6898 Results
Form:
photographs
photographs
Actions:
Reference number:
PH2018:0005:031
Description:
Photograph by Stefano Graziani of the following work: Gordon Matta-Clark, floor plan for Office Baroque, 1977, blue ballpoint pen on graph paper, 42 x 59.5 cm, PHCON2002:0016:059, Gordon Matta-Clark collection, Canadian Centre of Architecture, Gift of Estate of Gordon Matta-Clark, © Estate of Gordon Matta-Clark Questioning Pictures is a 36 photograph project commissioned by Fondazione Prada, Milan. Artist Stefano Graziani investigates archival and conservation systems in a number of museums. Through photographing museum objects, Graziani, focusing on the relationship between photographs, the museum objects and the power structures at play within institutions. The museums include the Canadian Centre for Architecture (CCA) in Montréal, Canada; Sir John Soane’s Museum in London, UK; the Kunstmuseum Basel, Switzerland; Museum Insel Hombroich in Neuss, Germany; the Museo di Castelvecchio in Verona, Italy; and the Plaster Cast Gallery at Museo Canova in Possagno, Italy.
PH2018:0005:031
Description:
Photograph by Stefano Graziani of the following work: Gordon Matta-Clark, floor plan for Office Baroque, 1977, blue ballpoint pen on graph paper, 42 x 59.5 cm, PHCON2002:0016:059, Gordon Matta-Clark collection, Canadian Centre of Architecture, Gift of Estate of Gordon Matta-Clark, © Estate of Gordon Matta-Clark Questioning Pictures is a 36 photograph project commissioned by Fondazione Prada, Milan. Artist Stefano Graziani investigates archival and conservation systems in a number of museums. Through photographing museum objects, Graziani, focusing on the relationship between photographs, the museum objects and the power structures at play within institutions. The museums include the Canadian Centre for Architecture (CCA) in Montréal, Canada; Sir John Soane’s Museum in London, UK; the Kunstmuseum Basel, Switzerland; Museum Insel Hombroich in Neuss, Germany; the Museo di Castelvecchio in Verona, Italy; and the Plaster Cast Gallery at Museo Canova in Possagno, Italy.
People:
Date:
2017
2017
Title:
Questioning Pictures: Photograph of floor plan for Office Baroque, blue pen on graph paper by Gordon Matta-Clark, 1977
Actions:
PH2018:0005:031
Description:
Photograph by Stefano Graziani of the following work: Gordon Matta-Clark, floor plan for Office Baroque, 1977, blue ballpoint pen on graph paper, 42 x 59.5 cm, PHCON2002:0016:059, Gordon Matta-Clark collection, Canadian Centre of Architecture, Gift of Estate of Gordon Matta-Clark, © Estate of Gordon Matta-Clark Questioning Pictures is a 36 photograph project commissioned by Fondazione Prada, Milan. Artist Stefano Graziani investigates archival and conservation systems in a number of museums. Through photographing museum objects, Graziani, focusing on the relationship between photographs, the museum objects and the power structures at play within institutions. The museums include the Canadian Centre for Architecture (CCA) in Montréal, Canada; Sir John Soane’s Museum in London, UK; the Kunstmuseum Basel, Switzerland; Museum Insel Hombroich in Neuss, Germany; the Museo di Castelvecchio in Verona, Italy; and the Plaster Cast Gallery at Museo Canova in Possagno, Italy.
Questioning Pictures: Photograph of floor plan for Office Baroque, blue pen on graph paper by Gordon Matta-Clark, 1977
Actions:
PH2018:0005:031
Description:
Photograph by Stefano Graziani of the following work: Gordon Matta-Clark, floor plan for Office Baroque, 1977, blue ballpoint pen on graph paper, 42 x 59.5 cm, PHCON2002:0016:059, Gordon Matta-Clark collection, Canadian Centre of Architecture, Gift of Estate of Gordon Matta-Clark, © Estate of Gordon Matta-Clark Questioning Pictures is a 36 photograph project commissioned by Fondazione Prada, Milan. Artist Stefano Graziani investigates archival and conservation systems in a number of museums. Through photographing museum objects, Graziani, focusing on the relationship between photographs, the museum objects and the power structures at play within institutions. The museums include the Canadian Centre for Architecture (CCA) in Montréal, Canada; Sir John Soane’s Museum in London, UK; the Kunstmuseum Basel, Switzerland; Museum Insel Hombroich in Neuss, Germany; the Museo di Castelvecchio in Verona, Italy; and the Plaster Cast Gallery at Museo Canova in Possagno, Italy.
Form:
photographs
photographs
Date:
2017
2017
People:
Level of archival description:
Project
Project
Title:
Ice House II (1972)
Ice House II (1972)
Reference number:
AP207.S1.1972.PR01
Description:
The project series documents "Ice House II" a project which consisted of freezing a small house in suburban Minneapolis, by pouring water into a wooden mold surrounding the house and letting the water freeze to create a block of ice. "If the addition of material then leads, paradoxically, to the disappearence of the 'architectural' object, this subtraction only highlights the serial repetitiveness of the dwellings in American suburbia." [1] It is unclear if this project was ever performed. The project series contains photographs of the frozen house, photographic reproductions of aerial views and plans of the neighbourhood for the selection of the house, sketches and a perspective drawing. Source: [1] Marco Scotini, editor. Non-conscious architecture: Gianni Pettena, Sternberg Press, 2018, 235 pages. p. 152.
AP207.S1.1972.PR01
Description:
The project series documents "Ice House II" a project which consisted of freezing a small house in suburban Minneapolis, by pouring water into a wooden mold surrounding the house and letting the water freeze to create a block of ice. "If the addition of material then leads, paradoxically, to the disappearence of the 'architectural' object, this subtraction only highlights the serial repetitiveness of the dwellings in American suburbia." [1] It is unclear if this project was ever performed. The project series contains photographs of the frozen house, photographic reproductions of aerial views and plans of the neighbourhood for the selection of the house, sketches and a perspective drawing. Source: [1] Marco Scotini, editor. Non-conscious architecture: Gianni Pettena, Sternberg Press, 2018, 235 pages. p. 152.
People:
Date:
circa 1972-2015
circa 1972-2015
Title:
Ice House II (1972)
Actions:
AP207.S1.1972.PR01
Description:
The project series documents "Ice House II" a project which consisted of freezing a small house in suburban Minneapolis, by pouring water into a wooden mold surrounding the house and letting the water freeze to create a block of ice. "If the addition of material then leads, paradoxically, to the disappearence of the 'architectural' object, this subtraction only highlights the serial repetitiveness of the dwellings in American suburbia." [1] It is unclear if this project was ever performed. The project series contains photographs of the frozen house, photographic reproductions of aerial views and plans of the neighbourhood for the selection of the house, sketches and a perspective drawing. Source: [1] Marco Scotini, editor. Non-conscious architecture: Gianni Pettena, Sternberg Press, 2018, 235 pages. p. 152.
Ice House II (1972)
Actions:
AP207.S1.1972.PR01
Description:
The project series documents "Ice House II" a project which consisted of freezing a small house in suburban Minneapolis, by pouring water into a wooden mold surrounding the house and letting the water freeze to create a block of ice. "If the addition of material then leads, paradoxically, to the disappearence of the 'architectural' object, this subtraction only highlights the serial repetitiveness of the dwellings in American suburbia." [1] It is unclear if this project was ever performed. The project series contains photographs of the frozen house, photographic reproductions of aerial views and plans of the neighbourhood for the selection of the house, sketches and a perspective drawing. Source: [1] Marco Scotini, editor. Non-conscious architecture: Gianni Pettena, Sternberg Press, 2018, 235 pages. p. 152.
Level of archival description:
Project
Project
Date:
circa 1972-2015
circa 1972-2015
People:
Level of archival description:
Project
Project
Reference number:
AP018.S1.1962.PR01
Description:
This project series documents the Sifto Salt Division Mill and Warehouse of Domtar Chemicals Limited in Goderich, Ontario, Canada from 1962-1963. The office probably identified the project number as either 6237 or 6264. This project consisted of a 62,000 square foot facility on the existing industrial complex of Domtar. The building was clad in epoxy faced brick and concrete up to the third floor, while the rest of the structure was clad in ribbed cement asbestos siding up to the roof. The building included process areas, packaging areas, a warehouse, bagging room, offices, cafeteria and canteen, and shipping and recieving areas. This project won a special mention at the Massey Medal for Architecture in 1964. The project is recorded through a mounted photograph showing the finished buillding.
AP018.S1.1962.PR01
Description:
This project series documents the Sifto Salt Division Mill and Warehouse of Domtar Chemicals Limited in Goderich, Ontario, Canada from 1962-1963. The office probably identified the project number as either 6237 or 6264. This project consisted of a 62,000 square foot facility on the existing industrial complex of Domtar. The building was clad in epoxy faced brick and concrete up to the third floor, while the rest of the structure was clad in ribbed cement asbestos siding up to the roof. The building included process areas, packaging areas, a warehouse, bagging room, offices, cafeteria and canteen, and shipping and recieving areas. This project won a special mention at the Massey Medal for Architecture in 1964. The project is recorded through a mounted photograph showing the finished buillding.
People:
Date:
circa 1963
circa 1963
Title:
Domtar Chemicals Limited, Sifto Salt Division Mill and Warehouse, Goderich, Ontario, Canada (1962-1963)
Actions:
AP018.S1.1962.PR01
Description:
This project series documents the Sifto Salt Division Mill and Warehouse of Domtar Chemicals Limited in Goderich, Ontario, Canada from 1962-1963. The office probably identified the project number as either 6237 or 6264. This project consisted of a 62,000 square foot facility on the existing industrial complex of Domtar. The building was clad in epoxy faced brick and concrete up to the third floor, while the rest of the structure was clad in ribbed cement asbestos siding up to the roof. The building included process areas, packaging areas, a warehouse, bagging room, offices, cafeteria and canteen, and shipping and recieving areas. This project won a special mention at the Massey Medal for Architecture in 1964. The project is recorded through a mounted photograph showing the finished buillding.
Domtar Chemicals Limited, Sifto Salt Division Mill and Warehouse, Goderich, Ontario, Canada (1962-1963)
Actions:
AP018.S1.1962.PR01
Description:
This project series documents the Sifto Salt Division Mill and Warehouse of Domtar Chemicals Limited in Goderich, Ontario, Canada from 1962-1963. The office probably identified the project number as either 6237 or 6264. This project consisted of a 62,000 square foot facility on the existing industrial complex of Domtar. The building was clad in epoxy faced brick and concrete up to the third floor, while the rest of the structure was clad in ribbed cement asbestos siding up to the roof. The building included process areas, packaging areas, a warehouse, bagging room, offices, cafeteria and canteen, and shipping and recieving areas. This project won a special mention at the Massey Medal for Architecture in 1964. The project is recorded through a mounted photograph showing the finished buillding.
Level of archival description:
Project
Project
Date:
circa 1963
circa 1963
People:
Level of archival description:
Series
Series
Title:
Œuvres du prix de Rome
Œuvres du prix de Rome
Actions:
Reference number:
AP066.S4
Description:
Cette série rassemble les documents produits par Jacques Rousseau dans le cadre du Prix de Rome (1988), soit: les esquisses préparatoires et les gravures blanches (sans encre) qui illustrent un projet de "Nouveau-Port" pour Montréal, et les dessins à la craie sèche sur papier intitulés "Mémoire virtuelle ...". On y retrouve également des avenues de projet qui n'ont pas été développées, "Étude du flanc est du Mont-Royal" et projet de "Boucliers de papier", et des documents issus de l'exposition intitulée Montréal vue de Rome présentée à la Maison Coloniale en mai 1990. Le dossier contient des dessins, des documents textuels, des documents photographiques et un artéfact. Description du projet par l'architecte: "Amorcé en 1985, lors de la consultation publique concernant le Vieux-Port de Montréal, "le projet du Nouveau Port" complète son cycle alors que je séjourne à Rome à titre de Prix de Rome du Conseil des Arts du Canada. Prétexte par excellence pour réfléchir sur l'espoir et la transformation de Montréal, le sujet du Nouveau Port m'est apparu comme le moyen d'informer une approche de la transformation de la ville. J'ai pensé le projet possible, nécessaire même et j'ai plongé." Jacques Rousseau, "Le projet du Nouveau Port", ARQ : Architecture-Québec, nº 67, p. 30.
AP066.S4
Description:
Cette série rassemble les documents produits par Jacques Rousseau dans le cadre du Prix de Rome (1988), soit: les esquisses préparatoires et les gravures blanches (sans encre) qui illustrent un projet de "Nouveau-Port" pour Montréal, et les dessins à la craie sèche sur papier intitulés "Mémoire virtuelle ...". On y retrouve également des avenues de projet qui n'ont pas été développées, "Étude du flanc est du Mont-Royal" et projet de "Boucliers de papier", et des documents issus de l'exposition intitulée Montréal vue de Rome présentée à la Maison Coloniale en mai 1990. Le dossier contient des dessins, des documents textuels, des documents photographiques et un artéfact. Description du projet par l'architecte: "Amorcé en 1985, lors de la consultation publique concernant le Vieux-Port de Montréal, "le projet du Nouveau Port" complète son cycle alors que je séjourne à Rome à titre de Prix de Rome du Conseil des Arts du Canada. Prétexte par excellence pour réfléchir sur l'espoir et la transformation de Montréal, le sujet du Nouveau Port m'est apparu comme le moyen d'informer une approche de la transformation de la ville. J'ai pensé le projet possible, nécessaire même et j'ai plongé." Jacques Rousseau, "Le projet du Nouveau Port", ARQ : Architecture-Québec, nº 67, p. 30.
People:
Date:
1987-1990
1987-1990
Title:
Œuvres du prix de Rome
Actions:
AP066.S4
Description:
Cette série rassemble les documents produits par Jacques Rousseau dans le cadre du Prix de Rome (1988), soit: les esquisses préparatoires et les gravures blanches (sans encre) qui illustrent un projet de "Nouveau-Port" pour Montréal, et les dessins à la craie sèche sur papier intitulés "Mémoire virtuelle ...". On y retrouve également des avenues de projet qui n'ont pas été développées, "Étude du flanc est du Mont-Royal" et projet de "Boucliers de papier", et des documents issus de l'exposition intitulée Montréal vue de Rome présentée à la Maison Coloniale en mai 1990. Le dossier contient des dessins, des documents textuels, des documents photographiques et un artéfact. Description du projet par l'architecte: "Amorcé en 1985, lors de la consultation publique concernant le Vieux-Port de Montréal, "le projet du Nouveau Port" complète son cycle alors que je séjourne à Rome à titre de Prix de Rome du Conseil des Arts du Canada. Prétexte par excellence pour réfléchir sur l'espoir et la transformation de Montréal, le sujet du Nouveau Port m'est apparu comme le moyen d'informer une approche de la transformation de la ville. J'ai pensé le projet possible, nécessaire même et j'ai plongé." Jacques Rousseau, "Le projet du Nouveau Port", ARQ : Architecture-Québec, nº 67, p. 30.
Œuvres du prix de Rome
Actions:
AP066.S4
Description:
Cette série rassemble les documents produits par Jacques Rousseau dans le cadre du Prix de Rome (1988), soit: les esquisses préparatoires et les gravures blanches (sans encre) qui illustrent un projet de "Nouveau-Port" pour Montréal, et les dessins à la craie sèche sur papier intitulés "Mémoire virtuelle ...". On y retrouve également des avenues de projet qui n'ont pas été développées, "Étude du flanc est du Mont-Royal" et projet de "Boucliers de papier", et des documents issus de l'exposition intitulée Montréal vue de Rome présentée à la Maison Coloniale en mai 1990. Le dossier contient des dessins, des documents textuels, des documents photographiques et un artéfact. Description du projet par l'architecte: "Amorcé en 1985, lors de la consultation publique concernant le Vieux-Port de Montréal, "le projet du Nouveau Port" complète son cycle alors que je séjourne à Rome à titre de Prix de Rome du Conseil des Arts du Canada. Prétexte par excellence pour réfléchir sur l'espoir et la transformation de Montréal, le sujet du Nouveau Port m'est apparu comme le moyen d'informer une approche de la transformation de la ville. J'ai pensé le projet possible, nécessaire même et j'ai plongé." Jacques Rousseau, "Le projet du Nouveau Port", ARQ : Architecture-Québec, nº 67, p. 30.
Level of archival description:
Série 4
Série 4
Date:
1987-1990
1987-1990
People:
Level of archival description:
Project
Project
Reference number:
AP056.S1.1987.PR04
Description:
This project series documents the restoration and redevelopmet of King James Place in Toronto, Ontario. The office assigned the number 8722 to this project. King James Place is located on King St. East between Jarvis St. and Church St. and was completed in 1839. Construction on the project began in 1990. Drawings in the project series show the changes made to the floor plans and interiors while preserving the historic facade. The project received a Governor General's Award for Architecture in 1992, the Toronto Urban Design Award in 1993, and the Heritage Toronto Award in 1994. The project is recorded through sketches, original plans, elevations, sections, several perspectives, as well as presentation drawings. Also included are two photographs of the finished exterior and a model.
AP056.S1.1987.PR04
Description:
This project series documents the restoration and redevelopmet of King James Place in Toronto, Ontario. The office assigned the number 8722 to this project. King James Place is located on King St. East between Jarvis St. and Church St. and was completed in 1839. Construction on the project began in 1990. Drawings in the project series show the changes made to the floor plans and interiors while preserving the historic facade. The project received a Governor General's Award for Architecture in 1992, the Toronto Urban Design Award in 1993, and the Heritage Toronto Award in 1994. The project is recorded through sketches, original plans, elevations, sections, several perspectives, as well as presentation drawings. Also included are two photographs of the finished exterior and a model.
People:
Date:
1987-1996
1987-1996
Title:
King James Place, Toronto, Ontario (1987-1991)
Actions:
AP056.S1.1987.PR04
Description:
This project series documents the restoration and redevelopmet of King James Place in Toronto, Ontario. The office assigned the number 8722 to this project. King James Place is located on King St. East between Jarvis St. and Church St. and was completed in 1839. Construction on the project began in 1990. Drawings in the project series show the changes made to the floor plans and interiors while preserving the historic facade. The project received a Governor General's Award for Architecture in 1992, the Toronto Urban Design Award in 1993, and the Heritage Toronto Award in 1994. The project is recorded through sketches, original plans, elevations, sections, several perspectives, as well as presentation drawings. Also included are two photographs of the finished exterior and a model.
King James Place, Toronto, Ontario (1987-1991)
Actions:
AP056.S1.1987.PR04
Description:
This project series documents the restoration and redevelopmet of King James Place in Toronto, Ontario. The office assigned the number 8722 to this project. King James Place is located on King St. East between Jarvis St. and Church St. and was completed in 1839. Construction on the project began in 1990. Drawings in the project series show the changes made to the floor plans and interiors while preserving the historic facade. The project received a Governor General's Award for Architecture in 1992, the Toronto Urban Design Award in 1993, and the Heritage Toronto Award in 1994. The project is recorded through sketches, original plans, elevations, sections, several perspectives, as well as presentation drawings. Also included are two photographs of the finished exterior and a model.
Level of archival description:
Project
Project
Date:
1987-1996
1987-1996
People:
Level of archival description:
Series
Series
Title:
Hans and Wassili Luckhardt
Hans and Wassili Luckhardt
Actions:
Reference number:
AP162.S6
Description:
Series documents the contribution of architects Hans Luckhardt and Wasilli Luckhardt to the correspondence circle of Die gläserne Kette, with each writing under the pseudonyms Angkor and Zachen respectively. Born in Berlin in 1880, Hans Luckhardt studied architecture at the Technische Hochschule at Karlsruhe, Germany. In 1919, he joined the Novembergruppe, an exhibiting group of painters, sculptors, architects and musicians, and the Arbeitsrat für Kunst, lead by Bruno Taut. These two groups merged in November 1919. The same year, Luckhardt exhibitied his work at the Ausstellung für unbekannte Architekten and contributed to the organization of the Neues Bauen exhibition the next year. In 1921, Hans Luckhardt began his working collaboration with his brother Wassili. Born in Berlin in 1989, Wassili Luckhardt studied archictecture at the Technische Hochschule at Berlin-Charlottenburg and at the Technische Hochschule in Dresden. He undertook his military service from 1914 to 1918. Like his brother Hans, Wasilli joined the Novembergruppeand the Arbeitsrat für Kunst in 1919 and exhibited his work at the Ausstellung für unbekannte Architekten. During their collaboration, the Luckhardt brothers worked on designs for private commisions and competition schemes including some for Berlin and Hanover (1951-1952). Hans Luckhardt died in 1954 in Bad Wiessee. Wassili Luckhardt continued his work as an architect on various architectural projects. He died in 1972 in Berlin. (Source: Ian Boyd Whyte, Bruno Taut and the Architecture of Activism. Cambridge: Cambridge University Press, 1982) The series comprises part of the correspondence of Hans and Wasilli Luckhardt to the Die gläserne Kette circle, along with related drawings and photographs. The series also includes a photograph of a architectural model for a project by the Luckhart brothers.
AP162.S6
Description:
Series documents the contribution of architects Hans Luckhardt and Wasilli Luckhardt to the correspondence circle of Die gläserne Kette, with each writing under the pseudonyms Angkor and Zachen respectively. Born in Berlin in 1880, Hans Luckhardt studied architecture at the Technische Hochschule at Karlsruhe, Germany. In 1919, he joined the Novembergruppe, an exhibiting group of painters, sculptors, architects and musicians, and the Arbeitsrat für Kunst, lead by Bruno Taut. These two groups merged in November 1919. The same year, Luckhardt exhibitied his work at the Ausstellung für unbekannte Architekten and contributed to the organization of the Neues Bauen exhibition the next year. In 1921, Hans Luckhardt began his working collaboration with his brother Wassili. Born in Berlin in 1989, Wassili Luckhardt studied archictecture at the Technische Hochschule at Berlin-Charlottenburg and at the Technische Hochschule in Dresden. He undertook his military service from 1914 to 1918. Like his brother Hans, Wasilli joined the Novembergruppeand the Arbeitsrat für Kunst in 1919 and exhibited his work at the Ausstellung für unbekannte Architekten. During their collaboration, the Luckhardt brothers worked on designs for private commisions and competition schemes including some for Berlin and Hanover (1951-1952). Hans Luckhardt died in 1954 in Bad Wiessee. Wassili Luckhardt continued his work as an architect on various architectural projects. He died in 1972 in Berlin. (Source: Ian Boyd Whyte, Bruno Taut and the Architecture of Activism. Cambridge: Cambridge University Press, 1982) The series comprises part of the correspondence of Hans and Wasilli Luckhardt to the Die gläserne Kette circle, along with related drawings and photographs. The series also includes a photograph of a architectural model for a project by the Luckhart brothers.
People:
Date:
1919-1920
1919-1920
Title:
Hans and Wassili Luckhardt
Actions:
AP162.S6
Description:
Series documents the contribution of architects Hans Luckhardt and Wasilli Luckhardt to the correspondence circle of Die gläserne Kette, with each writing under the pseudonyms Angkor and Zachen respectively. Born in Berlin in 1880, Hans Luckhardt studied architecture at the Technische Hochschule at Karlsruhe, Germany. In 1919, he joined the Novembergruppe, an exhibiting group of painters, sculptors, architects and musicians, and the Arbeitsrat für Kunst, lead by Bruno Taut. These two groups merged in November 1919. The same year, Luckhardt exhibitied his work at the Ausstellung für unbekannte Architekten and contributed to the organization of the Neues Bauen exhibition the next year. In 1921, Hans Luckhardt began his working collaboration with his brother Wassili. Born in Berlin in 1989, Wassili Luckhardt studied archictecture at the Technische Hochschule at Berlin-Charlottenburg and at the Technische Hochschule in Dresden. He undertook his military service from 1914 to 1918. Like his brother Hans, Wasilli joined the Novembergruppeand the Arbeitsrat für Kunst in 1919 and exhibited his work at the Ausstellung für unbekannte Architekten. During their collaboration, the Luckhardt brothers worked on designs for private commisions and competition schemes including some for Berlin and Hanover (1951-1952). Hans Luckhardt died in 1954 in Bad Wiessee. Wassili Luckhardt continued his work as an architect on various architectural projects. He died in 1972 in Berlin. (Source: Ian Boyd Whyte, Bruno Taut and the Architecture of Activism. Cambridge: Cambridge University Press, 1982) The series comprises part of the correspondence of Hans and Wasilli Luckhardt to the Die gläserne Kette circle, along with related drawings and photographs. The series also includes a photograph of a architectural model for a project by the Luckhart brothers.
Hans and Wassili Luckhardt
Actions:
AP162.S6
Description:
Series documents the contribution of architects Hans Luckhardt and Wasilli Luckhardt to the correspondence circle of Die gläserne Kette, with each writing under the pseudonyms Angkor and Zachen respectively. Born in Berlin in 1880, Hans Luckhardt studied architecture at the Technische Hochschule at Karlsruhe, Germany. In 1919, he joined the Novembergruppe, an exhibiting group of painters, sculptors, architects and musicians, and the Arbeitsrat für Kunst, lead by Bruno Taut. These two groups merged in November 1919. The same year, Luckhardt exhibitied his work at the Ausstellung für unbekannte Architekten and contributed to the organization of the Neues Bauen exhibition the next year. In 1921, Hans Luckhardt began his working collaboration with his brother Wassili. Born in Berlin in 1989, Wassili Luckhardt studied archictecture at the Technische Hochschule at Berlin-Charlottenburg and at the Technische Hochschule in Dresden. He undertook his military service from 1914 to 1918. Like his brother Hans, Wasilli joined the Novembergruppeand the Arbeitsrat für Kunst in 1919 and exhibited his work at the Ausstellung für unbekannte Architekten. During their collaboration, the Luckhardt brothers worked on designs for private commisions and competition schemes including some for Berlin and Hanover (1951-1952). Hans Luckhardt died in 1954 in Bad Wiessee. Wassili Luckhardt continued his work as an architect on various architectural projects. He died in 1972 in Berlin. (Source: Ian Boyd Whyte, Bruno Taut and the Architecture of Activism. Cambridge: Cambridge University Press, 1982) The series comprises part of the correspondence of Hans and Wasilli Luckhardt to the Die gläserne Kette circle, along with related drawings and photographs. The series also includes a photograph of a architectural model for a project by the Luckhart brothers.
Level of archival description:
series
series
Date:
1919-1920
1919-1920
People:
Level of archival description:
Project
Project
Reference number:
CI005.S1.1931.PR1
Description:
Oud's international reputation was cemented due in part to his work on the Weissenhofsiedlung, in Stuttgart, as well as to the praise of contemporary American art historian, Henry-Russell Hitchcock. Oud was commissioned in 1931 to design a private home for the mother of Oud's American friend, Philip Johnson, although the project was never realized due to the client's financial struggles in the economic Depression. Oud submitted drawings and a model of the design for Mrs H.H. Johnson's home to the Museum of Modern Art's 1932 "Modern Architecture – International Exhibition." Although Oud was generally praised for his exhibition entries, especially photographs of Hoek van Holland, he received little positive attention with his model submission of the House of Mrs H.H. Johnson. Oud began design for the house late in 1931 and designed a large villa with an open, spacious living room and dining room, strategic garden views, and a detached sunroom with a retractable roof (Taverne et al. 2001, 320). Project series includes photographs of the model of House for Mrs H.H. Johnson, as well as drawings of plans for the house.
CI005.S1.1931.PR1
Description:
Oud's international reputation was cemented due in part to his work on the Weissenhofsiedlung, in Stuttgart, as well as to the praise of contemporary American art historian, Henry-Russell Hitchcock. Oud was commissioned in 1931 to design a private home for the mother of Oud's American friend, Philip Johnson, although the project was never realized due to the client's financial struggles in the economic Depression. Oud submitted drawings and a model of the design for Mrs H.H. Johnson's home to the Museum of Modern Art's 1932 "Modern Architecture – International Exhibition." Although Oud was generally praised for his exhibition entries, especially photographs of Hoek van Holland, he received little positive attention with his model submission of the House of Mrs H.H. Johnson. Oud began design for the house late in 1931 and designed a large villa with an open, spacious living room and dining room, strategic garden views, and a detached sunroom with a retractable roof (Taverne et al. 2001, 320). Project series includes photographs of the model of House for Mrs H.H. Johnson, as well as drawings of plans for the house.
People:
Date:
1931
1931
Title:
House for Mrs H. H. Johnson, Pinehurst, North Carolina (1931)
Actions:
CI005.S1.1931.PR1
Description:
Oud's international reputation was cemented due in part to his work on the Weissenhofsiedlung, in Stuttgart, as well as to the praise of contemporary American art historian, Henry-Russell Hitchcock. Oud was commissioned in 1931 to design a private home for the mother of Oud's American friend, Philip Johnson, although the project was never realized due to the client's financial struggles in the economic Depression. Oud submitted drawings and a model of the design for Mrs H.H. Johnson's home to the Museum of Modern Art's 1932 "Modern Architecture – International Exhibition." Although Oud was generally praised for his exhibition entries, especially photographs of Hoek van Holland, he received little positive attention with his model submission of the House of Mrs H.H. Johnson. Oud began design for the house late in 1931 and designed a large villa with an open, spacious living room and dining room, strategic garden views, and a detached sunroom with a retractable roof (Taverne et al. 2001, 320). Project series includes photographs of the model of House for Mrs H.H. Johnson, as well as drawings of plans for the house.
House for Mrs H. H. Johnson, Pinehurst, North Carolina (1931)
Actions:
CI005.S1.1931.PR1
Description:
Oud's international reputation was cemented due in part to his work on the Weissenhofsiedlung, in Stuttgart, as well as to the praise of contemporary American art historian, Henry-Russell Hitchcock. Oud was commissioned in 1931 to design a private home for the mother of Oud's American friend, Philip Johnson, although the project was never realized due to the client's financial struggles in the economic Depression. Oud submitted drawings and a model of the design for Mrs H.H. Johnson's home to the Museum of Modern Art's 1932 "Modern Architecture – International Exhibition." Although Oud was generally praised for his exhibition entries, especially photographs of Hoek van Holland, he received little positive attention with his model submission of the House of Mrs H.H. Johnson. Oud began design for the house late in 1931 and designed a large villa with an open, spacious living room and dining room, strategic garden views, and a detached sunroom with a retractable roof (Taverne et al. 2001, 320). Project series includes photographs of the model of House for Mrs H.H. Johnson, as well as drawings of plans for the house.
Level of archival description:
project
project
Date:
1931
1931
People:
Level of archival description:
Project
Project
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Reference number:
AP018.S1.1974.PR24
Description:
This project series documents the design of interiors for the Eaton's of Canada Limited executive offices at 1 Dundas Street West in Toronto from 1974-1976. The office identified the project number as 7431. This project consisted of the office interiors for the 17th and 18th floors of a high-rise building located directly above the Eaton's flagship store, which was attached to the Eaton's Centre mall. The high-rise, its interiors, the Eaton's store and the mall were all constructed simultaneously, with Parkin Architects Planners working on the Eaton's store and office interiors, while architecture firm Craig Zeidler Strong worked on the Eaton's Centre mall and high-rise office building. The project is recorded through drawings, most of which are reprographic copies, photographs and textual records dating from 1975-1976. Arranged within the drawings are some drawings produced for the high-rise building by Craig Zeidler Strong. The textual records contain meeting minutes, specifications, construction documentation and project notebooks. The photographs show the office interiors of various Eaton's executives.
AP018.S1.1974.PR24
Description:
This project series documents the design of interiors for the Eaton's of Canada Limited executive offices at 1 Dundas Street West in Toronto from 1974-1976. The office identified the project number as 7431. This project consisted of the office interiors for the 17th and 18th floors of a high-rise building located directly above the Eaton's flagship store, which was attached to the Eaton's Centre mall. The high-rise, its interiors, the Eaton's store and the mall were all constructed simultaneously, with Parkin Architects Planners working on the Eaton's store and office interiors, while architecture firm Craig Zeidler Strong worked on the Eaton's Centre mall and high-rise office building. The project is recorded through drawings, most of which are reprographic copies, photographs and textual records dating from 1975-1976. Arranged within the drawings are some drawings produced for the high-rise building by Craig Zeidler Strong. The textual records contain meeting minutes, specifications, construction documentation and project notebooks. The photographs show the office interiors of various Eaton's executives.
People:
Date:
1975-1976
1975-1976
Title:
Eaton's of Canada Limited Executive Offices, One Dundas Street West, Toronto (1974-1976)
Actions:
AP018.S1.1974.PR24
Description:
This project series documents the design of interiors for the Eaton's of Canada Limited executive offices at 1 Dundas Street West in Toronto from 1974-1976. The office identified the project number as 7431. This project consisted of the office interiors for the 17th and 18th floors of a high-rise building located directly above the Eaton's flagship store, which was attached to the Eaton's Centre mall. The high-rise, its interiors, the Eaton's store and the mall were all constructed simultaneously, with Parkin Architects Planners working on the Eaton's store and office interiors, while architecture firm Craig Zeidler Strong worked on the Eaton's Centre mall and high-rise office building. The project is recorded through drawings, most of which are reprographic copies, photographs and textual records dating from 1975-1976. Arranged within the drawings are some drawings produced for the high-rise building by Craig Zeidler Strong. The textual records contain meeting minutes, specifications, construction documentation and project notebooks. The photographs show the office interiors of various Eaton's executives.
Eaton's of Canada Limited Executive Offices, One Dundas Street West, Toronto (1974-1976)
Actions:
AP018.S1.1974.PR24
Description:
This project series documents the design of interiors for the Eaton's of Canada Limited executive offices at 1 Dundas Street West in Toronto from 1974-1976. The office identified the project number as 7431. This project consisted of the office interiors for the 17th and 18th floors of a high-rise building located directly above the Eaton's flagship store, which was attached to the Eaton's Centre mall. The high-rise, its interiors, the Eaton's store and the mall were all constructed simultaneously, with Parkin Architects Planners working on the Eaton's store and office interiors, while architecture firm Craig Zeidler Strong worked on the Eaton's Centre mall and high-rise office building. The project is recorded through drawings, most of which are reprographic copies, photographs and textual records dating from 1975-1976. Arranged within the drawings are some drawings produced for the high-rise building by Craig Zeidler Strong. The textual records contain meeting minutes, specifications, construction documentation and project notebooks. The photographs show the office interiors of various Eaton's executives.
Level of archival description:
Project
Project
Date:
1975-1976
1975-1976
People:
Level of archival description:
Series
Series
Title:
Une architecture des humeurs
Une architecture des humeurs
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Reference number:
AP193.S4
Description:
Series 4, Une architecture des humeurs, 2008-2011, documents the conception and the presentation of exhibition and project Une architecture des humeurs. Presented at Le laboratoire art gallery in Paris between January and May 2010, Une architecture des humeurs is a conceptual, unbuilt, residential urban structure based on a potential future in which contemporary science reads human physiology and chemical balance. The idea is to acquire a chemistry of the “humors”, or the moods and temperament, of future purchasers. Taken as input, the information generates a diversity of habitable morphologies and relationships between them. With this process, the project attempts to make palpable and graspable, through technologies, the emotions of the participants captured via the chemistry of their body. The goal is to gather information on their capacity of adaptation, their level of sympathy and empathy while confronted to a situation or an environment. This information is then analyzed by computational, mathematical, and machinist procedures. This leads to the design and production of an urban structure submitted to the improbable and uncertain protocols produced by emotions, also creating aggregations and layouts that rearticulate the links between the individual and the collective. These structures are calculated following simultaneously incremental and recursive structural optimization protocols resulting in the physicality and morphology of architecture. The layout of the residential units and the structural trajectories are conceived and developed as posterior to the constructs supporting social life and not as an a priori. The structure of each components of the urban structure is generated by a secretion and weaving machine called Viab02. The machine is the second prototype of VIAB which was developed with Robotics Research Lab of the University of Southern California and takes its name from the terms viability and variability. With a process similar to contour crafting, the machine produces bio-cement, a mix between cement and bio-resin, giving form to the adapted residential structures. The records consist largely of images detailing the creative process of the firm, photographs of the exhibition, and 3D models. It also contains animated renderings representing the machine in action and sequences of the construction of the building or the structure. The records include a video orienting the project into François Roche theoretical stance, research as speculation, that can be summarize as the use of technological tools to take a critical and political position through esthetic in order to open new lines of thoughts. AP193.S2 contains updated previous version of the VIAB machine
AP193.S4
Description:
Series 4, Une architecture des humeurs, 2008-2011, documents the conception and the presentation of exhibition and project Une architecture des humeurs. Presented at Le laboratoire art gallery in Paris between January and May 2010, Une architecture des humeurs is a conceptual, unbuilt, residential urban structure based on a potential future in which contemporary science reads human physiology and chemical balance. The idea is to acquire a chemistry of the “humors”, or the moods and temperament, of future purchasers. Taken as input, the information generates a diversity of habitable morphologies and relationships between them. With this process, the project attempts to make palpable and graspable, through technologies, the emotions of the participants captured via the chemistry of their body. The goal is to gather information on their capacity of adaptation, their level of sympathy and empathy while confronted to a situation or an environment. This information is then analyzed by computational, mathematical, and machinist procedures. This leads to the design and production of an urban structure submitted to the improbable and uncertain protocols produced by emotions, also creating aggregations and layouts that rearticulate the links between the individual and the collective. These structures are calculated following simultaneously incremental and recursive structural optimization protocols resulting in the physicality and morphology of architecture. The layout of the residential units and the structural trajectories are conceived and developed as posterior to the constructs supporting social life and not as an a priori. The structure of each components of the urban structure is generated by a secretion and weaving machine called Viab02. The machine is the second prototype of VIAB which was developed with Robotics Research Lab of the University of Southern California and takes its name from the terms viability and variability. With a process similar to contour crafting, the machine produces bio-cement, a mix between cement and bio-resin, giving form to the adapted residential structures. The records consist largely of images detailing the creative process of the firm, photographs of the exhibition, and 3D models. It also contains animated renderings representing the machine in action and sequences of the construction of the building or the structure. The records include a video orienting the project into François Roche theoretical stance, research as speculation, that can be summarize as the use of technological tools to take a critical and political position through esthetic in order to open new lines of thoughts. AP193.S2 contains updated previous version of the VIAB machine
People:
Date:
2008-2011
2008-2011
Title:
Une architecture des humeurs
Actions:
AP193.S4
Description:
Series 4, Une architecture des humeurs, 2008-2011, documents the conception and the presentation of exhibition and project Une architecture des humeurs. Presented at Le laboratoire art gallery in Paris between January and May 2010, Une architecture des humeurs is a conceptual, unbuilt, residential urban structure based on a potential future in which contemporary science reads human physiology and chemical balance. The idea is to acquire a chemistry of the “humors”, or the moods and temperament, of future purchasers. Taken as input, the information generates a diversity of habitable morphologies and relationships between them. With this process, the project attempts to make palpable and graspable, through technologies, the emotions of the participants captured via the chemistry of their body. The goal is to gather information on their capacity of adaptation, their level of sympathy and empathy while confronted to a situation or an environment. This information is then analyzed by computational, mathematical, and machinist procedures. This leads to the design and production of an urban structure submitted to the improbable and uncertain protocols produced by emotions, also creating aggregations and layouts that rearticulate the links between the individual and the collective. These structures are calculated following simultaneously incremental and recursive structural optimization protocols resulting in the physicality and morphology of architecture. The layout of the residential units and the structural trajectories are conceived and developed as posterior to the constructs supporting social life and not as an a priori. The structure of each components of the urban structure is generated by a secretion and weaving machine called Viab02. The machine is the second prototype of VIAB which was developed with Robotics Research Lab of the University of Southern California and takes its name from the terms viability and variability. With a process similar to contour crafting, the machine produces bio-cement, a mix between cement and bio-resin, giving form to the adapted residential structures. The records consist largely of images detailing the creative process of the firm, photographs of the exhibition, and 3D models. It also contains animated renderings representing the machine in action and sequences of the construction of the building or the structure. The records include a video orienting the project into François Roche theoretical stance, research as speculation, that can be summarize as the use of technological tools to take a critical and political position through esthetic in order to open new lines of thoughts. AP193.S2 contains updated previous version of the VIAB machine
Une architecture des humeurs
Actions:
AP193.S4
Description:
Series 4, Une architecture des humeurs, 2008-2011, documents the conception and the presentation of exhibition and project Une architecture des humeurs. Presented at Le laboratoire art gallery in Paris between January and May 2010, Une architecture des humeurs is a conceptual, unbuilt, residential urban structure based on a potential future in which contemporary science reads human physiology and chemical balance. The idea is to acquire a chemistry of the “humors”, or the moods and temperament, of future purchasers. Taken as input, the information generates a diversity of habitable morphologies and relationships between them. With this process, the project attempts to make palpable and graspable, through technologies, the emotions of the participants captured via the chemistry of their body. The goal is to gather information on their capacity of adaptation, their level of sympathy and empathy while confronted to a situation or an environment. This information is then analyzed by computational, mathematical, and machinist procedures. This leads to the design and production of an urban structure submitted to the improbable and uncertain protocols produced by emotions, also creating aggregations and layouts that rearticulate the links between the individual and the collective. These structures are calculated following simultaneously incremental and recursive structural optimization protocols resulting in the physicality and morphology of architecture. The layout of the residential units and the structural trajectories are conceived and developed as posterior to the constructs supporting social life and not as an a priori. The structure of each components of the urban structure is generated by a secretion and weaving machine called Viab02. The machine is the second prototype of VIAB which was developed with Robotics Research Lab of the University of Southern California and takes its name from the terms viability and variability. With a process similar to contour crafting, the machine produces bio-cement, a mix between cement and bio-resin, giving form to the adapted residential structures. The records consist largely of images detailing the creative process of the firm, photographs of the exhibition, and 3D models. It also contains animated renderings representing the machine in action and sequences of the construction of the building or the structure. The records include a video orienting the project into François Roche theoretical stance, research as speculation, that can be summarize as the use of technological tools to take a critical and political position through esthetic in order to open new lines of thoughts. AP193.S2 contains updated previous version of the VIAB machine
Level of archival description:
Series
Series
Date:
2008-2011
2008-2011
People:
Level of archival description:
Series
Series
Title:
Publications and Exhibitions
Publications and Exhibitions
Reference number:
AP032.S4
Description:
This series contains material on publications and exhibitions concerning Goldsmith work and career. Papers and photographs record the creation of the book Myron Goldsmith: Buildings and Concepts, edited by Swiss architect Werner Blaser and published by Rizzoli Publications in 1987. The updating of Goldsmith's theoretical views are apparent in the manuscript drafts and revisions of his two essays for the book - "The Effects of Scale," reworked from his I.I.T. master's thesis, and the newly composed "Structural Architecture." This series also contains documents concerning retrospective exhibitions on Goldsmith originating at Harvard University (1982), and at the Canadian Centre for Architecture (1991). This material includes papers, correspondence, exhibition panels and wall text panels. The inclusion of periodicals and clippings on the architect's work, and the work of his students, supply a good bibliographic background on the architect.
AP032.S4
Description:
This series contains material on publications and exhibitions concerning Goldsmith work and career. Papers and photographs record the creation of the book Myron Goldsmith: Buildings and Concepts, edited by Swiss architect Werner Blaser and published by Rizzoli Publications in 1987. The updating of Goldsmith's theoretical views are apparent in the manuscript drafts and revisions of his two essays for the book - "The Effects of Scale," reworked from his I.I.T. master's thesis, and the newly composed "Structural Architecture." This series also contains documents concerning retrospective exhibitions on Goldsmith originating at Harvard University (1982), and at the Canadian Centre for Architecture (1991). This material includes papers, correspondence, exhibition panels and wall text panels. The inclusion of periodicals and clippings on the architect's work, and the work of his students, supply a good bibliographic background on the architect.
People:
Date:
1956-1991
1956-1991
Title:
Publications and Exhibitions
Actions:
AP032.S4
Description:
This series contains material on publications and exhibitions concerning Goldsmith work and career. Papers and photographs record the creation of the book Myron Goldsmith: Buildings and Concepts, edited by Swiss architect Werner Blaser and published by Rizzoli Publications in 1987. The updating of Goldsmith's theoretical views are apparent in the manuscript drafts and revisions of his two essays for the book - "The Effects of Scale," reworked from his I.I.T. master's thesis, and the newly composed "Structural Architecture." This series also contains documents concerning retrospective exhibitions on Goldsmith originating at Harvard University (1982), and at the Canadian Centre for Architecture (1991). This material includes papers, correspondence, exhibition panels and wall text panels. The inclusion of periodicals and clippings on the architect's work, and the work of his students, supply a good bibliographic background on the architect.
Publications and Exhibitions
Actions:
AP032.S4
Description:
This series contains material on publications and exhibitions concerning Goldsmith work and career. Papers and photographs record the creation of the book Myron Goldsmith: Buildings and Concepts, edited by Swiss architect Werner Blaser and published by Rizzoli Publications in 1987. The updating of Goldsmith's theoretical views are apparent in the manuscript drafts and revisions of his two essays for the book - "The Effects of Scale," reworked from his I.I.T. master's thesis, and the newly composed "Structural Architecture." This series also contains documents concerning retrospective exhibitions on Goldsmith originating at Harvard University (1982), and at the Canadian Centre for Architecture (1991). This material includes papers, correspondence, exhibition panels and wall text panels. The inclusion of periodicals and clippings on the architect's work, and the work of his students, supply a good bibliographic background on the architect.
Level of archival description:
Series 4
Series 4
Date:
1956-1991
1956-1991
People:
