the Jyväskylä city church and its park, and nearby buildings designed by Alvar Aalto. OCEAN North’s concept presents a topological surface as an extension of the surrounding urban scape with two masses that would host the formal functions of the building (concert hall, music school, exhibition halls). The two volumes, or raised blocks, are divided along a diagonal elevated space, which is the extension of the ground’s topological surface filled and dubbed “Liquid Flow Space” by the design team. In their interview with Greg Lynn, Johan Bettum and Kivi Sotamaa mentioned that the idea for Jyväskylä was that it was a cloud. Digital files, in particular, show the process to achieve the projected design. Drawings provide views of streamed particles and of resulting peels. They also include plans, elevations and axonometric views of the structure. Most files are raster or vector images, likely saved from CAD software. A few files are in CAD formats such as Microstation, 3D Studio and form*Z. Digital files also present sine wave analysis and resulting charts for each component of the program. The analysis and charts present the relationships between various components of the building’s program such as the Art Museum, the Concert Halls, the technical space, and the Common facilities. These files are raster images and spreadsheets. Photographs of the site in Jyväskylä and of models built by OCEAN North were digitized and are included with the digital working files. Physical drawings are chiefly floor plans for the building, but also include sections and sketches. Finally, project files include photographic prints of two built models. One of these models, a small model of the conceptual masses of the building structure, is itself in the archive. Photographs show the model in the context of a city scape model. The second model, not part of the archive at CCA, was built at a bigger scale and was an intricate cardboard and wooden stick structure. Sources: Softspace: from a representation of form to a simulation of space, Edited by Sean Lally and Jessica Young. London, New York: Routledge, 2007. Greg Lynn, ed. Archaeology of the Digital 17: OCEAN North, Jyväskylä Music and Arts Centre, Montréal: Canadian Centre for Architecture, 2017. ePub.
AP198.S1.1997.PR02
Description:
Project records document the design process for OCEAN North’s competition entry for the Jyväskylä Music and Arts Centre in 1997. The project was titled Terra Cultura by OCEAN North. The international competition called to create a multi-usage space that would include a venue for the symphonic orchestra, a music school, exhibition spaces, and the possibility to host a variety of small cultural events in the Finnish city of Jyväskylä. The proposed site is in the center of the town, across the street from the Jyväskylä city church and its park, and nearby buildings designed by Alvar Aalto. OCEAN North’s concept presents a topological surface as an extension of the surrounding urban scape with two masses that would host the formal functions of the building (concert hall, music school, exhibition halls). The two volumes, or raised blocks, are divided along a diagonal elevated space, which is the extension of the ground’s topological surface filled and dubbed “Liquid Flow Space” by the design team. In their interview with Greg Lynn, Johan Bettum and Kivi Sotamaa mentioned that the idea for Jyväskylä was that it was a cloud. Digital files, in particular, show the process to achieve the projected design. Drawings provide views of streamed particles and of resulting peels. They also include plans, elevations and axonometric views of the structure. Most files are raster or vector images, likely saved from CAD software. A few files are in CAD formats such as Microstation, 3D Studio and form*Z. Digital files also present sine wave analysis and resulting charts for each component of the program. The analysis and charts present the relationships between various components of the building’s program such as the Art Museum, the Concert Halls, the technical space, and the Common facilities. These files are raster images and spreadsheets. Photographs of the site in Jyväskylä and of models built by OCEAN North were digitized and are included with the digital working files. Physical drawings are chiefly floor plans for the building, but also include sections and sketches. Finally, project files include photographic prints of two built models. One of these models, a small model of the conceptual masses of the building structure, is itself in the archive. Photographs show the model in the context of a city scape model. The second model, not part of the archive at CCA, was built at a bigger scale and was an intricate cardboard and wooden stick structure. Sources: Softspace: from a representation of form to a simulation of space, Edited by Sean Lally and Jessica Young. London, New York: Routledge, 2007. Greg Lynn, ed. Archaeology of the Digital 17: OCEAN North, Jyväskylä Music and Arts Centre, Montréal: Canadian Centre for Architecture, 2017. ePub.
People:
Date:
1997
1997
Title:
Terra Cultura – Jyväskylä Music and Arts Centre, international competition entry
Actions:
AP198.S1.1997.PR02
Description:
Project records document the design process for OCEAN North’s competition entry for the Jyväskylä Music and Arts Centre in 1997. The project was titled Terra Cultura by OCEAN North. The international competition called to create a multi-usage space that would include a venue for the symphonic orchestra, a music school, exhibition spaces, and the possibility to host a variety of small cultural events in the Finnish city of Jyväskylä. The proposed site is in the center of the town, across the street from the Jyväskylä city church and its park, and nearby buildings designed by Alvar Aalto. OCEAN North’s concept presents a topological surface as an extension of the surrounding urban scape with two masses that would host the formal functions of the building (concert hall, music school, exhibition halls). The two volumes, or raised blocks, are divided along a diagonal elevated space, which is the extension of the ground’s topological surface filled and dubbed “Liquid Flow Space” by the design team. In their interview with Greg Lynn, Johan Bettum and Kivi Sotamaa mentioned that the idea for Jyväskylä was that it was a cloud. Digital files, in particular, show the process to achieve the projected design. Drawings provide views of streamed particles and of resulting peels. They also include plans, elevations and axonometric views of the structure. Most files are raster or vector images, likely saved from CAD software. A few files are in CAD formats such as Microstation, 3D Studio and form*Z. Digital files also present sine wave analysis and resulting charts for each component of the program. The analysis and charts present the relationships between various components of the building’s program such as the Art Museum, the Concert Halls, the technical space, and the Common facilities. These files are raster images and spreadsheets. Photographs of the site in Jyväskylä and of models built by OCEAN North were digitized and are included with the digital working files. Physical drawings are chiefly floor plans for the building, but also include sections and sketches. Finally, project files include photographic prints of two built models. One of these models, a small model of the conceptual masses of the building structure, is itself in the archive. Photographs show the model in the context of a city scape model. The second model, not part of the archive at CCA, was built at a bigger scale and was an intricate cardboard and wooden stick structure. Sources: Softspace: from a representation of form to a simulation of space, Edited by Sean Lally and Jessica Young. London, New York: Routledge, 2007. Greg Lynn, ed. Archaeology of the Digital 17: OCEAN North, Jyväskylä Music and Arts Centre, Montréal: Canadian Centre for Architecture, 2017. ePub.
Terra Cultura – Jyväskylä Music and Arts Centre, international competition entry
Actions:
AP198.S1.1997.PR02
Description:
Project records document the design process for OCEAN North’s competition entry for the Jyväskylä Music and Arts Centre in 1997. The project was titled Terra Cultura by OCEAN North. The international competition called to create a multi-usage space that would include a venue for the symphonic orchestra, a music school, exhibition spaces, and the possibility to host a variety of small cultural events in the Finnish city of Jyväskylä. The proposed site is in the center of the town, across the street from the Jyväskylä city church and its park, and nearby buildings designed by Alvar Aalto. OCEAN North’s concept presents a topological surface as an extension of the surrounding urban scape with two masses that would host the formal functions of the building (concert hall, music school, exhibition halls). The two volumes, or raised blocks, are divided along a diagonal elevated space, which is the extension of the ground’s topological surface filled and dubbed “Liquid Flow Space” by the design team. In their interview with Greg Lynn, Johan Bettum and Kivi Sotamaa mentioned that the idea for Jyväskylä was that it was a cloud. Digital files, in particular, show the process to achieve the projected design. Drawings provide views of streamed particles and of resulting peels. They also include plans, elevations and axonometric views of the structure. Most files are raster or vector images, likely saved from CAD software. A few files are in CAD formats such as Microstation, 3D Studio and form*Z. Digital files also present sine wave analysis and resulting charts for each component of the program. The analysis and charts present the relationships between various components of the building’s program such as the Art Museum, the Concert Halls, the technical space, and the Common facilities. These files are raster images and spreadsheets. Photographs of the site in Jyväskylä and of models built by OCEAN North were digitized and are included with the digital working files. Physical drawings are chiefly floor plans for the building, but also include sections and sketches. Finally, project files include photographic prints of two built models. One of these models, a small model of the conceptual masses of the building structure, is itself in the archive. Photographs show the model in the context of a city scape model. The second model, not part of the archive at CCA, was built at a bigger scale and was an intricate cardboard and wooden stick structure. Sources: Softspace: from a representation of form to a simulation of space, Edited by Sean Lally and Jessica Young. London, New York: Routledge, 2007. Greg Lynn, ed. Archaeology of the Digital 17: OCEAN North, Jyväskylä Music and Arts Centre, Montréal: Canadian Centre for Architecture, 2017. ePub.
Level of archival description:
Project
Project
Date:
1997
1997
People:
Level of archival description:
Project
Project
Actions:
Reference number:
AP194.S1.1997.PR02
Description:
Project records document the design process for OCEAN North’s competition entry for the Jyväskylä Music and Arts Centre in 1997. The project was titled Terra Cultura by OCEAN North. The competition was to create a multi-usage space that would include a venue for the symphonic orchestra, a music school, exhibition spaces and the possibility to host a variety of small cultural events in the Finnish city of Jyväskylä. The proposed site is in the center of the town, across the street from the Jyväskylä city church and its park, and nearby buildings designed by Alvar Aalto. OCEAN North’s concept presents a topological surface as an extension of the surrounding urban scape with two masses that would host the formal functions of the building (concert hall, music school, exhibition halls). The two volumes, or raised blocks, are divided along a diagonal elevated space, which is the extension of the ground’s topological surface filled and dubbed “Liquid Flow Space” by the design team. In their interview with Greg Lynn, Johan Bettum and Kivi Sotamaa mentioned that the idea for Jyväskylä was that it was a cloud. To reach this goal, the team used CAD software to trace streams of particles as a modelling approach. The masses of linear elements that were generated were further deconstructed and turned into “peels” and rearranged to create the masses of the building. Physical models were also used to test and further what had emerged from the digital design process, with results being fed back into the digital drawings. During the process, Bettum also brought in the idea of the internalisation of the outside, taking inspiration from the Centre Georges Pompidou. Digital records document the creative process with raster and vector images, CAD drawings and models, and few digital textual records describing the project and the program charts. Drawings and models show site and building plans, perspectives and sections; particles streaming and resulting linear masses; peels and sections identified per color; and renderings of aerials, perspectives and elevation views. OCEAN North seems to have mostly used Microstation for modelling, although there are a few files created with form*Z and 3D Studio. Some of the raster images might have been created with these software as well, showing a given stage of the design process and including renderings. There are also screen captures showing the top, front, left and perspective views of 3D models. Adobe Photoshop and Illustrator were also used to create and modify drawings and diagrams. Program charts were created in Microsoft Excel. Sources: Softspace: from a representation of form to a simulation of space, Edited by Sean Lally and Jessica Young. London, New York: Routledge, 2007. Greg Lynn, ed. Archaeology of the Digital 17: OCEAN North, Jyväskylä Music and Arts Centre, Montréal: Canadian Centre for Architecture, 2017. ePub.
AP194.S1.1997.PR02
Description:
Project records document the design process for OCEAN North’s competition entry for the Jyväskylä Music and Arts Centre in 1997. The project was titled Terra Cultura by OCEAN North. The competition was to create a multi-usage space that would include a venue for the symphonic orchestra, a music school, exhibition spaces and the possibility to host a variety of small cultural events in the Finnish city of Jyväskylä. The proposed site is in the center of the town, across the street from the Jyväskylä city church and its park, and nearby buildings designed by Alvar Aalto. OCEAN North’s concept presents a topological surface as an extension of the surrounding urban scape with two masses that would host the formal functions of the building (concert hall, music school, exhibition halls). The two volumes, or raised blocks, are divided along a diagonal elevated space, which is the extension of the ground’s topological surface filled and dubbed “Liquid Flow Space” by the design team. In their interview with Greg Lynn, Johan Bettum and Kivi Sotamaa mentioned that the idea for Jyväskylä was that it was a cloud. To reach this goal, the team used CAD software to trace streams of particles as a modelling approach. The masses of linear elements that were generated were further deconstructed and turned into “peels” and rearranged to create the masses of the building. Physical models were also used to test and further what had emerged from the digital design process, with results being fed back into the digital drawings. During the process, Bettum also brought in the idea of the internalisation of the outside, taking inspiration from the Centre Georges Pompidou. Digital records document the creative process with raster and vector images, CAD drawings and models, and few digital textual records describing the project and the program charts. Drawings and models show site and building plans, perspectives and sections; particles streaming and resulting linear masses; peels and sections identified per color; and renderings of aerials, perspectives and elevation views. OCEAN North seems to have mostly used Microstation for modelling, although there are a few files created with form*Z and 3D Studio. Some of the raster images might have been created with these software as well, showing a given stage of the design process and including renderings. There are also screen captures showing the top, front, left and perspective views of 3D models. Adobe Photoshop and Illustrator were also used to create and modify drawings and diagrams. Program charts were created in Microsoft Excel. Sources: Softspace: from a representation of form to a simulation of space, Edited by Sean Lally and Jessica Young. London, New York: Routledge, 2007. Greg Lynn, ed. Archaeology of the Digital 17: OCEAN North, Jyväskylä Music and Arts Centre, Montréal: Canadian Centre for Architecture, 2017. ePub.
People:
Date:
1997-1998
1997-1998
Title:
Terra Cultura – Jyväskylä Music and Arts Centre, international competition entry, Jyväskylä, Finland (1997)
Actions:
AP194.S1.1997.PR02
Description:
Project records document the design process for OCEAN North’s competition entry for the Jyväskylä Music and Arts Centre in 1997. The project was titled Terra Cultura by OCEAN North. The competition was to create a multi-usage space that would include a venue for the symphonic orchestra, a music school, exhibition spaces and the possibility to host a variety of small cultural events in the Finnish city of Jyväskylä. The proposed site is in the center of the town, across the street from the Jyväskylä city church and its park, and nearby buildings designed by Alvar Aalto. OCEAN North’s concept presents a topological surface as an extension of the surrounding urban scape with two masses that would host the formal functions of the building (concert hall, music school, exhibition halls). The two volumes, or raised blocks, are divided along a diagonal elevated space, which is the extension of the ground’s topological surface filled and dubbed “Liquid Flow Space” by the design team. In their interview with Greg Lynn, Johan Bettum and Kivi Sotamaa mentioned that the idea for Jyväskylä was that it was a cloud. To reach this goal, the team used CAD software to trace streams of particles as a modelling approach. The masses of linear elements that were generated were further deconstructed and turned into “peels” and rearranged to create the masses of the building. Physical models were also used to test and further what had emerged from the digital design process, with results being fed back into the digital drawings. During the process, Bettum also brought in the idea of the internalisation of the outside, taking inspiration from the Centre Georges Pompidou. Digital records document the creative process with raster and vector images, CAD drawings and models, and few digital textual records describing the project and the program charts. Drawings and models show site and building plans, perspectives and sections; particles streaming and resulting linear masses; peels and sections identified per color; and renderings of aerials, perspectives and elevation views. OCEAN North seems to have mostly used Microstation for modelling, although there are a few files created with form*Z and 3D Studio. Some of the raster images might have been created with these software as well, showing a given stage of the design process and including renderings. There are also screen captures showing the top, front, left and perspective views of 3D models. Adobe Photoshop and Illustrator were also used to create and modify drawings and diagrams. Program charts were created in Microsoft Excel. Sources: Softspace: from a representation of form to a simulation of space, Edited by Sean Lally and Jessica Young. London, New York: Routledge, 2007. Greg Lynn, ed. Archaeology of the Digital 17: OCEAN North, Jyväskylä Music and Arts Centre, Montréal: Canadian Centre for Architecture, 2017. ePub.
Terra Cultura – Jyväskylä Music and Arts Centre, international competition entry, Jyväskylä, Finland (1997)
Actions:
AP194.S1.1997.PR02
Description:
Project records document the design process for OCEAN North’s competition entry for the Jyväskylä Music and Arts Centre in 1997. The project was titled Terra Cultura by OCEAN North. The competition was to create a multi-usage space that would include a venue for the symphonic orchestra, a music school, exhibition spaces and the possibility to host a variety of small cultural events in the Finnish city of Jyväskylä. The proposed site is in the center of the town, across the street from the Jyväskylä city church and its park, and nearby buildings designed by Alvar Aalto. OCEAN North’s concept presents a topological surface as an extension of the surrounding urban scape with two masses that would host the formal functions of the building (concert hall, music school, exhibition halls). The two volumes, or raised blocks, are divided along a diagonal elevated space, which is the extension of the ground’s topological surface filled and dubbed “Liquid Flow Space” by the design team. In their interview with Greg Lynn, Johan Bettum and Kivi Sotamaa mentioned that the idea for Jyväskylä was that it was a cloud. To reach this goal, the team used CAD software to trace streams of particles as a modelling approach. The masses of linear elements that were generated were further deconstructed and turned into “peels” and rearranged to create the masses of the building. Physical models were also used to test and further what had emerged from the digital design process, with results being fed back into the digital drawings. During the process, Bettum also brought in the idea of the internalisation of the outside, taking inspiration from the Centre Georges Pompidou. Digital records document the creative process with raster and vector images, CAD drawings and models, and few digital textual records describing the project and the program charts. Drawings and models show site and building plans, perspectives and sections; particles streaming and resulting linear masses; peels and sections identified per color; and renderings of aerials, perspectives and elevation views. OCEAN North seems to have mostly used Microstation for modelling, although there are a few files created with form*Z and 3D Studio. Some of the raster images might have been created with these software as well, showing a given stage of the design process and including renderings. There are also screen captures showing the top, front, left and perspective views of 3D models. Adobe Photoshop and Illustrator were also used to create and modify drawings and diagrams. Program charts were created in Microsoft Excel. Sources: Softspace: from a representation of form to a simulation of space, Edited by Sean Lally and Jessica Young. London, New York: Routledge, 2007. Greg Lynn, ed. Archaeology of the Digital 17: OCEAN North, Jyväskylä Music and Arts Centre, Montréal: Canadian Centre for Architecture, 2017. ePub.
Level of archival description:
Project
Project
Date:
1997-1998
1997-1998
People:
Form:
events
events
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Description:
This Thursday at the CCA, in collaboration with the Cities Programme of the London School of Economics, 2010-2011 James Stirling Memorial Lecturer on the City Gerald Frug speaks on the design of urban governance systems and its effects on the work of urbanists and architects. Click here for the Facebook event.
This Thursday at the CCA, in collaboration with the Cities Programme of the London School of Economics, 2010-2011 James Stirling Memorial Lecturer on the City Gerald Frug speaks on the design of urban governance systems and its effects on the work of urbanists and architects. Click here for the Facebook event.
Date:
21 October 2010
21 October 2010
Title:
Gerald Frug: The Architecture of Governance
Actions:
Description:
This Thursday at the CCA, in collaboration with the Cities Programme of the London School of Economics, 2010-2011 James Stirling Memorial Lecturer on the City Gerald Frug speaks on the design of urban governance systems and its effects on the work of urbanists and architects. Click here for the Facebook event.
Gerald Frug: The Architecture of Governance
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Description:
This Thursday at the CCA, in collaboration with the Cities Programme of the London School of Economics, 2010-2011 James Stirling Memorial Lecturer on the City Gerald Frug speaks on the design of urban governance systems and its effects on the work of urbanists and architects. Click here for the Facebook event.
Form:
events
events
Date:
21 October 2010
21 October 2010
Form:
events
events
Title:
Learning from... Los Angeles
Learning from... Los Angeles
Actions:
Description:
Los Angeles-based historian and tour guide Richard Schave examines developments in Los Angeles in the 35 years since the landmark urban tour film Reyner Banham Loves Los Angeles (UK,1972). Schave, a former student of Banham, elaborates on his professor’s research by showing excerpts of the film in comparison with his own documentary photography. In particular, he explores(...)
Los Angeles-based historian and tour guide Richard Schave examines developments in Los Angeles in the 35 years since the landmark urban tour film Reyner Banham Loves Los Angeles (UK,1972). Schave, a former student of Banham, elaborates on his professor’s research by showing excerpts of the film in comparison with his own documentary photography. In particular, he explores(...)
Location:
Paul Desmarais Theatre
Paul Desmarais Theatre
Date:
28 May 2009
28 May 2009
Title:
Learning from... Los Angeles
Actions:
Description:
Los Angeles-based historian and tour guide Richard Schave examines developments in Los Angeles in the 35 years since the landmark urban tour film Reyner Banham Loves Los Angeles (UK,1972). Schave, a former student of Banham, elaborates on his professor’s research by showing excerpts of the film in comparison with his own documentary photography. In particular, he explores(...)
Learning from... Los Angeles
Actions:
Description:
Los Angeles-based historian and tour guide Richard Schave examines developments in Los Angeles in the 35 years since the landmark urban tour film Reyner Banham Loves Los Angeles (UK,1972). Schave, a former student of Banham, elaborates on his professor’s research by showing excerpts of the film in comparison with his own documentary photography. In particular, he explores(...)
Form:
events
events
Date:
28 May 2009
28 May 2009
Location:
Paul Desmarais Theatre
Paul Desmarais Theatre
Form:
exhibitions
exhibitions
Title:
The Mound of Vendôme
The Mound of Vendôme
Actions:
Description:
The mound of Vendôme is a seemingly simple yet provocative artifact: an earthwork that became a central part of a radical attempt to transform urban iconography during the two-month rule of the Paris Commune in 1871. This exhibition and research project recalls this lost structure and calls for its contemporary reconstruction and historicization. Curated by David Gissen,(...)
The mound of Vendôme is a seemingly simple yet provocative artifact: an earthwork that became a central part of a radical attempt to transform urban iconography during the two-month rule of the Paris Commune in 1871. This exhibition and research project recalls this lost structure and calls for its contemporary reconstruction and historicization. Curated by David Gissen,(...)
Location:
Octagonal gallery
Octagonal gallery
Date:
19 June 2014 to 28 September 2014
19 June 2014 to 28 September 2014
Title:
The Mound of Vendôme
Actions:
Description:
The mound of Vendôme is a seemingly simple yet provocative artifact: an earthwork that became a central part of a radical attempt to transform urban iconography during the two-month rule of the Paris Commune in 1871. This exhibition and research project recalls this lost structure and calls for its contemporary reconstruction and historicization. Curated by David Gissen,(...)
The Mound of Vendôme
Actions:
Description:
The mound of Vendôme is a seemingly simple yet provocative artifact: an earthwork that became a central part of a radical attempt to transform urban iconography during the two-month rule of the Paris Commune in 1871. This exhibition and research project recalls this lost structure and calls for its contemporary reconstruction and historicization. Curated by David Gissen,(...)
Form:
exhibitions
exhibitions
Date:
19 June 2014 to
28 September 2014
19 June 2014 to
28 September 2014
Location:
Octagonal gallery
Octagonal gallery
Form:
events
events
Actions:
Description:
Corinne Jaquand presents “Planning through Landscape, German and French Experiences, 2010 and Backwards” on 29 July, a discussion of select examples of urban renewal in France and Germany in which the landscape project intervenes at the beginning of the planning process. View a complete listing of this summer’s seminars.
Corinne Jaquand presents “Planning through Landscape, German and French Experiences, 2010 and Backwards” on 29 July, a discussion of select examples of urban renewal in France and Germany in which the landscape project intervenes at the beginning of the planning process. View a complete listing of this summer’s seminars.
Location:
Shaughnessy House
Presented in English Keyword(s):
Corinne Jaquand, visiting scholar seminar
Shaughnessy House
Presented in English Keyword(s):
Corinne Jaquand, visiting scholar seminar
Date:
29 July 2010
29 July 2010
Title:
Visiting Scholar Seminar: Corinne Jaquand
Actions:
Description:
Corinne Jaquand presents “Planning through Landscape, German and French Experiences, 2010 and Backwards” on 29 July, a discussion of select examples of urban renewal in France and Germany in which the landscape project intervenes at the beginning of the planning process. View a complete listing of this summer’s seminars.
Visiting Scholar Seminar: Corinne Jaquand
Actions:
Description:
Corinne Jaquand presents “Planning through Landscape, German and French Experiences, 2010 and Backwards” on 29 July, a discussion of select examples of urban renewal in France and Germany in which the landscape project intervenes at the beginning of the planning process. View a complete listing of this summer’s seminars.
Form:
events
events
Date:
29 July 2010
29 July 2010
Location:
Shaughnessy House
Presented in English Keyword(s):
Corinne Jaquand, visiting scholar seminar
Shaughnessy House
Presented in English Keyword(s):
Corinne Jaquand, visiting scholar seminar
Form:
drawings
drawings
Title:
Sketchbook 322: Boavista - Ceramica- Candeeiro - Vitra - Salemi - Lusitania - Holanda- V. do Conde
Sketchbook 322: Boavista - Ceramica- Candeeiro - Vitra - Salemi - Lusitania - Holanda- V. do Conde
Actions:
Reference number:
AP178.S2.1991.009
Description:
This sketchbook includes sketches for the Vitra International in Germany, Complexo de Habitação e Escritórios na Avenida da Boavista, urban and circulation study for Praça de Espanha and reconstruction of Chiado in Portugal, as well as residential settlement in Schilderswijk and Ceramic Terrain housing and offices in Netherlands. It also includes notes, sketches of people, animals, churches, and kitchen accessories.
AP178.S2.1991.009
Description:
This sketchbook includes sketches for the Vitra International in Germany, Complexo de Habitação e Escritórios na Avenida da Boavista, urban and circulation study for Praça de Espanha and reconstruction of Chiado in Portugal, as well as residential settlement in Schilderswijk and Ceramic Terrain housing and offices in Netherlands. It also includes notes, sketches of people, animals, churches, and kitchen accessories.
People:
Date:
October 1991
October 1991
Title:
Sketchbook 322: Boavista - Ceramica- Candeeiro - Vitra - Salemi - Lusitania - Holanda- V. do Conde
Actions:
AP178.S2.1991.009
Description:
This sketchbook includes sketches for the Vitra International in Germany, Complexo de Habitação e Escritórios na Avenida da Boavista, urban and circulation study for Praça de Espanha and reconstruction of Chiado in Portugal, as well as residential settlement in Schilderswijk and Ceramic Terrain housing and offices in Netherlands. It also includes notes, sketches of people, animals, churches, and kitchen accessories.
Sketchbook 322: Boavista - Ceramica- Candeeiro - Vitra - Salemi - Lusitania - Holanda- V. do Conde
Actions:
AP178.S2.1991.009
Description:
This sketchbook includes sketches for the Vitra International in Germany, Complexo de Habitação e Escritórios na Avenida da Boavista, urban and circulation study for Praça de Espanha and reconstruction of Chiado in Portugal, as well as residential settlement in Schilderswijk and Ceramic Terrain housing and offices in Netherlands. It also includes notes, sketches of people, animals, churches, and kitchen accessories.
Form:
drawings
drawings
Date:
October 1991
October 1991
People:
Form:
photographs
Quantity:
12 photograph(s)
photographs
Quantity:
12 photograph(s)
Actions:
Reference number:
ARCH187131
Description:
David & Boulva, architects - exterior and interior views of Montreal Institute of Diagnostic and Clinical Research Building, model of Montreal Urban Renewal project, Dow Planetarium, Place-des-Arts metro station, Theatre Maisonneuve - Place des Arts, perspective drawing of Palais de Justice - Montreal, athletic stadium, interior of hockey arena, other un-identified
ARCH187131
Description:
David & Boulva, architects - exterior and interior views of Montreal Institute of Diagnostic and Clinical Research Building, model of Montreal Urban Renewal project, Dow Planetarium, Place-des-Arts metro station, Theatre Maisonneuve - Place des Arts, perspective drawing of Palais de Justice - Montreal, athletic stadium, interior of hockey arena, other un-identified
People:
Title:
Photographs of Miscellaneous Projects
Actions:
ARCH187131
Description:
David & Boulva, architects - exterior and interior views of Montreal Institute of Diagnostic and Clinical Research Building, model of Montreal Urban Renewal project, Dow Planetarium, Place-des-Arts metro station, Theatre Maisonneuve - Place des Arts, perspective drawing of Palais de Justice - Montreal, athletic stadium, interior of hockey arena, other un-identified
Photographs of Miscellaneous Projects
Actions:
ARCH187131
Description:
David & Boulva, architects - exterior and interior views of Montreal Institute of Diagnostic and Clinical Research Building, model of Montreal Urban Renewal project, Dow Planetarium, Place-des-Arts metro station, Theatre Maisonneuve - Place des Arts, perspective drawing of Palais de Justice - Montreal, athletic stadium, interior of hockey arena, other un-identified
Form:
photographs
Quantity:
12 photograph(s)
photographs
Quantity:
12 photograph(s)
People:
Form:
textual records
textual records
Actions:
Reference number:
ARCH269031
Description:
Includes textual records: - "Avance de planeamiento" (Advance planning); - "Expediente de modificación de elementos del plan general de ordenación urbana de Santander" (Elements of modification to the general plan for the urban management of Santander); - "Informe técnico y situación urbanística" (Technical report and urbanistic situation) [3 copies]; - "Estudios previos" (Previous studies).
ARCH269031
Description:
Includes textual records: - "Avance de planeamiento" (Advance planning); - "Expediente de modificación de elementos del plan general de ordenación urbana de Santander" (Elements of modification to the general plan for the urban management of Santander); - "Informe técnico y situación urbanística" (Technical report and urbanistic situation) [3 copies]; - "Estudios previos" (Previous studies).
People:
Date:
1987
1987
Title:
Advance planning, Ordenación de Nueva Montaña Quijano en Santander, Spain
Actions:
ARCH269031
Description:
Includes textual records: - "Avance de planeamiento" (Advance planning); - "Expediente de modificación de elementos del plan general de ordenación urbana de Santander" (Elements of modification to the general plan for the urban management of Santander); - "Informe técnico y situación urbanística" (Technical report and urbanistic situation) [3 copies]; - "Estudios previos" (Previous studies).
Advance planning, Ordenación de Nueva Montaña Quijano en Santander, Spain
Actions:
ARCH269031
Description:
Includes textual records: - "Avance de planeamiento" (Advance planning); - "Expediente de modificación de elementos del plan general de ordenación urbana de Santander" (Elements of modification to the general plan for the urban management of Santander); - "Informe técnico y situación urbanística" (Technical report and urbanistic situation) [3 copies]; - "Estudios previos" (Previous studies).
Form:
textual records
textual records
Date:
1987
1987
People:
