6521 Results
Form:
drawings, photographs
drawings, photographs
Actions:
Reference number:
DR2012:0011:032
Description:
Ring binder containing drawings, photographs, reprographic copies, stats of architectural, art, and graphic design work, and a watercolour related to Melvin Charney's activities as a student at McGill University, and include the following early projects: - Kitchen details for Mr. and Mrs. A. Zion (1 stat); - Design of vol. 2, no. 2 of YES: A Creative Quarterly (1 copy); - Small weekend house (3 stats); - Curb-service restaurant, for summer use only, on a Laurentian road (2 stat); - Studio-house in the Laurentian mountains (2 stats); - Apartment house to complete an existing pattern of older garden apartments (3 stats); - Community library for the Town of Mount Royal (6 stats); - Motel near the St. Lawrence River (2 stats); - Child centre (3 stats); - Building for the Province of Quebec Architects Association (4 stats); - Cloverdale shopping centre (1 stat); - Morse Jewellers (4 stats); - Steinberg's supermarket, Montreal North; - Reinforced concrete canopy, Molson Stadium (1 sketch, 1 photograph, 1 stat); - Town of Dorval subdivision proposal (1 stat); - Ottawa City Hall, study of lighting of areas in the building (1 stat); - Entrance vestibule, 1552 St. Matthew Street, Montreal (1 stat).
DR2012:0011:032
Description:
Ring binder containing drawings, photographs, reprographic copies, stats of architectural, art, and graphic design work, and a watercolour related to Melvin Charney's activities as a student at McGill University, and include the following early projects: - Kitchen details for Mr. and Mrs. A. Zion (1 stat); - Design of vol. 2, no. 2 of YES: A Creative Quarterly (1 copy); - Small weekend house (3 stats); - Curb-service restaurant, for summer use only, on a Laurentian road (2 stat); - Studio-house in the Laurentian mountains (2 stats); - Apartment house to complete an existing pattern of older garden apartments (3 stats); - Community library for the Town of Mount Royal (6 stats); - Motel near the St. Lawrence River (2 stats); - Child centre (3 stats); - Building for the Province of Quebec Architects Association (4 stats); - Cloverdale shopping centre (1 stat); - Morse Jewellers (4 stats); - Steinberg's supermarket, Montreal North; - Reinforced concrete canopy, Molson Stadium (1 sketch, 1 photograph, 1 stat); - Town of Dorval subdivision proposal (1 stat); - Ottawa City Hall, study of lighting of areas in the building (1 stat); - Entrance vestibule, 1552 St. Matthew Street, Montreal (1 stat).
People:
Date:
1955-1957
1955-1957
Title:
Portfolio for application to the graduate program at Yale University
Actions:
DR2012:0011:032
Description:
Ring binder containing drawings, photographs, reprographic copies, stats of architectural, art, and graphic design work, and a watercolour related to Melvin Charney's activities as a student at McGill University, and include the following early projects: - Kitchen details for Mr. and Mrs. A. Zion (1 stat); - Design of vol. 2, no. 2 of YES: A Creative Quarterly (1 copy); - Small weekend house (3 stats); - Curb-service restaurant, for summer use only, on a Laurentian road (2 stat); - Studio-house in the Laurentian mountains (2 stats); - Apartment house to complete an existing pattern of older garden apartments (3 stats); - Community library for the Town of Mount Royal (6 stats); - Motel near the St. Lawrence River (2 stats); - Child centre (3 stats); - Building for the Province of Quebec Architects Association (4 stats); - Cloverdale shopping centre (1 stat); - Morse Jewellers (4 stats); - Steinberg's supermarket, Montreal North; - Reinforced concrete canopy, Molson Stadium (1 sketch, 1 photograph, 1 stat); - Town of Dorval subdivision proposal (1 stat); - Ottawa City Hall, study of lighting of areas in the building (1 stat); - Entrance vestibule, 1552 St. Matthew Street, Montreal (1 stat).
Portfolio for application to the graduate program at Yale University
Actions:
DR2012:0011:032
Description:
Ring binder containing drawings, photographs, reprographic copies, stats of architectural, art, and graphic design work, and a watercolour related to Melvin Charney's activities as a student at McGill University, and include the following early projects: - Kitchen details for Mr. and Mrs. A. Zion (1 stat); - Design of vol. 2, no. 2 of YES: A Creative Quarterly (1 copy); - Small weekend house (3 stats); - Curb-service restaurant, for summer use only, on a Laurentian road (2 stat); - Studio-house in the Laurentian mountains (2 stats); - Apartment house to complete an existing pattern of older garden apartments (3 stats); - Community library for the Town of Mount Royal (6 stats); - Motel near the St. Lawrence River (2 stats); - Child centre (3 stats); - Building for the Province of Quebec Architects Association (4 stats); - Cloverdale shopping centre (1 stat); - Morse Jewellers (4 stats); - Steinberg's supermarket, Montreal North; - Reinforced concrete canopy, Molson Stadium (1 sketch, 1 photograph, 1 stat); - Town of Dorval subdivision proposal (1 stat); - Ottawa City Hall, study of lighting of areas in the building (1 stat); - Entrance vestibule, 1552 St. Matthew Street, Montreal (1 stat).
Form:
drawings, photographs
drawings, photographs
Date:
1955-1957
1955-1957
People:
Actions:
Reference number:
DR2007:0020
Description:
This consists of a boxed set of related pieces from L.W. Richards participation in "The Architecture Series" at the Power Plant contemporary art gallery in 1988-89. L.W. Richards renovated and drove a Pontiac Firebird, named "Power Plant". The project was the subject of Vikky Alexander's essay "Back to the Future" in the Power Plant Gallery's "The Architecture Series", 1989, pp.25-31. The project was reviewed by Adele Freedman (Globe and Mail, March 5, 1988, p.C12), Christopher Hume (Architect designs gallery on wheels, Toronto Star, Feb. 27, 1988, p. G15), and pictured and discussed in The Canadian Architect, Vol. 33, no. 4, April 1988, p.6. The set pf pieces includes: a) B&W photograph of the Power Plant car in an auto-body workshop, b) The Architecture Series, booklet with Alexander's essay, c)newspaper and magazine clippings/reviews, d)orangesteel brochure rack, that L.W. Richards designed, from the Power Plant car (~ 18" x 18" x 3"), e) nine B&W brochures titled "Cars by Architects" that fit into the red-orange rack, and f) ~ 20 colour slides of the Power Plant car in various locations in Toronto.
DR2007:0020
Description:
This consists of a boxed set of related pieces from L.W. Richards participation in "The Architecture Series" at the Power Plant contemporary art gallery in 1988-89. L.W. Richards renovated and drove a Pontiac Firebird, named "Power Plant". The project was the subject of Vikky Alexander's essay "Back to the Future" in the Power Plant Gallery's "The Architecture Series", 1989, pp.25-31. The project was reviewed by Adele Freedman (Globe and Mail, March 5, 1988, p.C12), Christopher Hume (Architect designs gallery on wheels, Toronto Star, Feb. 27, 1988, p. G15), and pictured and discussed in The Canadian Architect, Vol. 33, no. 4, April 1988, p.6. The set pf pieces includes: a) B&W photograph of the Power Plant car in an auto-body workshop, b) The Architecture Series, booklet with Alexander's essay, c)newspaper and magazine clippings/reviews, d)orangesteel brochure rack, that L.W. Richards designed, from the Power Plant car (~ 18" x 18" x 3"), e) nine B&W brochures titled "Cars by Architects" that fit into the red-orange rack, and f) ~ 20 colour slides of the Power Plant car in various locations in Toronto.
People:
Date:
1988-1989
1988-1989
Title:
Power Plant (Cars by Architects), 1988-1989
Actions:
DR2007:0020
Description:
This consists of a boxed set of related pieces from L.W. Richards participation in "The Architecture Series" at the Power Plant contemporary art gallery in 1988-89. L.W. Richards renovated and drove a Pontiac Firebird, named "Power Plant". The project was the subject of Vikky Alexander's essay "Back to the Future" in the Power Plant Gallery's "The Architecture Series", 1989, pp.25-31. The project was reviewed by Adele Freedman (Globe and Mail, March 5, 1988, p.C12), Christopher Hume (Architect designs gallery on wheels, Toronto Star, Feb. 27, 1988, p. G15), and pictured and discussed in The Canadian Architect, Vol. 33, no. 4, April 1988, p.6. The set pf pieces includes: a) B&W photograph of the Power Plant car in an auto-body workshop, b) The Architecture Series, booklet with Alexander's essay, c)newspaper and magazine clippings/reviews, d)orangesteel brochure rack, that L.W. Richards designed, from the Power Plant car (~ 18" x 18" x 3"), e) nine B&W brochures titled "Cars by Architects" that fit into the red-orange rack, and f) ~ 20 colour slides of the Power Plant car in various locations in Toronto.
Power Plant (Cars by Architects), 1988-1989
Actions:
DR2007:0020
Description:
This consists of a boxed set of related pieces from L.W. Richards participation in "The Architecture Series" at the Power Plant contemporary art gallery in 1988-89. L.W. Richards renovated and drove a Pontiac Firebird, named "Power Plant". The project was the subject of Vikky Alexander's essay "Back to the Future" in the Power Plant Gallery's "The Architecture Series", 1989, pp.25-31. The project was reviewed by Adele Freedman (Globe and Mail, March 5, 1988, p.C12), Christopher Hume (Architect designs gallery on wheels, Toronto Star, Feb. 27, 1988, p. G15), and pictured and discussed in The Canadian Architect, Vol. 33, no. 4, April 1988, p.6. The set pf pieces includes: a) B&W photograph of the Power Plant car in an auto-body workshop, b) The Architecture Series, booklet with Alexander's essay, c)newspaper and magazine clippings/reviews, d)orangesteel brochure rack, that L.W. Richards designed, from the Power Plant car (~ 18" x 18" x 3"), e) nine B&W brochures titled "Cars by Architects" that fit into the red-orange rack, and f) ~ 20 colour slides of the Power Plant car in various locations in Toronto.
Date:
1988-1989
1988-1989
People:
Form:
drawings
drawings
Actions:
Reference number:
DR1988:0433:043
Description:
- This drawing shows elevations of the south facade, towards the east end of the building, and a section through the wall at the drawing room balcony. The subject was identified by comparison with DR1988:0433:011, an elevation of the south facade. - This drawing was not completed; it lacks the titles present on other drawings in the group DR1988:0433:001 - DR1988:0433:045. Several elements, such as the chimneys, were drawn in graphite and not completed with pen and ink. - One of a group of working drawings for William Burn's October 1849 project for Fonthill House, Wiltshire, a country house designed in the Jacobethan style. This group represents only one of the projects that Burn proposed for Fonthill House; the final project, executed in 1856, was much smaller (Walker, 31, illustrated in Hitchcock, vol. 2, fig. VIII 31). Drawings include plans, elevations, and sections, as well as full-scale drawings of masonry details. Approximately half of the drawings are part of a numbered series from one to twenty-two, while the other drawings, mostly masonry details, were not numbered. These latter drawings are not as carefully finished, and a few are incomplete.
DR1988:0433:043
Description:
- This drawing shows elevations of the south facade, towards the east end of the building, and a section through the wall at the drawing room balcony. The subject was identified by comparison with DR1988:0433:011, an elevation of the south facade. - This drawing was not completed; it lacks the titles present on other drawings in the group DR1988:0433:001 - DR1988:0433:045. Several elements, such as the chimneys, were drawn in graphite and not completed with pen and ink. - One of a group of working drawings for William Burn's October 1849 project for Fonthill House, Wiltshire, a country house designed in the Jacobethan style. This group represents only one of the projects that Burn proposed for Fonthill House; the final project, executed in 1856, was much smaller (Walker, 31, illustrated in Hitchcock, vol. 2, fig. VIII 31). Drawings include plans, elevations, and sections, as well as full-scale drawings of masonry details. Approximately half of the drawings are part of a numbered series from one to twenty-two, while the other drawings, mostly masonry details, were not numbered. These latter drawings are not as carefully finished, and a few are incomplete.
People:
Subject:
architecture
architecture
Date:
October 1849
October 1849
Title:
Elevations and a section for the east side of the south elevation, and a section for the south wall through the drawing room balcony, Fonthill House
Actions:
DR1988:0433:043
Description:
- This drawing shows elevations of the south facade, towards the east end of the building, and a section through the wall at the drawing room balcony. The subject was identified by comparison with DR1988:0433:011, an elevation of the south facade. - This drawing was not completed; it lacks the titles present on other drawings in the group DR1988:0433:001 - DR1988:0433:045. Several elements, such as the chimneys, were drawn in graphite and not completed with pen and ink. - One of a group of working drawings for William Burn's October 1849 project for Fonthill House, Wiltshire, a country house designed in the Jacobethan style. This group represents only one of the projects that Burn proposed for Fonthill House; the final project, executed in 1856, was much smaller (Walker, 31, illustrated in Hitchcock, vol. 2, fig. VIII 31). Drawings include plans, elevations, and sections, as well as full-scale drawings of masonry details. Approximately half of the drawings are part of a numbered series from one to twenty-two, while the other drawings, mostly masonry details, were not numbered. These latter drawings are not as carefully finished, and a few are incomplete.
Elevations and a section for the east side of the south elevation, and a section for the south wall through the drawing room balcony, Fonthill House
Actions:
DR1988:0433:043
Description:
- This drawing shows elevations of the south facade, towards the east end of the building, and a section through the wall at the drawing room balcony. The subject was identified by comparison with DR1988:0433:011, an elevation of the south facade. - This drawing was not completed; it lacks the titles present on other drawings in the group DR1988:0433:001 - DR1988:0433:045. Several elements, such as the chimneys, were drawn in graphite and not completed with pen and ink. - One of a group of working drawings for William Burn's October 1849 project for Fonthill House, Wiltshire, a country house designed in the Jacobethan style. This group represents only one of the projects that Burn proposed for Fonthill House; the final project, executed in 1856, was much smaller (Walker, 31, illustrated in Hitchcock, vol. 2, fig. VIII 31). Drawings include plans, elevations, and sections, as well as full-scale drawings of masonry details. Approximately half of the drawings are part of a numbered series from one to twenty-two, while the other drawings, mostly masonry details, were not numbered. These latter drawings are not as carefully finished, and a few are incomplete.
Form:
drawings
drawings
Date:
October 1849
October 1849
People:
Subject:
architecture
architecture
Form:
drawings
drawings
Actions:
Reference number:
DR1988:0433:044
Description:
- This drawing shows elevations of the west facade, including the round tower next to the library, and a section of the wall. The subject was identified by comparison with DR1988:0433:012, an elevation of the west facade. - This drawing was not completed, it lacks the titles present on other drawings in the group DR1988:0433:001 - DR1988:0433:045. Several elements, such as the roofline, were drawn in graphite and not completed with pen and ink. - One of a group of working drawings for William Burn's October 1849 project for Fonthill House, Wiltshire, a country house designed in the Jacobethan style. This group represents only one of the projects that Burn proposed for Fonthill House; the final project, executed in 1856, was much smaller (Walker, 31, illustrated in Hitchcock, vol. 2, fig. VIII 31). Drawings include plans, elevations, and sections, as well as full-scale drawings of masonry details. Approximately half of the drawings are part of a numbered series from one to twenty-two, while the other drawings, mostly masonry details, were not numbered. These latter drawings are not as carefully finished, and a few are incomplete.
DR1988:0433:044
Description:
- This drawing shows elevations of the west facade, including the round tower next to the library, and a section of the wall. The subject was identified by comparison with DR1988:0433:012, an elevation of the west facade. - This drawing was not completed, it lacks the titles present on other drawings in the group DR1988:0433:001 - DR1988:0433:045. Several elements, such as the roofline, were drawn in graphite and not completed with pen and ink. - One of a group of working drawings for William Burn's October 1849 project for Fonthill House, Wiltshire, a country house designed in the Jacobethan style. This group represents only one of the projects that Burn proposed for Fonthill House; the final project, executed in 1856, was much smaller (Walker, 31, illustrated in Hitchcock, vol. 2, fig. VIII 31). Drawings include plans, elevations, and sections, as well as full-scale drawings of masonry details. Approximately half of the drawings are part of a numbered series from one to twenty-two, while the other drawings, mostly masonry details, were not numbered. These latter drawings are not as carefully finished, and a few are incomplete.
People:
Subject:
architecture
architecture
Date:
October 1849 ?
October 1849 ?
Title:
Elevations and a section for details of the west elevation for Fonthill House
Actions:
DR1988:0433:044
Description:
- This drawing shows elevations of the west facade, including the round tower next to the library, and a section of the wall. The subject was identified by comparison with DR1988:0433:012, an elevation of the west facade. - This drawing was not completed, it lacks the titles present on other drawings in the group DR1988:0433:001 - DR1988:0433:045. Several elements, such as the roofline, were drawn in graphite and not completed with pen and ink. - One of a group of working drawings for William Burn's October 1849 project for Fonthill House, Wiltshire, a country house designed in the Jacobethan style. This group represents only one of the projects that Burn proposed for Fonthill House; the final project, executed in 1856, was much smaller (Walker, 31, illustrated in Hitchcock, vol. 2, fig. VIII 31). Drawings include plans, elevations, and sections, as well as full-scale drawings of masonry details. Approximately half of the drawings are part of a numbered series from one to twenty-two, while the other drawings, mostly masonry details, were not numbered. These latter drawings are not as carefully finished, and a few are incomplete.
Elevations and a section for details of the west elevation for Fonthill House
Actions:
DR1988:0433:044
Description:
- This drawing shows elevations of the west facade, including the round tower next to the library, and a section of the wall. The subject was identified by comparison with DR1988:0433:012, an elevation of the west facade. - This drawing was not completed, it lacks the titles present on other drawings in the group DR1988:0433:001 - DR1988:0433:045. Several elements, such as the roofline, were drawn in graphite and not completed with pen and ink. - One of a group of working drawings for William Burn's October 1849 project for Fonthill House, Wiltshire, a country house designed in the Jacobethan style. This group represents only one of the projects that Burn proposed for Fonthill House; the final project, executed in 1856, was much smaller (Walker, 31, illustrated in Hitchcock, vol. 2, fig. VIII 31). Drawings include plans, elevations, and sections, as well as full-scale drawings of masonry details. Approximately half of the drawings are part of a numbered series from one to twenty-two, while the other drawings, mostly masonry details, were not numbered. These latter drawings are not as carefully finished, and a few are incomplete.
Form:
drawings
drawings
Date:
October 1849 ?
October 1849 ?
People:
Subject:
architecture
architecture
Form:
drawings
drawings
Reference number:
DR2007:0020:001:001
Description:
This consists of a boxed set of related pieces from L.W. Richards participation in "The Architecture Series" at the Power Plant contemporary art gallery in 1988-89. L.W. Richards renovated and drove a Pontiac Firebird, named "Power Plant". The project was the subject of Vikky Alexander's essay "Back to the Future" in the Power Plant Gallery's "The Architecture Series", 1989, pp.25-31. The project was reviewed by Adele Freedman (Globe and Mail, March 5, 1988, p.C12), Christopher Hume (Architect designs gallery on wheels, Toronto Star, Feb. 27, 1988, p. G15), and pictured and discussed in The Canadian Architect, Vol. 33, no. 4, April 1988, p.6. The set pf pieces includes: a) B&W photograph of the Power Plant car in an auto-body workshop, b) The Architecture Series, booklet with Alexander's essay, c)newspaper and magazine clippings/reviews, d)orangesteel brochure rack, that L.W. Richards designed, from the Power Plant car (~ 18" x 18" x 3"), e) nine B&W brochures titled "Cars by Architects" that fit into the red-orange rack, and f) ~ 20 colour slides of the Power Plant car in various locations in Toronto.
DR2007:0020:001:001
Description:
This consists of a boxed set of related pieces from L.W. Richards participation in "The Architecture Series" at the Power Plant contemporary art gallery in 1988-89. L.W. Richards renovated and drove a Pontiac Firebird, named "Power Plant". The project was the subject of Vikky Alexander's essay "Back to the Future" in the Power Plant Gallery's "The Architecture Series", 1989, pp.25-31. The project was reviewed by Adele Freedman (Globe and Mail, March 5, 1988, p.C12), Christopher Hume (Architect designs gallery on wheels, Toronto Star, Feb. 27, 1988, p. G15), and pictured and discussed in The Canadian Architect, Vol. 33, no. 4, April 1988, p.6. The set pf pieces includes: a) B&W photograph of the Power Plant car in an auto-body workshop, b) The Architecture Series, booklet with Alexander's essay, c)newspaper and magazine clippings/reviews, d)orangesteel brochure rack, that L.W. Richards designed, from the Power Plant car (~ 18" x 18" x 3"), e) nine B&W brochures titled "Cars by Architects" that fit into the red-orange rack, and f) ~ 20 colour slides of the Power Plant car in various locations in Toronto.
People:
Date:
January 1988
January 1988
Title:
Conceptual sketches for the installation for cars by architects
Actions:
DR2007:0020:001:001
Description:
This consists of a boxed set of related pieces from L.W. Richards participation in "The Architecture Series" at the Power Plant contemporary art gallery in 1988-89. L.W. Richards renovated and drove a Pontiac Firebird, named "Power Plant". The project was the subject of Vikky Alexander's essay "Back to the Future" in the Power Plant Gallery's "The Architecture Series", 1989, pp.25-31. The project was reviewed by Adele Freedman (Globe and Mail, March 5, 1988, p.C12), Christopher Hume (Architect designs gallery on wheels, Toronto Star, Feb. 27, 1988, p. G15), and pictured and discussed in The Canadian Architect, Vol. 33, no. 4, April 1988, p.6. The set pf pieces includes: a) B&W photograph of the Power Plant car in an auto-body workshop, b) The Architecture Series, booklet with Alexander's essay, c)newspaper and magazine clippings/reviews, d)orangesteel brochure rack, that L.W. Richards designed, from the Power Plant car (~ 18" x 18" x 3"), e) nine B&W brochures titled "Cars by Architects" that fit into the red-orange rack, and f) ~ 20 colour slides of the Power Plant car in various locations in Toronto.
Conceptual sketches for the installation for cars by architects
Actions:
DR2007:0020:001:001
Description:
This consists of a boxed set of related pieces from L.W. Richards participation in "The Architecture Series" at the Power Plant contemporary art gallery in 1988-89. L.W. Richards renovated and drove a Pontiac Firebird, named "Power Plant". The project was the subject of Vikky Alexander's essay "Back to the Future" in the Power Plant Gallery's "The Architecture Series", 1989, pp.25-31. The project was reviewed by Adele Freedman (Globe and Mail, March 5, 1988, p.C12), Christopher Hume (Architect designs gallery on wheels, Toronto Star, Feb. 27, 1988, p. G15), and pictured and discussed in The Canadian Architect, Vol. 33, no. 4, April 1988, p.6. The set pf pieces includes: a) B&W photograph of the Power Plant car in an auto-body workshop, b) The Architecture Series, booklet with Alexander's essay, c)newspaper and magazine clippings/reviews, d)orangesteel brochure rack, that L.W. Richards designed, from the Power Plant car (~ 18" x 18" x 3"), e) nine B&W brochures titled "Cars by Architects" that fit into the red-orange rack, and f) ~ 20 colour slides of the Power Plant car in various locations in Toronto.
Form:
drawings
drawings
Date:
January 1988
January 1988
People:
Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Title:
Jean Michaud fonds
Jean Michaud fonds
Actions:
Reference number:
AP012
Synopsis:
Le Fonds Jean Michaud est constitué autour de 5 projets étudiants, 79 projets professionnels, 6 projets non identifiés, 13 projets réalisés par d'autres architectes, ainsi que divers documents visuels et textuels. Les projets de l'architecte sont répartis en 42 projets résidentiels, 4 pour les loisirs et l'animation sociale, 9 éducatifs, 7 commerciaux et administratifs, 3 industriels et manufacturiers, 1 pour le transport routier, 9 gouvernementales, 1 médical, 2 religieux et 1 projet d'aménagement urbain. Ces projets sont principalement concentrés dans quatre régions du Québec. Il y en a 29 dans la région de Montréal (incluant Laval et Vaudreuil-Dorion; dont 17 à Montréal), 20 dans la région du Bas-Saint-Laurent et Gaspésie (11 à Rimouski), 12 en Montérégie (8 à Saint-Marc-sur-Richelieu) et 7 dans les Laurentides. Le fonds Jean Michaud comprend 1613 dessins, 959 reprographies, 271 documents photographiques, 43 documents graphiques, 1 maquette, ainsi que 2.805 m.l. de documents textuels. Ces documents ont été principalement produits entre 1950 et 1970.
AP012
Synopsis:
Le Fonds Jean Michaud est constitué autour de 5 projets étudiants, 79 projets professionnels, 6 projets non identifiés, 13 projets réalisés par d'autres architectes, ainsi que divers documents visuels et textuels. Les projets de l'architecte sont répartis en 42 projets résidentiels, 4 pour les loisirs et l'animation sociale, 9 éducatifs, 7 commerciaux et administratifs, 3 industriels et manufacturiers, 1 pour le transport routier, 9 gouvernementales, 1 médical, 2 religieux et 1 projet d'aménagement urbain. Ces projets sont principalement concentrés dans quatre régions du Québec. Il y en a 29 dans la région de Montréal (incluant Laval et Vaudreuil-Dorion; dont 17 à Montréal), 20 dans la région du Bas-Saint-Laurent et Gaspésie (11 à Rimouski), 12 en Montérégie (8 à Saint-Marc-sur-Richelieu) et 7 dans les Laurentides. Le fonds Jean Michaud comprend 1613 dessins, 959 reprographies, 271 documents photographiques, 43 documents graphiques, 1 maquette, ainsi que 2.805 m.l. de documents textuels. Ces documents ont été principalement produits entre 1950 et 1970.
People:
Date:
1852, 1916, 1938-1981, surtout 1950-1974
1852, 1916, 1938-1981, surtout 1950-1974
Title:
Jean Michaud fonds
Actions:
AP012
Synopsis:
Le Fonds Jean Michaud est constitué autour de 5 projets étudiants, 79 projets professionnels, 6 projets non identifiés, 13 projets réalisés par d'autres architectes, ainsi que divers documents visuels et textuels. Les projets de l'architecte sont répartis en 42 projets résidentiels, 4 pour les loisirs et l'animation sociale, 9 éducatifs, 7 commerciaux et administratifs, 3 industriels et manufacturiers, 1 pour le transport routier, 9 gouvernementales, 1 médical, 2 religieux et 1 projet d'aménagement urbain. Ces projets sont principalement concentrés dans quatre régions du Québec. Il y en a 29 dans la région de Montréal (incluant Laval et Vaudreuil-Dorion; dont 17 à Montréal), 20 dans la région du Bas-Saint-Laurent et Gaspésie (11 à Rimouski), 12 en Montérégie (8 à Saint-Marc-sur-Richelieu) et 7 dans les Laurentides. Le fonds Jean Michaud comprend 1613 dessins, 959 reprographies, 271 documents photographiques, 43 documents graphiques, 1 maquette, ainsi que 2.805 m.l. de documents textuels. Ces documents ont été principalement produits entre 1950 et 1970.
Jean Michaud fonds
Actions:
AP012
Synopsis:
Le Fonds Jean Michaud est constitué autour de 5 projets étudiants, 79 projets professionnels, 6 projets non identifiés, 13 projets réalisés par d'autres architectes, ainsi que divers documents visuels et textuels. Les projets de l'architecte sont répartis en 42 projets résidentiels, 4 pour les loisirs et l'animation sociale, 9 éducatifs, 7 commerciaux et administratifs, 3 industriels et manufacturiers, 1 pour le transport routier, 9 gouvernementales, 1 médical, 2 religieux et 1 projet d'aménagement urbain. Ces projets sont principalement concentrés dans quatre régions du Québec. Il y en a 29 dans la région de Montréal (incluant Laval et Vaudreuil-Dorion; dont 17 à Montréal), 20 dans la région du Bas-Saint-Laurent et Gaspésie (11 à Rimouski), 12 en Montérégie (8 à Saint-Marc-sur-Richelieu) et 7 dans les Laurentides. Le fonds Jean Michaud comprend 1613 dessins, 959 reprographies, 271 documents photographiques, 43 documents graphiques, 1 maquette, ainsi que 2.805 m.l. de documents textuels. Ces documents ont été principalement produits entre 1950 et 1970.
Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Date:
1852, 1916, 1938-1981, surtout 1950-1974
1852, 1916, 1938-1981, surtout 1950-1974
People:
Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Title:
Ábalos&Herreros fonds
Ábalos&Herreros fonds
Reference number:
AP164
Synopsis:
The Ábalos&Herreros fonds documents the activities of the architectural firm Ábalos&Herreros, founded by architects Iñaki Ábalos and Juan Herreros. The archive primarily consists of drawings, photographic materials and textual documentation, and covers the existance of the firm from 1985 to 2008. The concentration of the firm's work was produced in the city of Madrid and the Community of Madrid where the firm maintained its head office. However, the archive also documents projects for other Spanish autonomous communities as well as for other countries such as Portugal, Germany, the United States, and Brazil.
AP164
Synopsis:
The Ábalos&Herreros fonds documents the activities of the architectural firm Ábalos&Herreros, founded by architects Iñaki Ábalos and Juan Herreros. The archive primarily consists of drawings, photographic materials and textual documentation, and covers the existance of the firm from 1985 to 2008. The concentration of the firm's work was produced in the city of Madrid and the Community of Madrid where the firm maintained its head office. However, the archive also documents projects for other Spanish autonomous communities as well as for other countries such as Portugal, Germany, the United States, and Brazil.
People:
Date:
1920-2009
1920-2009
Title:
Ábalos&Herreros fonds
Actions:
AP164
Synopsis:
The Ábalos&Herreros fonds documents the activities of the architectural firm Ábalos&Herreros, founded by architects Iñaki Ábalos and Juan Herreros. The archive primarily consists of drawings, photographic materials and textual documentation, and covers the existance of the firm from 1985 to 2008. The concentration of the firm's work was produced in the city of Madrid and the Community of Madrid where the firm maintained its head office. However, the archive also documents projects for other Spanish autonomous communities as well as for other countries such as Portugal, Germany, the United States, and Brazil.
Ábalos&Herreros fonds
Actions:
AP164
Synopsis:
The Ábalos&Herreros fonds documents the activities of the architectural firm Ábalos&Herreros, founded by architects Iñaki Ábalos and Juan Herreros. The archive primarily consists of drawings, photographic materials and textual documentation, and covers the existance of the firm from 1985 to 2008. The concentration of the firm's work was produced in the city of Madrid and the Community of Madrid where the firm maintained its head office. However, the archive also documents projects for other Spanish autonomous communities as well as for other countries such as Portugal, Germany, the United States, and Brazil.
Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Date:
1920-2009
1920-2009
People:
Form:
works of art
works of art
Reference number:
DR1986:0442:001-022
Description:
- Michele Marieschi was a short-lived Venetian vedutista whose small graphic output was limited almost exclusively to this group of twenty-one etchings. The album is a modern-bound collection of the first edition (before the addition of plate numbers) of Marieschi's prints. The prints were all designed and etched by Marieschi himself, with only two exceptions. The frontpiece, with its portrait of Marieschi (and proud proclamation of his status as painter and architect) was drawn by Anzolo Trivisan (Angelo Trevisani, 1669-after 1753) and engraved by Carlo Orsolini (1710-1780). The dedication to the Prince of Beauvau-Craon and the prince's coat of arms, which appear below Marieschi's view of the Piazzetta and Ducal Palace, were also engraved by Orsolini. RH - Marieschi was probably called an architect in the frontispiece to this volume of etchings (folio 1) in reference to his activity as a stage designer. Folio 21 gives us an indication of Marieschi's activity as a stage designer. According to Fabio Mauroner (Print Collector's Quarterly, vol. 27), the painted façade shown on the Church of San Rocco on the first state of folio 21 was designed by Marieschi. Here Marieschi is probably illustrating a festival which took place on the saint's feast day, since easel paintings are also shown placed against the façades of the buildings to the right in the square. It is interesting that in the second state of the same folio, another façade is shown, the one added to the church by the architect Macarazzi in 1768. According to the text on the first state of the same folio, the original façade on San Rocco was constructed in marble according to a design by Sebastiano Serlio (Mauroner, pl. 16). In addition, the exaggerated two-point and multi-point perspectives which Marieschi uses in many of his views of Venice, also reveal the influence of the principles of stage set design as illustrated in the contemporary drawings of the Bibiera family. MNR
DR1986:0442:001-022
Description:
- Michele Marieschi was a short-lived Venetian vedutista whose small graphic output was limited almost exclusively to this group of twenty-one etchings. The album is a modern-bound collection of the first edition (before the addition of plate numbers) of Marieschi's prints. The prints were all designed and etched by Marieschi himself, with only two exceptions. The frontpiece, with its portrait of Marieschi (and proud proclamation of his status as painter and architect) was drawn by Anzolo Trivisan (Angelo Trevisani, 1669-after 1753) and engraved by Carlo Orsolini (1710-1780). The dedication to the Prince of Beauvau-Craon and the prince's coat of arms, which appear below Marieschi's view of the Piazzetta and Ducal Palace, were also engraved by Orsolini. RH - Marieschi was probably called an architect in the frontispiece to this volume of etchings (folio 1) in reference to his activity as a stage designer. Folio 21 gives us an indication of Marieschi's activity as a stage designer. According to Fabio Mauroner (Print Collector's Quarterly, vol. 27), the painted façade shown on the Church of San Rocco on the first state of folio 21 was designed by Marieschi. Here Marieschi is probably illustrating a festival which took place on the saint's feast day, since easel paintings are also shown placed against the façades of the buildings to the right in the square. It is interesting that in the second state of the same folio, another façade is shown, the one added to the church by the architect Macarazzi in 1768. According to the text on the first state of the same folio, the original façade on San Rocco was constructed in marble according to a design by Sebastiano Serlio (Mauroner, pl. 16). In addition, the exaggerated two-point and multi-point perspectives which Marieschi uses in many of his views of Venice, also reveal the influence of the principles of stage set design as illustrated in the contemporary drawings of the Bibiera family. MNR
People:
Subject:
architecture
architecture
Date:
ca. 1741
ca. 1741
Title:
Magnificentiores Selectioresque Urbis Venetiarum Prospectus
Actions:
DR1986:0442:001-022
Description:
- Michele Marieschi was a short-lived Venetian vedutista whose small graphic output was limited almost exclusively to this group of twenty-one etchings. The album is a modern-bound collection of the first edition (before the addition of plate numbers) of Marieschi's prints. The prints were all designed and etched by Marieschi himself, with only two exceptions. The frontpiece, with its portrait of Marieschi (and proud proclamation of his status as painter and architect) was drawn by Anzolo Trivisan (Angelo Trevisani, 1669-after 1753) and engraved by Carlo Orsolini (1710-1780). The dedication to the Prince of Beauvau-Craon and the prince's coat of arms, which appear below Marieschi's view of the Piazzetta and Ducal Palace, were also engraved by Orsolini. RH - Marieschi was probably called an architect in the frontispiece to this volume of etchings (folio 1) in reference to his activity as a stage designer. Folio 21 gives us an indication of Marieschi's activity as a stage designer. According to Fabio Mauroner (Print Collector's Quarterly, vol. 27), the painted façade shown on the Church of San Rocco on the first state of folio 21 was designed by Marieschi. Here Marieschi is probably illustrating a festival which took place on the saint's feast day, since easel paintings are also shown placed against the façades of the buildings to the right in the square. It is interesting that in the second state of the same folio, another façade is shown, the one added to the church by the architect Macarazzi in 1768. According to the text on the first state of the same folio, the original façade on San Rocco was constructed in marble according to a design by Sebastiano Serlio (Mauroner, pl. 16). In addition, the exaggerated two-point and multi-point perspectives which Marieschi uses in many of his views of Venice, also reveal the influence of the principles of stage set design as illustrated in the contemporary drawings of the Bibiera family. MNR
Magnificentiores Selectioresque Urbis Venetiarum Prospectus
Actions:
DR1986:0442:001-022
Description:
- Michele Marieschi was a short-lived Venetian vedutista whose small graphic output was limited almost exclusively to this group of twenty-one etchings. The album is a modern-bound collection of the first edition (before the addition of plate numbers) of Marieschi's prints. The prints were all designed and etched by Marieschi himself, with only two exceptions. The frontpiece, with its portrait of Marieschi (and proud proclamation of his status as painter and architect) was drawn by Anzolo Trivisan (Angelo Trevisani, 1669-after 1753) and engraved by Carlo Orsolini (1710-1780). The dedication to the Prince of Beauvau-Craon and the prince's coat of arms, which appear below Marieschi's view of the Piazzetta and Ducal Palace, were also engraved by Orsolini. RH - Marieschi was probably called an architect in the frontispiece to this volume of etchings (folio 1) in reference to his activity as a stage designer. Folio 21 gives us an indication of Marieschi's activity as a stage designer. According to Fabio Mauroner (Print Collector's Quarterly, vol. 27), the painted façade shown on the Church of San Rocco on the first state of folio 21 was designed by Marieschi. Here Marieschi is probably illustrating a festival which took place on the saint's feast day, since easel paintings are also shown placed against the façades of the buildings to the right in the square. It is interesting that in the second state of the same folio, another façade is shown, the one added to the church by the architect Macarazzi in 1768. According to the text on the first state of the same folio, the original façade on San Rocco was constructed in marble according to a design by Sebastiano Serlio (Mauroner, pl. 16). In addition, the exaggerated two-point and multi-point perspectives which Marieschi uses in many of his views of Venice, also reveal the influence of the principles of stage set design as illustrated in the contemporary drawings of the Bibiera family. MNR
Form:
works of art
works of art
Date:
ca. 1741
ca. 1741
People:
Subject:
architecture
architecture
Level of archival description:
Series
Series
Title:
Projects
Projects
Reference number:
AP144.S2
Description:
Series documents Cedric Price's projects from his early work in the late 1950s to work dating from the time he founded his own practice in 1960 until 2000. Material includes numerous competition entries, planning and building projects, transportation-related projects, exhibitions, conceptual projects, furniture and interior designs, and monuments, follies, and decorations. Some projects also reflect his teaching, research, lecture and publication activities. Price also worked on several competition juries (see projects Musique, Elephant). Many of Cedric Price's projects in the series are unexecuted. Significant unrealized projects from the 1960s and 1970s include Fun Palace (1961-1974), Potteries Thinkbelt (1963-1967), Oxford Corner House (1965-1966), and Generator (1976-1980). Significant built projects from the same period include the New Aviary (1960-1966), his first major realized project (with Lord Snowdon and Frank Newby), and Inter-Action Centre (1971-1979). Other realized projects include an office building (BTDB Computer, 1968-1973) and restaurant (Blackpool Project, 1971-1975). Planning projects from the 1960s and 1970s include Potteries Thinkbelt, Detroit Think Grid (1969-1971) and Rice University's design charette, Atom (1967). In the 1980s and 1990s, Cedric Price worked on several building proposals including greenhouses (Serre, Serre (2)), museums, galleries, and pavilions (Trafalgar, Pertpavs, Snake), a railway station (Strate (2)), a cultural centre (Tiff), houses (Perthut, Castel), a bus station (Walsall), an aviary (CP Aviary) and office buildings (Domain, Berlin). Planning projects from the same time include parks and cultural complexes, (Parc, South Bank), urban areas, (Strate, Stratton, IFPRI, Haven, Mills), university campuses (Frankfurt, Unibad, Bedford), and rural areas (Stark, Arkage). Transportation-related projects include railways (Strate, Control, Rink), roadways (Stratton) and pedestrian links (Magnet, Halmag, South Bank). Only a few of his projects from that period were executed and those include the renovation projects Congress and SAS 29; a mobile market stall design for Westminster City Council (Westal) for which prototypes were built; a coffee cup design (Crowbar); and building conversion projects Gatard and Juke. Exhibition projects in the series include some devoted to Cedric Price's works (AA Exhibition, Aedes, AFX, Afella), some designed by him (Strike, Food for the Future, Topolski/Waterloo, Ashmole, Mean, AFX), as well as projects designed for exhibition (Citlin, Castel). The series also contains self-financed research and client-less projects, which form a significant part of Cedric Price's practice. Undertaken in anticipation of future clients or new planning needs, they include research into air structures and lightweight enclosures as well as integrated construction and transportation solutions (Trucksafe Air Portable Dock Ahoy), and housing research. South Bank, Magnet, and Duck Land represent a few of the client-less projects. The material in this series documents Cedric Price's work in the United Kingdom, in particular England (the Greater London area, and other areas) and Scotland, Germany, France, Austria, Australia, Japan, the United Arab Emirates, and the United States and other locations such as Canada, Nigeria, and Norway. Major clients include J. Lyons & Co. (Oxford Corner House), David Keddie (Two Tree Island, Southend Roof), Howard Gilman (Generator), British Railways (Strate and Strate (2), and others), the McAlpine family , particularly Alistair McAlpine, and their company Sir Robert McAlpine & Sons Ltd. (McAppy, Perthut, Trafalgar, Pertpavs, Ashmole, Perth, Obeliq, McVance); Établissement Public du Parc de la Villette (Parc, Serre, Serre (2), Musique) and the Canadian Centre for Architecture (IFPRI, Mean). He collaborated with several architects and engineers during the course of his career, his closest association being with engineer Frank Newby and quantity surveyor Douglas Smith. Some of his other collaborators include engineer Max Fordham (Strate (2), Tiff, Berlin), engineering firms Scott Wilson Kirkpatrick and Partners (Stratton, Rink, Control), and Sir Frederick Snow & Partners (South Bank), cybernetician Gordon Pask (Kawasaki/Japnet), architectural firm YRM/Yorke Rosenberg Mardall (Unibad), and architect Richard Rogers (Marman). He also collaborated with members of Archigram on the Trondheim Competition, (1972-1974), and with John and Julia Frazer who provided the computer modelling for Generator. David Price, Cedric Price's brother was the model maker for several projects. The series contains conceptual drawings, design development drawings, reference drawings and maps, presentation drawings (particularly for competitions), and working drawings. A significant amount of textual records are included, especially for projects involving a large amount of research or publicity (Air Structures, Lightweight Enclosures, South Bank, CP Aviary, Stratton), for executed projects, and for the larger unrealized projects like Fun Palace and Generator. Also includes photographic materials of project sites and models. Some models included in the series are made from durable materials (wood, metal, plastic), while others are in-office constructions made out of paper, cardboard and Fome-Cor (TM). Of particular note are the 11 models for Magnet, and a full-size prototype of a market stall for Westal. Series also contains publication layouts, including material for the "Cedric Price Supplement", 'Architectural Design' vols. 40- 42 (1970-1972). Changes in office practice are noted around 1971, evident in the Blackpool Project and later, including the adoption of the metric system, and the creation of working and detail drawings on A4 size paper and filed with textual records (e.g. approximately 300 such drawings are included in the textual records for Blackpool Project). At the same time fewer preamble drawings that relate to site sensing, progress and life-cycle graphs and tables are created for the projects (a common feature from the 1960s), although project progress tables are still used. Of particular interest is material in the Early Work and Miscellaneous Records file (AP144.S2.D1) that relates to office work methods and programmes.
AP144.S2
Description:
Series documents Cedric Price's projects from his early work in the late 1950s to work dating from the time he founded his own practice in 1960 until 2000. Material includes numerous competition entries, planning and building projects, transportation-related projects, exhibitions, conceptual projects, furniture and interior designs, and monuments, follies, and decorations. Some projects also reflect his teaching, research, lecture and publication activities. Price also worked on several competition juries (see projects Musique, Elephant). Many of Cedric Price's projects in the series are unexecuted. Significant unrealized projects from the 1960s and 1970s include Fun Palace (1961-1974), Potteries Thinkbelt (1963-1967), Oxford Corner House (1965-1966), and Generator (1976-1980). Significant built projects from the same period include the New Aviary (1960-1966), his first major realized project (with Lord Snowdon and Frank Newby), and Inter-Action Centre (1971-1979). Other realized projects include an office building (BTDB Computer, 1968-1973) and restaurant (Blackpool Project, 1971-1975). Planning projects from the 1960s and 1970s include Potteries Thinkbelt, Detroit Think Grid (1969-1971) and Rice University's design charette, Atom (1967). In the 1980s and 1990s, Cedric Price worked on several building proposals including greenhouses (Serre, Serre (2)), museums, galleries, and pavilions (Trafalgar, Pertpavs, Snake), a railway station (Strate (2)), a cultural centre (Tiff), houses (Perthut, Castel), a bus station (Walsall), an aviary (CP Aviary) and office buildings (Domain, Berlin). Planning projects from the same time include parks and cultural complexes, (Parc, South Bank), urban areas, (Strate, Stratton, IFPRI, Haven, Mills), university campuses (Frankfurt, Unibad, Bedford), and rural areas (Stark, Arkage). Transportation-related projects include railways (Strate, Control, Rink), roadways (Stratton) and pedestrian links (Magnet, Halmag, South Bank). Only a few of his projects from that period were executed and those include the renovation projects Congress and SAS 29; a mobile market stall design for Westminster City Council (Westal) for which prototypes were built; a coffee cup design (Crowbar); and building conversion projects Gatard and Juke. Exhibition projects in the series include some devoted to Cedric Price's works (AA Exhibition, Aedes, AFX, Afella), some designed by him (Strike, Food for the Future, Topolski/Waterloo, Ashmole, Mean, AFX), as well as projects designed for exhibition (Citlin, Castel). The series also contains self-financed research and client-less projects, which form a significant part of Cedric Price's practice. Undertaken in anticipation of future clients or new planning needs, they include research into air structures and lightweight enclosures as well as integrated construction and transportation solutions (Trucksafe Air Portable Dock Ahoy), and housing research. South Bank, Magnet, and Duck Land represent a few of the client-less projects. The material in this series documents Cedric Price's work in the United Kingdom, in particular England (the Greater London area, and other areas) and Scotland, Germany, France, Austria, Australia, Japan, the United Arab Emirates, and the United States and other locations such as Canada, Nigeria, and Norway. Major clients include J. Lyons & Co. (Oxford Corner House), David Keddie (Two Tree Island, Southend Roof), Howard Gilman (Generator), British Railways (Strate and Strate (2), and others), the McAlpine family , particularly Alistair McAlpine, and their company Sir Robert McAlpine & Sons Ltd. (McAppy, Perthut, Trafalgar, Pertpavs, Ashmole, Perth, Obeliq, McVance); Établissement Public du Parc de la Villette (Parc, Serre, Serre (2), Musique) and the Canadian Centre for Architecture (IFPRI, Mean). He collaborated with several architects and engineers during the course of his career, his closest association being with engineer Frank Newby and quantity surveyor Douglas Smith. Some of his other collaborators include engineer Max Fordham (Strate (2), Tiff, Berlin), engineering firms Scott Wilson Kirkpatrick and Partners (Stratton, Rink, Control), and Sir Frederick Snow & Partners (South Bank), cybernetician Gordon Pask (Kawasaki/Japnet), architectural firm YRM/Yorke Rosenberg Mardall (Unibad), and architect Richard Rogers (Marman). He also collaborated with members of Archigram on the Trondheim Competition, (1972-1974), and with John and Julia Frazer who provided the computer modelling for Generator. David Price, Cedric Price's brother was the model maker for several projects. The series contains conceptual drawings, design development drawings, reference drawings and maps, presentation drawings (particularly for competitions), and working drawings. A significant amount of textual records are included, especially for projects involving a large amount of research or publicity (Air Structures, Lightweight Enclosures, South Bank, CP Aviary, Stratton), for executed projects, and for the larger unrealized projects like Fun Palace and Generator. Also includes photographic materials of project sites and models. Some models included in the series are made from durable materials (wood, metal, plastic), while others are in-office constructions made out of paper, cardboard and Fome-Cor (TM). Of particular note are the 11 models for Magnet, and a full-size prototype of a market stall for Westal. Series also contains publication layouts, including material for the "Cedric Price Supplement", 'Architectural Design' vols. 40- 42 (1970-1972). Changes in office practice are noted around 1971, evident in the Blackpool Project and later, including the adoption of the metric system, and the creation of working and detail drawings on A4 size paper and filed with textual records (e.g. approximately 300 such drawings are included in the textual records for Blackpool Project). At the same time fewer preamble drawings that relate to site sensing, progress and life-cycle graphs and tables are created for the projects (a common feature from the 1960s), although project progress tables are still used. Of particular interest is material in the Early Work and Miscellaneous Records file (AP144.S2.D1) that relates to office work methods and programmes.
People:
Date:
1903-2003, predominant 1960-2000
1903-2003, predominant 1960-2000
Title:
Projects
Actions:
AP144.S2
Description:
Series documents Cedric Price's projects from his early work in the late 1950s to work dating from the time he founded his own practice in 1960 until 2000. Material includes numerous competition entries, planning and building projects, transportation-related projects, exhibitions, conceptual projects, furniture and interior designs, and monuments, follies, and decorations. Some projects also reflect his teaching, research, lecture and publication activities. Price also worked on several competition juries (see projects Musique, Elephant). Many of Cedric Price's projects in the series are unexecuted. Significant unrealized projects from the 1960s and 1970s include Fun Palace (1961-1974), Potteries Thinkbelt (1963-1967), Oxford Corner House (1965-1966), and Generator (1976-1980). Significant built projects from the same period include the New Aviary (1960-1966), his first major realized project (with Lord Snowdon and Frank Newby), and Inter-Action Centre (1971-1979). Other realized projects include an office building (BTDB Computer, 1968-1973) and restaurant (Blackpool Project, 1971-1975). Planning projects from the 1960s and 1970s include Potteries Thinkbelt, Detroit Think Grid (1969-1971) and Rice University's design charette, Atom (1967). In the 1980s and 1990s, Cedric Price worked on several building proposals including greenhouses (Serre, Serre (2)), museums, galleries, and pavilions (Trafalgar, Pertpavs, Snake), a railway station (Strate (2)), a cultural centre (Tiff), houses (Perthut, Castel), a bus station (Walsall), an aviary (CP Aviary) and office buildings (Domain, Berlin). Planning projects from the same time include parks and cultural complexes, (Parc, South Bank), urban areas, (Strate, Stratton, IFPRI, Haven, Mills), university campuses (Frankfurt, Unibad, Bedford), and rural areas (Stark, Arkage). Transportation-related projects include railways (Strate, Control, Rink), roadways (Stratton) and pedestrian links (Magnet, Halmag, South Bank). Only a few of his projects from that period were executed and those include the renovation projects Congress and SAS 29; a mobile market stall design for Westminster City Council (Westal) for which prototypes were built; a coffee cup design (Crowbar); and building conversion projects Gatard and Juke. Exhibition projects in the series include some devoted to Cedric Price's works (AA Exhibition, Aedes, AFX, Afella), some designed by him (Strike, Food for the Future, Topolski/Waterloo, Ashmole, Mean, AFX), as well as projects designed for exhibition (Citlin, Castel). The series also contains self-financed research and client-less projects, which form a significant part of Cedric Price's practice. Undertaken in anticipation of future clients or new planning needs, they include research into air structures and lightweight enclosures as well as integrated construction and transportation solutions (Trucksafe Air Portable Dock Ahoy), and housing research. South Bank, Magnet, and Duck Land represent a few of the client-less projects. The material in this series documents Cedric Price's work in the United Kingdom, in particular England (the Greater London area, and other areas) and Scotland, Germany, France, Austria, Australia, Japan, the United Arab Emirates, and the United States and other locations such as Canada, Nigeria, and Norway. Major clients include J. Lyons & Co. (Oxford Corner House), David Keddie (Two Tree Island, Southend Roof), Howard Gilman (Generator), British Railways (Strate and Strate (2), and others), the McAlpine family , particularly Alistair McAlpine, and their company Sir Robert McAlpine & Sons Ltd. (McAppy, Perthut, Trafalgar, Pertpavs, Ashmole, Perth, Obeliq, McVance); Établissement Public du Parc de la Villette (Parc, Serre, Serre (2), Musique) and the Canadian Centre for Architecture (IFPRI, Mean). He collaborated with several architects and engineers during the course of his career, his closest association being with engineer Frank Newby and quantity surveyor Douglas Smith. Some of his other collaborators include engineer Max Fordham (Strate (2), Tiff, Berlin), engineering firms Scott Wilson Kirkpatrick and Partners (Stratton, Rink, Control), and Sir Frederick Snow & Partners (South Bank), cybernetician Gordon Pask (Kawasaki/Japnet), architectural firm YRM/Yorke Rosenberg Mardall (Unibad), and architect Richard Rogers (Marman). He also collaborated with members of Archigram on the Trondheim Competition, (1972-1974), and with John and Julia Frazer who provided the computer modelling for Generator. David Price, Cedric Price's brother was the model maker for several projects. The series contains conceptual drawings, design development drawings, reference drawings and maps, presentation drawings (particularly for competitions), and working drawings. A significant amount of textual records are included, especially for projects involving a large amount of research or publicity (Air Structures, Lightweight Enclosures, South Bank, CP Aviary, Stratton), for executed projects, and for the larger unrealized projects like Fun Palace and Generator. Also includes photographic materials of project sites and models. Some models included in the series are made from durable materials (wood, metal, plastic), while others are in-office constructions made out of paper, cardboard and Fome-Cor (TM). Of particular note are the 11 models for Magnet, and a full-size prototype of a market stall for Westal. Series also contains publication layouts, including material for the "Cedric Price Supplement", 'Architectural Design' vols. 40- 42 (1970-1972). Changes in office practice are noted around 1971, evident in the Blackpool Project and later, including the adoption of the metric system, and the creation of working and detail drawings on A4 size paper and filed with textual records (e.g. approximately 300 such drawings are included in the textual records for Blackpool Project). At the same time fewer preamble drawings that relate to site sensing, progress and life-cycle graphs and tables are created for the projects (a common feature from the 1960s), although project progress tables are still used. Of particular interest is material in the Early Work and Miscellaneous Records file (AP144.S2.D1) that relates to office work methods and programmes.
Projects
Actions:
AP144.S2
Description:
Series documents Cedric Price's projects from his early work in the late 1950s to work dating from the time he founded his own practice in 1960 until 2000. Material includes numerous competition entries, planning and building projects, transportation-related projects, exhibitions, conceptual projects, furniture and interior designs, and monuments, follies, and decorations. Some projects also reflect his teaching, research, lecture and publication activities. Price also worked on several competition juries (see projects Musique, Elephant). Many of Cedric Price's projects in the series are unexecuted. Significant unrealized projects from the 1960s and 1970s include Fun Palace (1961-1974), Potteries Thinkbelt (1963-1967), Oxford Corner House (1965-1966), and Generator (1976-1980). Significant built projects from the same period include the New Aviary (1960-1966), his first major realized project (with Lord Snowdon and Frank Newby), and Inter-Action Centre (1971-1979). Other realized projects include an office building (BTDB Computer, 1968-1973) and restaurant (Blackpool Project, 1971-1975). Planning projects from the 1960s and 1970s include Potteries Thinkbelt, Detroit Think Grid (1969-1971) and Rice University's design charette, Atom (1967). In the 1980s and 1990s, Cedric Price worked on several building proposals including greenhouses (Serre, Serre (2)), museums, galleries, and pavilions (Trafalgar, Pertpavs, Snake), a railway station (Strate (2)), a cultural centre (Tiff), houses (Perthut, Castel), a bus station (Walsall), an aviary (CP Aviary) and office buildings (Domain, Berlin). Planning projects from the same time include parks and cultural complexes, (Parc, South Bank), urban areas, (Strate, Stratton, IFPRI, Haven, Mills), university campuses (Frankfurt, Unibad, Bedford), and rural areas (Stark, Arkage). Transportation-related projects include railways (Strate, Control, Rink), roadways (Stratton) and pedestrian links (Magnet, Halmag, South Bank). Only a few of his projects from that period were executed and those include the renovation projects Congress and SAS 29; a mobile market stall design for Westminster City Council (Westal) for which prototypes were built; a coffee cup design (Crowbar); and building conversion projects Gatard and Juke. Exhibition projects in the series include some devoted to Cedric Price's works (AA Exhibition, Aedes, AFX, Afella), some designed by him (Strike, Food for the Future, Topolski/Waterloo, Ashmole, Mean, AFX), as well as projects designed for exhibition (Citlin, Castel). The series also contains self-financed research and client-less projects, which form a significant part of Cedric Price's practice. Undertaken in anticipation of future clients or new planning needs, they include research into air structures and lightweight enclosures as well as integrated construction and transportation solutions (Trucksafe Air Portable Dock Ahoy), and housing research. South Bank, Magnet, and Duck Land represent a few of the client-less projects. The material in this series documents Cedric Price's work in the United Kingdom, in particular England (the Greater London area, and other areas) and Scotland, Germany, France, Austria, Australia, Japan, the United Arab Emirates, and the United States and other locations such as Canada, Nigeria, and Norway. Major clients include J. Lyons & Co. (Oxford Corner House), David Keddie (Two Tree Island, Southend Roof), Howard Gilman (Generator), British Railways (Strate and Strate (2), and others), the McAlpine family , particularly Alistair McAlpine, and their company Sir Robert McAlpine & Sons Ltd. (McAppy, Perthut, Trafalgar, Pertpavs, Ashmole, Perth, Obeliq, McVance); Établissement Public du Parc de la Villette (Parc, Serre, Serre (2), Musique) and the Canadian Centre for Architecture (IFPRI, Mean). He collaborated with several architects and engineers during the course of his career, his closest association being with engineer Frank Newby and quantity surveyor Douglas Smith. Some of his other collaborators include engineer Max Fordham (Strate (2), Tiff, Berlin), engineering firms Scott Wilson Kirkpatrick and Partners (Stratton, Rink, Control), and Sir Frederick Snow & Partners (South Bank), cybernetician Gordon Pask (Kawasaki/Japnet), architectural firm YRM/Yorke Rosenberg Mardall (Unibad), and architect Richard Rogers (Marman). He also collaborated with members of Archigram on the Trondheim Competition, (1972-1974), and with John and Julia Frazer who provided the computer modelling for Generator. David Price, Cedric Price's brother was the model maker for several projects. The series contains conceptual drawings, design development drawings, reference drawings and maps, presentation drawings (particularly for competitions), and working drawings. A significant amount of textual records are included, especially for projects involving a large amount of research or publicity (Air Structures, Lightweight Enclosures, South Bank, CP Aviary, Stratton), for executed projects, and for the larger unrealized projects like Fun Palace and Generator. Also includes photographic materials of project sites and models. Some models included in the series are made from durable materials (wood, metal, plastic), while others are in-office constructions made out of paper, cardboard and Fome-Cor (TM). Of particular note are the 11 models for Magnet, and a full-size prototype of a market stall for Westal. Series also contains publication layouts, including material for the "Cedric Price Supplement", 'Architectural Design' vols. 40- 42 (1970-1972). Changes in office practice are noted around 1971, evident in the Blackpool Project and later, including the adoption of the metric system, and the creation of working and detail drawings on A4 size paper and filed with textual records (e.g. approximately 300 such drawings are included in the textual records for Blackpool Project). At the same time fewer preamble drawings that relate to site sensing, progress and life-cycle graphs and tables are created for the projects (a common feature from the 1960s), although project progress tables are still used. Of particular interest is material in the Early Work and Miscellaneous Records file (AP144.S2.D1) that relates to office work methods and programmes.
Level of archival description:
Series
Series
Date:
1903-2003, predominant 1960-2000
1903-2003, predominant 1960-2000
People:
Form:
textual records
textual records
Actions:
Reference number:
AP197.S3.007
Description:
The box is comprised of correspondence for the years of 1997-1998, organized in chronological order. The box documents Frampton’s career as Ware professor at the Graduate School of Architecture, Planning and Preservation, Columbia University and his related professional activities. Correspondence in this box includes: offers of teaching positions; requests to write articles, reviews, books and recommendation letters; invitations to teach, present, or attend at lectures/symposiums/conferences; and requests to serve on juries. Throughout this period, Frampton corresponded with various architects, professors, publishers, and editors of various publications such as: the Berlage Institute; the Finnish Association of Architect; Università della Svizzera italiana; Kisho Kurakawa; Tadao Ando; Mario Botta; Aurelio Galfetti; the Barragan Foundation; and Steven Holl. Correspondence relating to the following projects can be found in this box: editor of Technology, Place and Architecture: The Jerusalem Seminar in Architecture; and the General Editor of the publication World Architecture: a Critical Mosaic 1900-2000 Vols: 1-10.
AP197.S3.007
Description:
The box is comprised of correspondence for the years of 1997-1998, organized in chronological order. The box documents Frampton’s career as Ware professor at the Graduate School of Architecture, Planning and Preservation, Columbia University and his related professional activities. Correspondence in this box includes: offers of teaching positions; requests to write articles, reviews, books and recommendation letters; invitations to teach, present, or attend at lectures/symposiums/conferences; and requests to serve on juries. Throughout this period, Frampton corresponded with various architects, professors, publishers, and editors of various publications such as: the Berlage Institute; the Finnish Association of Architect; Università della Svizzera italiana; Kisho Kurakawa; Tadao Ando; Mario Botta; Aurelio Galfetti; the Barragan Foundation; and Steven Holl. Correspondence relating to the following projects can be found in this box: editor of Technology, Place and Architecture: The Jerusalem Seminar in Architecture; and the General Editor of the publication World Architecture: a Critical Mosaic 1900-2000 Vols: 1-10.
People:
Date:
1997-1998
1997-1998
Title:
Personal and professional correspondence from 1997-1998
Actions:
AP197.S3.007
Description:
The box is comprised of correspondence for the years of 1997-1998, organized in chronological order. The box documents Frampton’s career as Ware professor at the Graduate School of Architecture, Planning and Preservation, Columbia University and his related professional activities. Correspondence in this box includes: offers of teaching positions; requests to write articles, reviews, books and recommendation letters; invitations to teach, present, or attend at lectures/symposiums/conferences; and requests to serve on juries. Throughout this period, Frampton corresponded with various architects, professors, publishers, and editors of various publications such as: the Berlage Institute; the Finnish Association of Architect; Università della Svizzera italiana; Kisho Kurakawa; Tadao Ando; Mario Botta; Aurelio Galfetti; the Barragan Foundation; and Steven Holl. Correspondence relating to the following projects can be found in this box: editor of Technology, Place and Architecture: The Jerusalem Seminar in Architecture; and the General Editor of the publication World Architecture: a Critical Mosaic 1900-2000 Vols: 1-10.
Personal and professional correspondence from 1997-1998
Actions:
AP197.S3.007
Description:
The box is comprised of correspondence for the years of 1997-1998, organized in chronological order. The box documents Frampton’s career as Ware professor at the Graduate School of Architecture, Planning and Preservation, Columbia University and his related professional activities. Correspondence in this box includes: offers of teaching positions; requests to write articles, reviews, books and recommendation letters; invitations to teach, present, or attend at lectures/symposiums/conferences; and requests to serve on juries. Throughout this period, Frampton corresponded with various architects, professors, publishers, and editors of various publications such as: the Berlage Institute; the Finnish Association of Architect; Università della Svizzera italiana; Kisho Kurakawa; Tadao Ando; Mario Botta; Aurelio Galfetti; the Barragan Foundation; and Steven Holl. Correspondence relating to the following projects can be found in this box: editor of Technology, Place and Architecture: The Jerusalem Seminar in Architecture; and the General Editor of the publication World Architecture: a Critical Mosaic 1900-2000 Vols: 1-10.
Form:
textual records
textual records
Date:
1997-1998
1997-1998
People:
