9776 Results
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Project
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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:
Level of archival description:
Project
Project
Reference number:
AP166.S1.1990.PR2
Description:
This file documents the executed project for the Prospecta Toyama '92 Observatory Tower in Imizu, Toyama, Japan. Like the Galaxy Toyama Gymnasium, this project was designed in conjunction with the 1st Japan Expo Toyama in 1992. The 30 x 32 x 32 metre structure, built at the top of a 61,2 metre hill, serves as a platform to observe the surrounding landscape. The centre court is designed and equipped for the creation of a performance with sound, light and fog. The file is chiefly composed of design development and presentation drawings but includes some conceptual drawings and material related to theme development. There are also site plans and information about the 1st Japan Expo Toyama 1992. There is a small amount of correspondence in the form of facsimile transmissions. Working drawings include a set of structural drawings. Presentation material includes a model and bound copies and drafts of proposals. There are some digital prints of computer-generated perspectives, one in the form of a presentation panel. There is also some documentation for the development of the name and logo for the structure. A small album contains photographs of the built work. There is some promotional material for the tower and for the park in which it is situated. There are also clippings from published documents. Material in this file was produced between 1990 and 1993. .
AP166.S1.1990.PR2
Description:
This file documents the executed project for the Prospecta Toyama '92 Observatory Tower in Imizu, Toyama, Japan. Like the Galaxy Toyama Gymnasium, this project was designed in conjunction with the 1st Japan Expo Toyama in 1992. The 30 x 32 x 32 metre structure, built at the top of a 61,2 metre hill, serves as a platform to observe the surrounding landscape. The centre court is designed and equipped for the creation of a performance with sound, light and fog. The file is chiefly composed of design development and presentation drawings but includes some conceptual drawings and material related to theme development. There are also site plans and information about the 1st Japan Expo Toyama 1992. There is a small amount of correspondence in the form of facsimile transmissions. Working drawings include a set of structural drawings. Presentation material includes a model and bound copies and drafts of proposals. There are some digital prints of computer-generated perspectives, one in the form of a presentation panel. There is also some documentation for the development of the name and logo for the structure. A small album contains photographs of the built work. There is some promotional material for the tower and for the park in which it is situated. There are also clippings from published documents. Material in this file was produced between 1990 and 1993. .
People:
Date:
1990-1993
1990-1993
Title:
Prospecta Toyama '92 Observatory Tower, Imizu, Japan (1990-1993)
Actions:
AP166.S1.1990.PR2
Description:
This file documents the executed project for the Prospecta Toyama '92 Observatory Tower in Imizu, Toyama, Japan. Like the Galaxy Toyama Gymnasium, this project was designed in conjunction with the 1st Japan Expo Toyama in 1992. The 30 x 32 x 32 metre structure, built at the top of a 61,2 metre hill, serves as a platform to observe the surrounding landscape. The centre court is designed and equipped for the creation of a performance with sound, light and fog. The file is chiefly composed of design development and presentation drawings but includes some conceptual drawings and material related to theme development. There are also site plans and information about the 1st Japan Expo Toyama 1992. There is a small amount of correspondence in the form of facsimile transmissions. Working drawings include a set of structural drawings. Presentation material includes a model and bound copies and drafts of proposals. There are some digital prints of computer-generated perspectives, one in the form of a presentation panel. There is also some documentation for the development of the name and logo for the structure. A small album contains photographs of the built work. There is some promotional material for the tower and for the park in which it is situated. There are also clippings from published documents. Material in this file was produced between 1990 and 1993. .
Prospecta Toyama '92 Observatory Tower, Imizu, Japan (1990-1993)
Actions:
AP166.S1.1990.PR2
Description:
This file documents the executed project for the Prospecta Toyama '92 Observatory Tower in Imizu, Toyama, Japan. Like the Galaxy Toyama Gymnasium, this project was designed in conjunction with the 1st Japan Expo Toyama in 1992. The 30 x 32 x 32 metre structure, built at the top of a 61,2 metre hill, serves as a platform to observe the surrounding landscape. The centre court is designed and equipped for the creation of a performance with sound, light and fog. The file is chiefly composed of design development and presentation drawings but includes some conceptual drawings and material related to theme development. There are also site plans and information about the 1st Japan Expo Toyama 1992. There is a small amount of correspondence in the form of facsimile transmissions. Working drawings include a set of structural drawings. Presentation material includes a model and bound copies and drafts of proposals. There are some digital prints of computer-generated perspectives, one in the form of a presentation panel. There is also some documentation for the development of the name and logo for the structure. A small album contains photographs of the built work. There is some promotional material for the tower and for the park in which it is situated. There are also clippings from published documents. Material in this file was produced between 1990 and 1993. .
Level of archival description:
project
project
Date:
1990-1993
1990-1993
People:
Level of archival description:
Project
Project
Actions:
Reference number:
AP056.S1.2000.PR06
Description:
This project series documents the design for McGill University and Génome Québec Innovation Centre in Montréal from 2000-2002. The office identified the project number as 2000-25. "This project was conceived to act as a networking site for research initiatives in the fields of genomics and proteomics. It accommodated five distinct research groups within a 92,000 square-foot facility: the Montreal Genome Centre, the Montreal Proteomics Centre, the Génome Québec Expertise Centre, the Montreal Bone Research Centre, and 5 bio-business incubators. The plan balanced specialized laboratory and office space with three key interactive spaces – the public passage through the building which linked the city to the campus, the atrium which provided an interactive social space for the facility, and the teleconference room. The laboratories, where raw data was gathered, were located on the east, while the bioinformatics offices for data analysis were located on the west. The intent was to create a building that acted as an instrument for knowledge, and to position the public spaces strategically and symbolically as reminders that the work of science was directly connected to humanity."[1] The project is recorded through drawings dating from around 2002. These are mostly original drawings and include sketches, plans, sections, elevations, perspectives, and details. [1]"McGill University and Génome Québec Innovation Centre." KPMB. Accessed July 2019. http://www.kpmb.com/project/mcgill-university-and-genome-quebec-innovation-centre/
AP056.S1.2000.PR06
Description:
This project series documents the design for McGill University and Génome Québec Innovation Centre in Montréal from 2000-2002. The office identified the project number as 2000-25. "This project was conceived to act as a networking site for research initiatives in the fields of genomics and proteomics. It accommodated five distinct research groups within a 92,000 square-foot facility: the Montreal Genome Centre, the Montreal Proteomics Centre, the Génome Québec Expertise Centre, the Montreal Bone Research Centre, and 5 bio-business incubators. The plan balanced specialized laboratory and office space with three key interactive spaces – the public passage through the building which linked the city to the campus, the atrium which provided an interactive social space for the facility, and the teleconference room. The laboratories, where raw data was gathered, were located on the east, while the bioinformatics offices for data analysis were located on the west. The intent was to create a building that acted as an instrument for knowledge, and to position the public spaces strategically and symbolically as reminders that the work of science was directly connected to humanity."[1] The project is recorded through drawings dating from around 2002. These are mostly original drawings and include sketches, plans, sections, elevations, perspectives, and details. [1]"McGill University and Génome Québec Innovation Centre." KPMB. Accessed July 2019. http://www.kpmb.com/project/mcgill-university-and-genome-quebec-innovation-centre/
People:
Date:
circa 2002
circa 2002
Title:
McGill University and Génome Québec Innovation Centre, Montréal (2000-2002)
Actions:
AP056.S1.2000.PR06
Description:
This project series documents the design for McGill University and Génome Québec Innovation Centre in Montréal from 2000-2002. The office identified the project number as 2000-25. "This project was conceived to act as a networking site for research initiatives in the fields of genomics and proteomics. It accommodated five distinct research groups within a 92,000 square-foot facility: the Montreal Genome Centre, the Montreal Proteomics Centre, the Génome Québec Expertise Centre, the Montreal Bone Research Centre, and 5 bio-business incubators. The plan balanced specialized laboratory and office space with three key interactive spaces – the public passage through the building which linked the city to the campus, the atrium which provided an interactive social space for the facility, and the teleconference room. The laboratories, where raw data was gathered, were located on the east, while the bioinformatics offices for data analysis were located on the west. The intent was to create a building that acted as an instrument for knowledge, and to position the public spaces strategically and symbolically as reminders that the work of science was directly connected to humanity."[1] The project is recorded through drawings dating from around 2002. These are mostly original drawings and include sketches, plans, sections, elevations, perspectives, and details. [1]"McGill University and Génome Québec Innovation Centre." KPMB. Accessed July 2019. http://www.kpmb.com/project/mcgill-university-and-genome-quebec-innovation-centre/
McGill University and Génome Québec Innovation Centre, Montréal (2000-2002)
Actions:
AP056.S1.2000.PR06
Description:
This project series documents the design for McGill University and Génome Québec Innovation Centre in Montréal from 2000-2002. The office identified the project number as 2000-25. "This project was conceived to act as a networking site for research initiatives in the fields of genomics and proteomics. It accommodated five distinct research groups within a 92,000 square-foot facility: the Montreal Genome Centre, the Montreal Proteomics Centre, the Génome Québec Expertise Centre, the Montreal Bone Research Centre, and 5 bio-business incubators. The plan balanced specialized laboratory and office space with three key interactive spaces – the public passage through the building which linked the city to the campus, the atrium which provided an interactive social space for the facility, and the teleconference room. The laboratories, where raw data was gathered, were located on the east, while the bioinformatics offices for data analysis were located on the west. The intent was to create a building that acted as an instrument for knowledge, and to position the public spaces strategically and symbolically as reminders that the work of science was directly connected to humanity."[1] The project is recorded through drawings dating from around 2002. These are mostly original drawings and include sketches, plans, sections, elevations, perspectives, and details. [1]"McGill University and Génome Québec Innovation Centre." KPMB. Accessed July 2019. http://www.kpmb.com/project/mcgill-university-and-genome-quebec-innovation-centre/
Level of archival description:
Project
Project
Date:
circa 2002
circa 2002
People:
Level of archival description:
Series
Series
Title:
Architectural projects
Architectural projects
Reference number:
AP206.S1
Description:
The Architectural projects series, 1957-2007, records 82 architectural projects of Aditya Prakash throughout his career as an architect in Chandigarh, India. Most of these projects were completed with his daughter, Chetna Prakash, through his private practice, Arcon Architects, from 1982-2007. These projects include private residences, housing complexes, university campuses, schools, factories, theatres, sport and yoga centres, offices and furniture, among others. The projects include built work, competition entries and proposals, though it is not always clear which projects were realized. While many projects were located in Chandigarh, the series documents projects across northern India, particularly in Jammu and Kashmir, Punjab, Haryana, Himachal Pradesh and Uttar Pradesh. The projects in this series were identified based on their unique locations and dates. Some projects, located at the same site, consisted of multiple buildings and were designed and/or constructed over long periods of time. The materials for projects like this are described together in one project series, instead of being separated out by building or time period. These projects are recorded largely through original drawings, which include sketches, plans, elevations, sections, perspectives, details, axonometric views and working drawings. However, materials for each project are sparse, often consisting of only 1-10 drawings. Textual records and photographs are also included in the materials for a few projects. The photographs show completed work, while the textual records primarily consist of client correspondence.
AP206.S1
Description:
The Architectural projects series, 1957-2007, records 82 architectural projects of Aditya Prakash throughout his career as an architect in Chandigarh, India. Most of these projects were completed with his daughter, Chetna Prakash, through his private practice, Arcon Architects, from 1982-2007. These projects include private residences, housing complexes, university campuses, schools, factories, theatres, sport and yoga centres, offices and furniture, among others. The projects include built work, competition entries and proposals, though it is not always clear which projects were realized. While many projects were located in Chandigarh, the series documents projects across northern India, particularly in Jammu and Kashmir, Punjab, Haryana, Himachal Pradesh and Uttar Pradesh. The projects in this series were identified based on their unique locations and dates. Some projects, located at the same site, consisted of multiple buildings and were designed and/or constructed over long periods of time. The materials for projects like this are described together in one project series, instead of being separated out by building or time period. These projects are recorded largely through original drawings, which include sketches, plans, elevations, sections, perspectives, details, axonometric views and working drawings. However, materials for each project are sparse, often consisting of only 1-10 drawings. Textual records and photographs are also included in the materials for a few projects. The photographs show completed work, while the textual records primarily consist of client correspondence.
People:
Date:
1957-2007
1957-2007
Title:
Architectural projects
Actions:
AP206.S1
Description:
The Architectural projects series, 1957-2007, records 82 architectural projects of Aditya Prakash throughout his career as an architect in Chandigarh, India. Most of these projects were completed with his daughter, Chetna Prakash, through his private practice, Arcon Architects, from 1982-2007. These projects include private residences, housing complexes, university campuses, schools, factories, theatres, sport and yoga centres, offices and furniture, among others. The projects include built work, competition entries and proposals, though it is not always clear which projects were realized. While many projects were located in Chandigarh, the series documents projects across northern India, particularly in Jammu and Kashmir, Punjab, Haryana, Himachal Pradesh and Uttar Pradesh. The projects in this series were identified based on their unique locations and dates. Some projects, located at the same site, consisted of multiple buildings and were designed and/or constructed over long periods of time. The materials for projects like this are described together in one project series, instead of being separated out by building or time period. These projects are recorded largely through original drawings, which include sketches, plans, elevations, sections, perspectives, details, axonometric views and working drawings. However, materials for each project are sparse, often consisting of only 1-10 drawings. Textual records and photographs are also included in the materials for a few projects. The photographs show completed work, while the textual records primarily consist of client correspondence.
Architectural projects
Actions:
AP206.S1
Description:
The Architectural projects series, 1957-2007, records 82 architectural projects of Aditya Prakash throughout his career as an architect in Chandigarh, India. Most of these projects were completed with his daughter, Chetna Prakash, through his private practice, Arcon Architects, from 1982-2007. These projects include private residences, housing complexes, university campuses, schools, factories, theatres, sport and yoga centres, offices and furniture, among others. The projects include built work, competition entries and proposals, though it is not always clear which projects were realized. While many projects were located in Chandigarh, the series documents projects across northern India, particularly in Jammu and Kashmir, Punjab, Haryana, Himachal Pradesh and Uttar Pradesh. The projects in this series were identified based on their unique locations and dates. Some projects, located at the same site, consisted of multiple buildings and were designed and/or constructed over long periods of time. The materials for projects like this are described together in one project series, instead of being separated out by building or time period. These projects are recorded largely through original drawings, which include sketches, plans, elevations, sections, perspectives, details, axonometric views and working drawings. However, materials for each project are sparse, often consisting of only 1-10 drawings. Textual records and photographs are also included in the materials for a few projects. The photographs show completed work, while the textual records primarily consist of client correspondence.
Level of archival description:
Series
Series
Date:
1957-2007
1957-2007
People:
Level of archival description:
Project
Project
Actions:
Reference number:
AP018.S1.1978.PR04
Description:
This project series documents the design of a US pre-clearance facility at terminal one of the Toronto International Airport in Mississauga, Ontario in 1978. The office identified the project number as 7805. Since the early 1960s, John B. Parkin Associates, and later John C. Parkin's new firm Parkin Architects Planners, had been commissioned by the government Department of Transport Air Services to complete more than a dozen projects at the Toronto International Airport, including terminals one and two. This project consisted of the design of an area to accommodate pre-clearance screening to the US, which was located between fingers one and two at terminal one. The area is referred to as a node, and contained washrooms, customs areas, immigration areas, and a duty free that was accessible to international traffic. Many gates at terminal one had to be redesignated to accommodate this new facility. The project is recorded through drawings and textual records dating from 1978. The drawings are largely reprographic copies of floor plans and site plans, with sections of the original terminal one building included. Some drawings in this project series were created by the architectural firm Searle, Wilbee, Rowland, which was one of the names used for Parkin's firm after the merger of John B. Parkin Associates with Winnipeg-based firm Smith, Carter and Searle. The textual records include conference reports, correspondence and a feasibility report.
AP018.S1.1978.PR04
Description:
This project series documents the design of a US pre-clearance facility at terminal one of the Toronto International Airport in Mississauga, Ontario in 1978. The office identified the project number as 7805. Since the early 1960s, John B. Parkin Associates, and later John C. Parkin's new firm Parkin Architects Planners, had been commissioned by the government Department of Transport Air Services to complete more than a dozen projects at the Toronto International Airport, including terminals one and two. This project consisted of the design of an area to accommodate pre-clearance screening to the US, which was located between fingers one and two at terminal one. The area is referred to as a node, and contained washrooms, customs areas, immigration areas, and a duty free that was accessible to international traffic. Many gates at terminal one had to be redesignated to accommodate this new facility. The project is recorded through drawings and textual records dating from 1978. The drawings are largely reprographic copies of floor plans and site plans, with sections of the original terminal one building included. Some drawings in this project series were created by the architectural firm Searle, Wilbee, Rowland, which was one of the names used for Parkin's firm after the merger of John B. Parkin Associates with Winnipeg-based firm Smith, Carter and Searle. The textual records include conference reports, correspondence and a feasibility report.
People:
Date:
1978
1978
Title:
US Pre-Clearance Facility, Toronto International Airport, Mississauga, Ontario (1978)
Actions:
AP018.S1.1978.PR04
Description:
This project series documents the design of a US pre-clearance facility at terminal one of the Toronto International Airport in Mississauga, Ontario in 1978. The office identified the project number as 7805. Since the early 1960s, John B. Parkin Associates, and later John C. Parkin's new firm Parkin Architects Planners, had been commissioned by the government Department of Transport Air Services to complete more than a dozen projects at the Toronto International Airport, including terminals one and two. This project consisted of the design of an area to accommodate pre-clearance screening to the US, which was located between fingers one and two at terminal one. The area is referred to as a node, and contained washrooms, customs areas, immigration areas, and a duty free that was accessible to international traffic. Many gates at terminal one had to be redesignated to accommodate this new facility. The project is recorded through drawings and textual records dating from 1978. The drawings are largely reprographic copies of floor plans and site plans, with sections of the original terminal one building included. Some drawings in this project series were created by the architectural firm Searle, Wilbee, Rowland, which was one of the names used for Parkin's firm after the merger of John B. Parkin Associates with Winnipeg-based firm Smith, Carter and Searle. The textual records include conference reports, correspondence and a feasibility report.
US Pre-Clearance Facility, Toronto International Airport, Mississauga, Ontario (1978)
Actions:
AP018.S1.1978.PR04
Description:
This project series documents the design of a US pre-clearance facility at terminal one of the Toronto International Airport in Mississauga, Ontario in 1978. The office identified the project number as 7805. Since the early 1960s, John B. Parkin Associates, and later John C. Parkin's new firm Parkin Architects Planners, had been commissioned by the government Department of Transport Air Services to complete more than a dozen projects at the Toronto International Airport, including terminals one and two. This project consisted of the design of an area to accommodate pre-clearance screening to the US, which was located between fingers one and two at terminal one. The area is referred to as a node, and contained washrooms, customs areas, immigration areas, and a duty free that was accessible to international traffic. Many gates at terminal one had to be redesignated to accommodate this new facility. The project is recorded through drawings and textual records dating from 1978. The drawings are largely reprographic copies of floor plans and site plans, with sections of the original terminal one building included. Some drawings in this project series were created by the architectural firm Searle, Wilbee, Rowland, which was one of the names used for Parkin's firm after the merger of John B. Parkin Associates with Winnipeg-based firm Smith, Carter and Searle. The textual records include conference reports, correspondence and a feasibility report.
Level of archival description:
Project
Project
Date:
1978
1978
People:
Level of archival description:
Project
Project
Reference number:
AP056.S1.1995.PR10
Description:
This project series documents new offices for entertainment company Alliance Communications in Toronto from 1995-1996. The office identified the project number as 9514. This project began with an investigation into the feasibility of renovating an existing six-storey building located at 1155 Yonge Street. The site was eventually changed to 121 Bloor Street East, where three consecutive floors of the existing high-rise were renovated for the new offices. The 16th floor contained executive offices with reception at the 15th floor and the major production department below that on the 14th. The office interiors consisted of wood veneer paneling, steel and stone. These materials, along with rubber flooring and glass panels added to the loft style of the open office space.[1] At the ground-level of the office tower, a screening room, restaurant and patio were proposed, although it is unclear if these renovations were ever completed. The project is recorded through drawings and some accompanying notes dating from 1995-1996. There are a large number of drawings for the proposed offices on Yonge Street, which include sketches, plans, elevations, sections and perspectives. These drawings are arranged before the Bloor Street materials are distinguished in the file-level descriptions. The Bloor Street office drawings include sketches, plans, elevations, sections, perspectives, details and furnishings. [1]Bruce Kuwabara et al., Kuwabara, Payne, McKenna, Blumberg (Gloucester, MA: Rockport Publ., 1998), 116-119.
AP056.S1.1995.PR10
Description:
This project series documents new offices for entertainment company Alliance Communications in Toronto from 1995-1996. The office identified the project number as 9514. This project began with an investigation into the feasibility of renovating an existing six-storey building located at 1155 Yonge Street. The site was eventually changed to 121 Bloor Street East, where three consecutive floors of the existing high-rise were renovated for the new offices. The 16th floor contained executive offices with reception at the 15th floor and the major production department below that on the 14th. The office interiors consisted of wood veneer paneling, steel and stone. These materials, along with rubber flooring and glass panels added to the loft style of the open office space.[1] At the ground-level of the office tower, a screening room, restaurant and patio were proposed, although it is unclear if these renovations were ever completed. The project is recorded through drawings and some accompanying notes dating from 1995-1996. There are a large number of drawings for the proposed offices on Yonge Street, which include sketches, plans, elevations, sections and perspectives. These drawings are arranged before the Bloor Street materials are distinguished in the file-level descriptions. The Bloor Street office drawings include sketches, plans, elevations, sections, perspectives, details and furnishings. [1]Bruce Kuwabara et al., Kuwabara, Payne, McKenna, Blumberg (Gloucester, MA: Rockport Publ., 1998), 116-119.
People:
Date:
1995-1996
1995-1996
Title:
Alliance Communications, Toronto (1995-1996)
Actions:
AP056.S1.1995.PR10
Description:
This project series documents new offices for entertainment company Alliance Communications in Toronto from 1995-1996. The office identified the project number as 9514. This project began with an investigation into the feasibility of renovating an existing six-storey building located at 1155 Yonge Street. The site was eventually changed to 121 Bloor Street East, where three consecutive floors of the existing high-rise were renovated for the new offices. The 16th floor contained executive offices with reception at the 15th floor and the major production department below that on the 14th. The office interiors consisted of wood veneer paneling, steel and stone. These materials, along with rubber flooring and glass panels added to the loft style of the open office space.[1] At the ground-level of the office tower, a screening room, restaurant and patio were proposed, although it is unclear if these renovations were ever completed. The project is recorded through drawings and some accompanying notes dating from 1995-1996. There are a large number of drawings for the proposed offices on Yonge Street, which include sketches, plans, elevations, sections and perspectives. These drawings are arranged before the Bloor Street materials are distinguished in the file-level descriptions. The Bloor Street office drawings include sketches, plans, elevations, sections, perspectives, details and furnishings. [1]Bruce Kuwabara et al., Kuwabara, Payne, McKenna, Blumberg (Gloucester, MA: Rockport Publ., 1998), 116-119.
Alliance Communications, Toronto (1995-1996)
Actions:
AP056.S1.1995.PR10
Description:
This project series documents new offices for entertainment company Alliance Communications in Toronto from 1995-1996. The office identified the project number as 9514. This project began with an investigation into the feasibility of renovating an existing six-storey building located at 1155 Yonge Street. The site was eventually changed to 121 Bloor Street East, where three consecutive floors of the existing high-rise were renovated for the new offices. The 16th floor contained executive offices with reception at the 15th floor and the major production department below that on the 14th. The office interiors consisted of wood veneer paneling, steel and stone. These materials, along with rubber flooring and glass panels added to the loft style of the open office space.[1] At the ground-level of the office tower, a screening room, restaurant and patio were proposed, although it is unclear if these renovations were ever completed. The project is recorded through drawings and some accompanying notes dating from 1995-1996. There are a large number of drawings for the proposed offices on Yonge Street, which include sketches, plans, elevations, sections and perspectives. These drawings are arranged before the Bloor Street materials are distinguished in the file-level descriptions. The Bloor Street office drawings include sketches, plans, elevations, sections, perspectives, details and furnishings. [1]Bruce Kuwabara et al., Kuwabara, Payne, McKenna, Blumberg (Gloucester, MA: Rockport Publ., 1998), 116-119.
Level of archival description:
Project
Project
Date:
1995-1996
1995-1996
People:
Level of archival description:
Project
Project
Actions:
Reference number:
AP018.S1.1978.PR05
Description:
This project series documents the Ontario Congress and Trade Centre in Toronto from 1978-1980. The office identified the project number as 7807. This project consisted of the investigation of building a congress and trade centre on Front Street West. The project proposed a 519,500 square foot building with a 200,000 square foot exhibition hall that could be divided for smaller events. The building would also contain a multiuse hall, theatres, meeting rooms, offices, food and beverage facilities, and a 1300 car parking area. The project was proposed to cost around $73 million. The project is also referred to as the Toronto Convention Centre or Ontario Convention Centre. The majority of the textual documentation shows the controversial debate over whether the centre should be built, including numerous press clippings that highlight the issue. It should be noted that Congress Centre and Convention Centre are used interchangeably in the materials. Eventually, this project contract was given to another architectural firm and today is known as the Metropolitan Toronto Convention Centre. The project is recorded through drawings and textual records dating from 1976-1981. The drawings largely show designs for the proposed building and site plans. The textual records include correspondence, meeting minutes, interoffice memos, project proposals, feasibility reports, press clippings on the project and on other convention centres, research documentation on other convention centres, documentation on a proposed hotel to be built on the centre and promotional materials.
AP018.S1.1978.PR05
Description:
This project series documents the Ontario Congress and Trade Centre in Toronto from 1978-1980. The office identified the project number as 7807. This project consisted of the investigation of building a congress and trade centre on Front Street West. The project proposed a 519,500 square foot building with a 200,000 square foot exhibition hall that could be divided for smaller events. The building would also contain a multiuse hall, theatres, meeting rooms, offices, food and beverage facilities, and a 1300 car parking area. The project was proposed to cost around $73 million. The project is also referred to as the Toronto Convention Centre or Ontario Convention Centre. The majority of the textual documentation shows the controversial debate over whether the centre should be built, including numerous press clippings that highlight the issue. It should be noted that Congress Centre and Convention Centre are used interchangeably in the materials. Eventually, this project contract was given to another architectural firm and today is known as the Metropolitan Toronto Convention Centre. The project is recorded through drawings and textual records dating from 1976-1981. The drawings largely show designs for the proposed building and site plans. The textual records include correspondence, meeting minutes, interoffice memos, project proposals, feasibility reports, press clippings on the project and on other convention centres, research documentation on other convention centres, documentation on a proposed hotel to be built on the centre and promotional materials.
People:
Date:
1976-1981
1976-1981
Title:
Ontario Congress and Trade Centre, Toronto (1978-1981)
Actions:
AP018.S1.1978.PR05
Description:
This project series documents the Ontario Congress and Trade Centre in Toronto from 1978-1980. The office identified the project number as 7807. This project consisted of the investigation of building a congress and trade centre on Front Street West. The project proposed a 519,500 square foot building with a 200,000 square foot exhibition hall that could be divided for smaller events. The building would also contain a multiuse hall, theatres, meeting rooms, offices, food and beverage facilities, and a 1300 car parking area. The project was proposed to cost around $73 million. The project is also referred to as the Toronto Convention Centre or Ontario Convention Centre. The majority of the textual documentation shows the controversial debate over whether the centre should be built, including numerous press clippings that highlight the issue. It should be noted that Congress Centre and Convention Centre are used interchangeably in the materials. Eventually, this project contract was given to another architectural firm and today is known as the Metropolitan Toronto Convention Centre. The project is recorded through drawings and textual records dating from 1976-1981. The drawings largely show designs for the proposed building and site plans. The textual records include correspondence, meeting minutes, interoffice memos, project proposals, feasibility reports, press clippings on the project and on other convention centres, research documentation on other convention centres, documentation on a proposed hotel to be built on the centre and promotional materials.
Ontario Congress and Trade Centre, Toronto (1978-1981)
Actions:
AP018.S1.1978.PR05
Description:
This project series documents the Ontario Congress and Trade Centre in Toronto from 1978-1980. The office identified the project number as 7807. This project consisted of the investigation of building a congress and trade centre on Front Street West. The project proposed a 519,500 square foot building with a 200,000 square foot exhibition hall that could be divided for smaller events. The building would also contain a multiuse hall, theatres, meeting rooms, offices, food and beverage facilities, and a 1300 car parking area. The project was proposed to cost around $73 million. The project is also referred to as the Toronto Convention Centre or Ontario Convention Centre. The majority of the textual documentation shows the controversial debate over whether the centre should be built, including numerous press clippings that highlight the issue. It should be noted that Congress Centre and Convention Centre are used interchangeably in the materials. Eventually, this project contract was given to another architectural firm and today is known as the Metropolitan Toronto Convention Centre. The project is recorded through drawings and textual records dating from 1976-1981. The drawings largely show designs for the proposed building and site plans. The textual records include correspondence, meeting minutes, interoffice memos, project proposals, feasibility reports, press clippings on the project and on other convention centres, research documentation on other convention centres, documentation on a proposed hotel to be built on the centre and promotional materials.
Level of archival description:
Project
Project
Date:
1976-1981
1976-1981
People:
Level of archival description:
Sub-series
Sub-series
Reference number:
AP178.S1.2002.PR05.SS3
Description:
This project subseries documents the Clubhouse de Vidago in Vidago, Portugal. While the records were held in the office’s archives this project was assigned the number 49/00. The office assigned the dates 2007-2010 to this project. The project, part of larger renovations to the Vidago Palace Hotel, consisted of the conversion of an old building into the new golf clubhouse. Originally constructed in 1886, the stone building was first used for bottling the Vidago spring water. The clubhouse consisted of a large restaurant and bar space, with white walls, high ceilings and a central skylight to illuminate its spacious interior. A golf shop and dressing room were also part of the clubhouse. Siza designed two other buildings for the new 18-hole golf course, the golf academy and the maintenance building, but neither of these was ever realized. This project subseries is recorded through photographic materials, drawings, study models and textual records dating from 2002-2015. These records document the clubhouse, the golf academy and the maintenance building. The photographic materials are mostly printed digital photos showing the site, construction work, the model and reference images. The drawings include studies, plans, elevations, sections, details, and structural, mechanical and electrical drawings. The textual records include furniture documentation, records for permits, budgets, supplier catalogues, correspondence and meeting minutes. There are also a number of records documenting various mechanical, electrical and structural systems.
AP178.S1.2002.PR05.SS3
Description:
This project subseries documents the Clubhouse de Vidago in Vidago, Portugal. While the records were held in the office’s archives this project was assigned the number 49/00. The office assigned the dates 2007-2010 to this project. The project, part of larger renovations to the Vidago Palace Hotel, consisted of the conversion of an old building into the new golf clubhouse. Originally constructed in 1886, the stone building was first used for bottling the Vidago spring water. The clubhouse consisted of a large restaurant and bar space, with white walls, high ceilings and a central skylight to illuminate its spacious interior. A golf shop and dressing room were also part of the clubhouse. Siza designed two other buildings for the new 18-hole golf course, the golf academy and the maintenance building, but neither of these was ever realized. This project subseries is recorded through photographic materials, drawings, study models and textual records dating from 2002-2015. These records document the clubhouse, the golf academy and the maintenance building. The photographic materials are mostly printed digital photos showing the site, construction work, the model and reference images. The drawings include studies, plans, elevations, sections, details, and structural, mechanical and electrical drawings. The textual records include furniture documentation, records for permits, budgets, supplier catalogues, correspondence and meeting minutes. There are also a number of records documenting various mechanical, electrical and structural systems.
People:
Date:
2002-2015
2002-2015
Title:
Clubhouse de Vidago [Vidago Palace Hotel Club House], Vidago, Portugal (2007-2010)
Actions:
AP178.S1.2002.PR05.SS3
Description:
This project subseries documents the Clubhouse de Vidago in Vidago, Portugal. While the records were held in the office’s archives this project was assigned the number 49/00. The office assigned the dates 2007-2010 to this project. The project, part of larger renovations to the Vidago Palace Hotel, consisted of the conversion of an old building into the new golf clubhouse. Originally constructed in 1886, the stone building was first used for bottling the Vidago spring water. The clubhouse consisted of a large restaurant and bar space, with white walls, high ceilings and a central skylight to illuminate its spacious interior. A golf shop and dressing room were also part of the clubhouse. Siza designed two other buildings for the new 18-hole golf course, the golf academy and the maintenance building, but neither of these was ever realized. This project subseries is recorded through photographic materials, drawings, study models and textual records dating from 2002-2015. These records document the clubhouse, the golf academy and the maintenance building. The photographic materials are mostly printed digital photos showing the site, construction work, the model and reference images. The drawings include studies, plans, elevations, sections, details, and structural, mechanical and electrical drawings. The textual records include furniture documentation, records for permits, budgets, supplier catalogues, correspondence and meeting minutes. There are also a number of records documenting various mechanical, electrical and structural systems.
Clubhouse de Vidago [Vidago Palace Hotel Club House], Vidago, Portugal (2007-2010)
Actions:
AP178.S1.2002.PR05.SS3
Description:
This project subseries documents the Clubhouse de Vidago in Vidago, Portugal. While the records were held in the office’s archives this project was assigned the number 49/00. The office assigned the dates 2007-2010 to this project. The project, part of larger renovations to the Vidago Palace Hotel, consisted of the conversion of an old building into the new golf clubhouse. Originally constructed in 1886, the stone building was first used for bottling the Vidago spring water. The clubhouse consisted of a large restaurant and bar space, with white walls, high ceilings and a central skylight to illuminate its spacious interior. A golf shop and dressing room were also part of the clubhouse. Siza designed two other buildings for the new 18-hole golf course, the golf academy and the maintenance building, but neither of these was ever realized. This project subseries is recorded through photographic materials, drawings, study models and textual records dating from 2002-2015. These records document the clubhouse, the golf academy and the maintenance building. The photographic materials are mostly printed digital photos showing the site, construction work, the model and reference images. The drawings include studies, plans, elevations, sections, details, and structural, mechanical and electrical drawings. The textual records include furniture documentation, records for permits, budgets, supplier catalogues, correspondence and meeting minutes. There are also a number of records documenting various mechanical, electrical and structural systems.
Level of archival description:
Subseries
Subseries
Date:
2002-2015
2002-2015
People:
Level of archival description:
Project
Project
Actions:
Reference number:
AP075.S1.2009.PR01
Description:
Project series documents Cornelia Hahn Oberlander's project for the new Visitor Centre of VanDusen Botanical Garden in Vancouver, British Columbia. Oberlander worked on this project from 2007 to 2011 with architectural firm Busby Perkins+Will Architects and landscape architecture firm Sharp and Diamond Landscape Architects. The project consisted in building an access to the botanical garden from Oak Street. The building includes a undulating green roof shaped as a native orchid leaf and covered in plants inspired by the Pacific Northwest Coastal grassland. The building entrance is marked by "a single petal raised above the others" [1] while another of the giant roof petal in the back "almost touched the ground, and transported water to Oberlander's rainwater garden." [2] The project series contains design developement drawings such as site plans, planting plans, landscape plans, landscape sections and a few sketches, and also sets of building drawings or older landscape drawings of the garden used as reference. The project is also documented through textual records, including correspondence with architects, consultants and clients, project proposals, documentation on botanical garden or on the VanDusen Botanical Garden, and press articles and clippings about the project. The project series comprises also digital photographs of the completed building. Source: [1] [2] Herrington, Susan. Cornelia Hahn Oberlander: Making the Modern Landscape, University of Virginia Press, 2014, 304 pages, p. 225.
AP075.S1.2009.PR01
Description:
Project series documents Cornelia Hahn Oberlander's project for the new Visitor Centre of VanDusen Botanical Garden in Vancouver, British Columbia. Oberlander worked on this project from 2007 to 2011 with architectural firm Busby Perkins+Will Architects and landscape architecture firm Sharp and Diamond Landscape Architects. The project consisted in building an access to the botanical garden from Oak Street. The building includes a undulating green roof shaped as a native orchid leaf and covered in plants inspired by the Pacific Northwest Coastal grassland. The building entrance is marked by "a single petal raised above the others" [1] while another of the giant roof petal in the back "almost touched the ground, and transported water to Oberlander's rainwater garden." [2] The project series contains design developement drawings such as site plans, planting plans, landscape plans, landscape sections and a few sketches, and also sets of building drawings or older landscape drawings of the garden used as reference. The project is also documented through textual records, including correspondence with architects, consultants and clients, project proposals, documentation on botanical garden or on the VanDusen Botanical Garden, and press articles and clippings about the project. The project series comprises also digital photographs of the completed building. Source: [1] [2] Herrington, Susan. Cornelia Hahn Oberlander: Making the Modern Landscape, University of Virginia Press, 2014, 304 pages, p. 225.
People:
Date:
1973-2018
1973-2018
Title:
VanDusen Botanical Garden, Vancouver, British Columbia (2009)
Actions:
AP075.S1.2009.PR01
Description:
Project series documents Cornelia Hahn Oberlander's project for the new Visitor Centre of VanDusen Botanical Garden in Vancouver, British Columbia. Oberlander worked on this project from 2007 to 2011 with architectural firm Busby Perkins+Will Architects and landscape architecture firm Sharp and Diamond Landscape Architects. The project consisted in building an access to the botanical garden from Oak Street. The building includes a undulating green roof shaped as a native orchid leaf and covered in plants inspired by the Pacific Northwest Coastal grassland. The building entrance is marked by "a single petal raised above the others" [1] while another of the giant roof petal in the back "almost touched the ground, and transported water to Oberlander's rainwater garden." [2] The project series contains design developement drawings such as site plans, planting plans, landscape plans, landscape sections and a few sketches, and also sets of building drawings or older landscape drawings of the garden used as reference. The project is also documented through textual records, including correspondence with architects, consultants and clients, project proposals, documentation on botanical garden or on the VanDusen Botanical Garden, and press articles and clippings about the project. The project series comprises also digital photographs of the completed building. Source: [1] [2] Herrington, Susan. Cornelia Hahn Oberlander: Making the Modern Landscape, University of Virginia Press, 2014, 304 pages, p. 225.
VanDusen Botanical Garden, Vancouver, British Columbia (2009)
Actions:
AP075.S1.2009.PR01
Description:
Project series documents Cornelia Hahn Oberlander's project for the new Visitor Centre of VanDusen Botanical Garden in Vancouver, British Columbia. Oberlander worked on this project from 2007 to 2011 with architectural firm Busby Perkins+Will Architects and landscape architecture firm Sharp and Diamond Landscape Architects. The project consisted in building an access to the botanical garden from Oak Street. The building includes a undulating green roof shaped as a native orchid leaf and covered in plants inspired by the Pacific Northwest Coastal grassland. The building entrance is marked by "a single petal raised above the others" [1] while another of the giant roof petal in the back "almost touched the ground, and transported water to Oberlander's rainwater garden." [2] The project series contains design developement drawings such as site plans, planting plans, landscape plans, landscape sections and a few sketches, and also sets of building drawings or older landscape drawings of the garden used as reference. The project is also documented through textual records, including correspondence with architects, consultants and clients, project proposals, documentation on botanical garden or on the VanDusen Botanical Garden, and press articles and clippings about the project. The project series comprises also digital photographs of the completed building. Source: [1] [2] Herrington, Susan. Cornelia Hahn Oberlander: Making the Modern Landscape, University of Virginia Press, 2014, 304 pages, p. 225.
Level of archival description:
Project
Project
Date:
1973-2018
1973-2018
People:
Form:
photographs
photographs
Reference number:
PH2018:0012:001
Description:
Editioned pigment inkjet print titled 'An Enduring Wilderness: black locust among sumacs, Sylvan Park, 2013' in special edition 264 page bound book titled 'An Enduring Wilderness: Toronto's Natural Parklands' published by ECW Press, Toronto, 2017 print ed. 4/20, book ed. 24/40 An Enduring Wilderness: Toronto’s Natural Parklands is a series commissioned in 2012 by the City of Toronto that chronicles the extensive ravine network of sunken rivers, forested vales, and an expansive shoreline of Toronto, which has historically been overlooked, neglected, or forgotten. Robert Burley looks at these sites as integral parts of urban life, from lake views of the Scarborough Bluffs to glimpses of the densely wooded trails in the Carolinian forests of Rouge Park, questioning their role in a diverse and growing twenty-first century city.
PH2018:0012:001
Description:
Editioned pigment inkjet print titled 'An Enduring Wilderness: black locust among sumacs, Sylvan Park, 2013' in special edition 264 page bound book titled 'An Enduring Wilderness: Toronto's Natural Parklands' published by ECW Press, Toronto, 2017 print ed. 4/20, book ed. 24/40 An Enduring Wilderness: Toronto’s Natural Parklands is a series commissioned in 2012 by the City of Toronto that chronicles the extensive ravine network of sunken rivers, forested vales, and an expansive shoreline of Toronto, which has historically been overlooked, neglected, or forgotten. Robert Burley looks at these sites as integral parts of urban life, from lake views of the Scarborough Bluffs to glimpses of the densely wooded trails in the Carolinian forests of Rouge Park, questioning their role in a diverse and growing twenty-first century city.
People:
Date:
2013
2013
Title:
An Enduring Wilderness: black locust among sumacs, Sylvan Park, 2013
Actions:
PH2018:0012:001
Description:
Editioned pigment inkjet print titled 'An Enduring Wilderness: black locust among sumacs, Sylvan Park, 2013' in special edition 264 page bound book titled 'An Enduring Wilderness: Toronto's Natural Parklands' published by ECW Press, Toronto, 2017 print ed. 4/20, book ed. 24/40 An Enduring Wilderness: Toronto’s Natural Parklands is a series commissioned in 2012 by the City of Toronto that chronicles the extensive ravine network of sunken rivers, forested vales, and an expansive shoreline of Toronto, which has historically been overlooked, neglected, or forgotten. Robert Burley looks at these sites as integral parts of urban life, from lake views of the Scarborough Bluffs to glimpses of the densely wooded trails in the Carolinian forests of Rouge Park, questioning their role in a diverse and growing twenty-first century city.
An Enduring Wilderness: black locust among sumacs, Sylvan Park, 2013
Actions:
PH2018:0012:001
Description:
Editioned pigment inkjet print titled 'An Enduring Wilderness: black locust among sumacs, Sylvan Park, 2013' in special edition 264 page bound book titled 'An Enduring Wilderness: Toronto's Natural Parklands' published by ECW Press, Toronto, 2017 print ed. 4/20, book ed. 24/40 An Enduring Wilderness: Toronto’s Natural Parklands is a series commissioned in 2012 by the City of Toronto that chronicles the extensive ravine network of sunken rivers, forested vales, and an expansive shoreline of Toronto, which has historically been overlooked, neglected, or forgotten. Robert Burley looks at these sites as integral parts of urban life, from lake views of the Scarborough Bluffs to glimpses of the densely wooded trails in the Carolinian forests of Rouge Park, questioning their role in a diverse and growing twenty-first century city.
Form:
photographs
photographs
Date:
2013
2013
People:
