3315 Results
Form:
drawings
drawings
Actions:
Reference number:
DR1988:0433:040
Description:
- 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.
DR1988:0433:040
Description:
- 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:
Sections and elevations for the cornice of the service wing, Fonthill House
Actions:
DR1988:0433:040
Description:
- 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.
Sections and elevations for the cornice of the service wing, Fonthill House
Actions:
DR1988:0433:040
Description:
- 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:
DR1988:0433:041
Description:
- 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.
DR1988:0433:041
Description:
- 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:
Profiles and an elevation for details of the stone work for Fonthill House
Actions:
DR1988:0433:041
Description:
- 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.
Profiles and an elevation for details of the stone work for Fonthill House
Actions:
DR1988:0433:041
Description:
- 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:
DR1988:0433:045
Description:
- 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.
DR1988:0433:045
Description:
- 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:
Sections and elevations for the cornice of the great tower for Fonthill House
Actions:
DR1988:0433:045
Description:
- 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.
Sections and elevations for the cornice of the great tower for Fonthill House
Actions:
DR1988:0433:045
Description:
- 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:
DR1990:0056
Description:
- This watercolour rendering depicts a welcome arch which spans the intersection of two streets. The arch is composed of a large central groin vaulted archway and four smaller groin vaulted archways. The central archway is supported by four compound piers and is surmounted by a dome on a drum. The smaller archways which are surmounted by turrets, span the sidewalks at the street corners and are each supported by a compound pier and three columns. The structure is embellished with Gothic-inspired features such as blind tracery and pointed arches as well as shields, including two inscribed with the letter "L", flags, floral garlands, the British royal coat of arms, a sheaf of wheat and possibly lights. Staffage indicates the large scale of the arch.
DR1990:0056
Description:
- This watercolour rendering depicts a welcome arch which spans the intersection of two streets. The arch is composed of a large central groin vaulted archway and four smaller groin vaulted archways. The central archway is supported by four compound piers and is surmounted by a dome on a drum. The smaller archways which are surmounted by turrets, span the sidewalks at the street corners and are each supported by a compound pier and three columns. The structure is embellished with Gothic-inspired features such as blind tracery and pointed arches as well as shields, including two inscribed with the letter "L", flags, floral garlands, the British royal coat of arms, a sheaf of wheat and possibly lights. Staffage indicates the large scale of the arch.
People:
Subject:
temporary architecture
temporary architecture
Date:
16 May 1879
16 May 1879
Title:
Perspective for a temporary welcome arch for the visit of the Marquess of Lorne and Princess Louise to Toronto, September 1879
Actions:
DR1990:0056
Description:
- This watercolour rendering depicts a welcome arch which spans the intersection of two streets. The arch is composed of a large central groin vaulted archway and four smaller groin vaulted archways. The central archway is supported by four compound piers and is surmounted by a dome on a drum. The smaller archways which are surmounted by turrets, span the sidewalks at the street corners and are each supported by a compound pier and three columns. The structure is embellished with Gothic-inspired features such as blind tracery and pointed arches as well as shields, including two inscribed with the letter "L", flags, floral garlands, the British royal coat of arms, a sheaf of wheat and possibly lights. Staffage indicates the large scale of the arch.
Perspective for a temporary welcome arch for the visit of the Marquess of Lorne and Princess Louise to Toronto, September 1879
Actions:
DR1990:0056
Description:
- This watercolour rendering depicts a welcome arch which spans the intersection of two streets. The arch is composed of a large central groin vaulted archway and four smaller groin vaulted archways. The central archway is supported by four compound piers and is surmounted by a dome on a drum. The smaller archways which are surmounted by turrets, span the sidewalks at the street corners and are each supported by a compound pier and three columns. The structure is embellished with Gothic-inspired features such as blind tracery and pointed arches as well as shields, including two inscribed with the letter "L", flags, floral garlands, the British royal coat of arms, a sheaf of wheat and possibly lights. Staffage indicates the large scale of the arch.
Form:
drawings
drawings
Date:
16 May 1879
16 May 1879
People:
Subject:
temporary architecture
temporary architecture
Form:
drawings
drawings
Actions:
Reference number:
DR1967:0010:001
Description:
- The two halves of this drawing show alternate stage sets from which the patron could make his choice. It is unclear whether this design was for a painted trompe-l'oeil stage backdrop and/or a constructed stage set. The deep unified space of the architectural interior and low vanishing point of the central landscape indicates that this part of the drawing is probably intended to be a painted trompe-l'oeil, however, the inscribed scale suggests that some of the architectural elements may have been constructed (Fuhring, 161 and 570). The prickings indicate that the overall design was intended to be executed. A crown above the central cartouche in drawing DR1967:0010:002 which is probably by the same hand, indicates a possible royal connection.
DR1967:0010:001
Description:
- The two halves of this drawing show alternate stage sets from which the patron could make his choice. It is unclear whether this design was for a painted trompe-l'oeil stage backdrop and/or a constructed stage set. The deep unified space of the architectural interior and low vanishing point of the central landscape indicates that this part of the drawing is probably intended to be a painted trompe-l'oeil, however, the inscribed scale suggests that some of the architectural elements may have been constructed (Fuhring, 161 and 570). The prickings indicate that the overall design was intended to be executed. A crown above the central cartouche in drawing DR1967:0010:002 which is probably by the same hand, indicates a possible royal connection.
People:
Subject:
theatre design, interior design
theatre design, interior design
Date:
probably between 1745-1775
probably between 1745-1775
Title:
Presentation drawing for a stage set with a central trompe-l'oeil landscape
Actions:
DR1967:0010:001
Description:
- The two halves of this drawing show alternate stage sets from which the patron could make his choice. It is unclear whether this design was for a painted trompe-l'oeil stage backdrop and/or a constructed stage set. The deep unified space of the architectural interior and low vanishing point of the central landscape indicates that this part of the drawing is probably intended to be a painted trompe-l'oeil, however, the inscribed scale suggests that some of the architectural elements may have been constructed (Fuhring, 161 and 570). The prickings indicate that the overall design was intended to be executed. A crown above the central cartouche in drawing DR1967:0010:002 which is probably by the same hand, indicates a possible royal connection.
Presentation drawing for a stage set with a central trompe-l'oeil landscape
Actions:
DR1967:0010:001
Description:
- The two halves of this drawing show alternate stage sets from which the patron could make his choice. It is unclear whether this design was for a painted trompe-l'oeil stage backdrop and/or a constructed stage set. The deep unified space of the architectural interior and low vanishing point of the central landscape indicates that this part of the drawing is probably intended to be a painted trompe-l'oeil, however, the inscribed scale suggests that some of the architectural elements may have been constructed (Fuhring, 161 and 570). The prickings indicate that the overall design was intended to be executed. A crown above the central cartouche in drawing DR1967:0010:002 which is probably by the same hand, indicates a possible royal connection.
Form:
drawings
drawings
Date:
probably between 1745-1775
probably between 1745-1775
People:
Subject:
theatre design, interior design
theatre design, interior design
Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Actions:
Reference number:
AP190
Synopsis:
The Preston Scott Cohen Eyebeam project records, 2001-2016, consist of 281 digital files that document the architect’s competition entry for the Eyebeam Atelier Museum in New York City, developed in 2001. The archive includes 154 digital models in Rhinoceros, 30 digital models in STL, approximately 90 digital images, one video, and a number of Illustrator, Photoshop, PDF, and Microsoft Word files.
AP190
Synopsis:
The Preston Scott Cohen Eyebeam project records, 2001-2016, consist of 281 digital files that document the architect’s competition entry for the Eyebeam Atelier Museum in New York City, developed in 2001. The archive includes 154 digital models in Rhinoceros, 30 digital models in STL, approximately 90 digital images, one video, and a number of Illustrator, Photoshop, PDF, and Microsoft Word files.
People:
Date:
2001-2016
2001-2016
Title:
Preston Scott Cohen Eyebeam project records
Actions:
AP190
Synopsis:
The Preston Scott Cohen Eyebeam project records, 2001-2016, consist of 281 digital files that document the architect’s competition entry for the Eyebeam Atelier Museum in New York City, developed in 2001. The archive includes 154 digital models in Rhinoceros, 30 digital models in STL, approximately 90 digital images, one video, and a number of Illustrator, Photoshop, PDF, and Microsoft Word files.
Preston Scott Cohen Eyebeam project records
Actions:
AP190
Synopsis:
The Preston Scott Cohen Eyebeam project records, 2001-2016, consist of 281 digital files that document the architect’s competition entry for the Eyebeam Atelier Museum in New York City, developed in 2001. The archive includes 154 digital models in Rhinoceros, 30 digital models in STL, approximately 90 digital images, one video, and a number of Illustrator, Photoshop, PDF, and Microsoft Word files.
Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Date:
2001-2016
2001-2016
People:
Level of archival description:
Project
Project
Actions:
Reference number:
AP018.S1.1981.PR16
Description:
This project series documents the construction of the Victoria and Grey Trust Company office in Stratford, Ontario from 1981-1984. The office identified the project number as 8116. This project consisted of an office building and computer center to be the new head office of Victoria and Grey Trust Company. Originally, the building was proposed as an eleven-storey office tower, but eventually the design was scaled back to five storeys with a basement and penthouse. Once construction commenced, the building became even shorter and included a parking garage. The building was located at 60 Erie Street. This project documents only the construction of this office building; the design was completed under a different project number assigned by the office (see project series AP018.S1.1980.PR14 in this fonds). The project is recorded through drawings, photographic materials and textual records dating from 1981-1984. The drawings are mostly reprographic copies arranged within the textual materials. There are some original detail drawings arranged within the textual materials. Some drawings were produced by architecture firm Routhwaite and Fairfield. The photographic materials show the construction progress of the project. The textual records consist of correspondence, conference and site reports, authority and detail documentation, financial documents, supplementary instructions, change orders and specifications.
AP018.S1.1981.PR16
Description:
This project series documents the construction of the Victoria and Grey Trust Company office in Stratford, Ontario from 1981-1984. The office identified the project number as 8116. This project consisted of an office building and computer center to be the new head office of Victoria and Grey Trust Company. Originally, the building was proposed as an eleven-storey office tower, but eventually the design was scaled back to five storeys with a basement and penthouse. Once construction commenced, the building became even shorter and included a parking garage. The building was located at 60 Erie Street. This project documents only the construction of this office building; the design was completed under a different project number assigned by the office (see project series AP018.S1.1980.PR14 in this fonds). The project is recorded through drawings, photographic materials and textual records dating from 1981-1984. The drawings are mostly reprographic copies arranged within the textual materials. There are some original detail drawings arranged within the textual materials. Some drawings were produced by architecture firm Routhwaite and Fairfield. The photographic materials show the construction progress of the project. The textual records consist of correspondence, conference and site reports, authority and detail documentation, financial documents, supplementary instructions, change orders and specifications.
People:
Date:
1981-1984
1981-1984
Title:
Victoria and Grey Trust Company, Head Office Construction, Stratford, Ontario (1981-1982)
Actions:
AP018.S1.1981.PR16
Description:
This project series documents the construction of the Victoria and Grey Trust Company office in Stratford, Ontario from 1981-1984. The office identified the project number as 8116. This project consisted of an office building and computer center to be the new head office of Victoria and Grey Trust Company. Originally, the building was proposed as an eleven-storey office tower, but eventually the design was scaled back to five storeys with a basement and penthouse. Once construction commenced, the building became even shorter and included a parking garage. The building was located at 60 Erie Street. This project documents only the construction of this office building; the design was completed under a different project number assigned by the office (see project series AP018.S1.1980.PR14 in this fonds). The project is recorded through drawings, photographic materials and textual records dating from 1981-1984. The drawings are mostly reprographic copies arranged within the textual materials. There are some original detail drawings arranged within the textual materials. Some drawings were produced by architecture firm Routhwaite and Fairfield. The photographic materials show the construction progress of the project. The textual records consist of correspondence, conference and site reports, authority and detail documentation, financial documents, supplementary instructions, change orders and specifications.
Victoria and Grey Trust Company, Head Office Construction, Stratford, Ontario (1981-1982)
Actions:
AP018.S1.1981.PR16
Description:
This project series documents the construction of the Victoria and Grey Trust Company office in Stratford, Ontario from 1981-1984. The office identified the project number as 8116. This project consisted of an office building and computer center to be the new head office of Victoria and Grey Trust Company. Originally, the building was proposed as an eleven-storey office tower, but eventually the design was scaled back to five storeys with a basement and penthouse. Once construction commenced, the building became even shorter and included a parking garage. The building was located at 60 Erie Street. This project documents only the construction of this office building; the design was completed under a different project number assigned by the office (see project series AP018.S1.1980.PR14 in this fonds). The project is recorded through drawings, photographic materials and textual records dating from 1981-1984. The drawings are mostly reprographic copies arranged within the textual materials. There are some original detail drawings arranged within the textual materials. Some drawings were produced by architecture firm Routhwaite and Fairfield. The photographic materials show the construction progress of the project. The textual records consist of correspondence, conference and site reports, authority and detail documentation, financial documents, supplementary instructions, change orders and specifications.
Level of archival description:
Project
Project
Date:
1981-1984
1981-1984
People:
Level of archival description:
Series
Series
Reference number:
AP175.S1
Description:
Series 1, Erasmus Bridge, Rotterdam, Netherlands, 1990-1996, documents the design, conception and construction of a third bridge for Rotterdam over the Nieuwe Maas River. The bridge connects the Kop van Zuid neighborhood, located on the south side of the river, to Willemsplein, located on the north side. The bridge is considered as a landmark in Rotterdam’s landscape. The Erasmus Bridge was a formative project in the thinking of UNStudio. It was originally supposed to be designed by architect Maarten Struijs who was the city of Rotterdam principal architect and who is responsible for the concept of the neighboring Willem Bridge. Ben van Berkel came later into the project and was hired as a designing consultant along with architect Wim Quist. Ben van Berkel proposed design was selected allowing him and his firm, which was called Van Berkel & Bos Architectuurbureau at that time, to supervise the conception and construction of the project, from the original concept to piers design to the selection of every item of bridge furniture such as traffic lights, bridge camera and handrails. The bridge was designed to fit the distinct character and industrial past of Rotterdam. The construction of this landmark was one component of a larger redevelopment project, coinciding with other major developments in the city of Rotterdam. The goal was to develop a dense urban intervention on the southern shore of the Nieuwe Maas, in the Kop van Zuid neighborhood. This explains the implication of UNStudio in the planning of urban configuration of the neighborhoods on both sides of the river and their work for Spido, a ferry company operating on the Nieuwe Maas, work spaces and parking garage. This commercial building was designed by the firm and also hosts The Grand Café and Jazz Café. This commercial building is integrated to one of the bridge pillar on the north shore of the river. For the design the firm used AutoCAD to work along with engineers and to conceptualize 3D models. They also used the software to evaluate the circulation flow of drivers, pedestrians and streetcars, measuring its impact on the structure and the urban configuration of the neighborhoods on both sides of the river. The records contain sketches for bridge and pier design, plans and sections for pier, Spido and bridge, architectural and construction details created by engineering companies for every component of the bridge, from drawbridge, to cable car system, to bridge furnitures such as traffic light, handrails and cameras and photographs documenting the research for precedent and the original configuration of the neighborhoods on both sides of the river. The record contains AutoCAD plans, details and sections for both the bridge and Spido parking garage. The records also contain one physical model: a small scale plastic, glass and metal model of the bridge.
AP175.S1
Description:
Series 1, Erasmus Bridge, Rotterdam, Netherlands, 1990-1996, documents the design, conception and construction of a third bridge for Rotterdam over the Nieuwe Maas River. The bridge connects the Kop van Zuid neighborhood, located on the south side of the river, to Willemsplein, located on the north side. The bridge is considered as a landmark in Rotterdam’s landscape. The Erasmus Bridge was a formative project in the thinking of UNStudio. It was originally supposed to be designed by architect Maarten Struijs who was the city of Rotterdam principal architect and who is responsible for the concept of the neighboring Willem Bridge. Ben van Berkel came later into the project and was hired as a designing consultant along with architect Wim Quist. Ben van Berkel proposed design was selected allowing him and his firm, which was called Van Berkel & Bos Architectuurbureau at that time, to supervise the conception and construction of the project, from the original concept to piers design to the selection of every item of bridge furniture such as traffic lights, bridge camera and handrails. The bridge was designed to fit the distinct character and industrial past of Rotterdam. The construction of this landmark was one component of a larger redevelopment project, coinciding with other major developments in the city of Rotterdam. The goal was to develop a dense urban intervention on the southern shore of the Nieuwe Maas, in the Kop van Zuid neighborhood. This explains the implication of UNStudio in the planning of urban configuration of the neighborhoods on both sides of the river and their work for Spido, a ferry company operating on the Nieuwe Maas, work spaces and parking garage. This commercial building was designed by the firm and also hosts The Grand Café and Jazz Café. This commercial building is integrated to one of the bridge pillar on the north shore of the river. For the design the firm used AutoCAD to work along with engineers and to conceptualize 3D models. They also used the software to evaluate the circulation flow of drivers, pedestrians and streetcars, measuring its impact on the structure and the urban configuration of the neighborhoods on both sides of the river. The records contain sketches for bridge and pier design, plans and sections for pier, Spido and bridge, architectural and construction details created by engineering companies for every component of the bridge, from drawbridge, to cable car system, to bridge furnitures such as traffic light, handrails and cameras and photographs documenting the research for precedent and the original configuration of the neighborhoods on both sides of the river. The record contains AutoCAD plans, details and sections for both the bridge and Spido parking garage. The records also contain one physical model: a small scale plastic, glass and metal model of the bridge.
People:
Date:
1990-1996
1990-1996
Title:
Erasmus Bridge, Rotterdam, Netherlands, 1990-1996
Actions:
AP175.S1
Description:
Series 1, Erasmus Bridge, Rotterdam, Netherlands, 1990-1996, documents the design, conception and construction of a third bridge for Rotterdam over the Nieuwe Maas River. The bridge connects the Kop van Zuid neighborhood, located on the south side of the river, to Willemsplein, located on the north side. The bridge is considered as a landmark in Rotterdam’s landscape. The Erasmus Bridge was a formative project in the thinking of UNStudio. It was originally supposed to be designed by architect Maarten Struijs who was the city of Rotterdam principal architect and who is responsible for the concept of the neighboring Willem Bridge. Ben van Berkel came later into the project and was hired as a designing consultant along with architect Wim Quist. Ben van Berkel proposed design was selected allowing him and his firm, which was called Van Berkel & Bos Architectuurbureau at that time, to supervise the conception and construction of the project, from the original concept to piers design to the selection of every item of bridge furniture such as traffic lights, bridge camera and handrails. The bridge was designed to fit the distinct character and industrial past of Rotterdam. The construction of this landmark was one component of a larger redevelopment project, coinciding with other major developments in the city of Rotterdam. The goal was to develop a dense urban intervention on the southern shore of the Nieuwe Maas, in the Kop van Zuid neighborhood. This explains the implication of UNStudio in the planning of urban configuration of the neighborhoods on both sides of the river and their work for Spido, a ferry company operating on the Nieuwe Maas, work spaces and parking garage. This commercial building was designed by the firm and also hosts The Grand Café and Jazz Café. This commercial building is integrated to one of the bridge pillar on the north shore of the river. For the design the firm used AutoCAD to work along with engineers and to conceptualize 3D models. They also used the software to evaluate the circulation flow of drivers, pedestrians and streetcars, measuring its impact on the structure and the urban configuration of the neighborhoods on both sides of the river. The records contain sketches for bridge and pier design, plans and sections for pier, Spido and bridge, architectural and construction details created by engineering companies for every component of the bridge, from drawbridge, to cable car system, to bridge furnitures such as traffic light, handrails and cameras and photographs documenting the research for precedent and the original configuration of the neighborhoods on both sides of the river. The record contains AutoCAD plans, details and sections for both the bridge and Spido parking garage. The records also contain one physical model: a small scale plastic, glass and metal model of the bridge.
Erasmus Bridge, Rotterdam, Netherlands, 1990-1996
Actions:
AP175.S1
Description:
Series 1, Erasmus Bridge, Rotterdam, Netherlands, 1990-1996, documents the design, conception and construction of a third bridge for Rotterdam over the Nieuwe Maas River. The bridge connects the Kop van Zuid neighborhood, located on the south side of the river, to Willemsplein, located on the north side. The bridge is considered as a landmark in Rotterdam’s landscape. The Erasmus Bridge was a formative project in the thinking of UNStudio. It was originally supposed to be designed by architect Maarten Struijs who was the city of Rotterdam principal architect and who is responsible for the concept of the neighboring Willem Bridge. Ben van Berkel came later into the project and was hired as a designing consultant along with architect Wim Quist. Ben van Berkel proposed design was selected allowing him and his firm, which was called Van Berkel & Bos Architectuurbureau at that time, to supervise the conception and construction of the project, from the original concept to piers design to the selection of every item of bridge furniture such as traffic lights, bridge camera and handrails. The bridge was designed to fit the distinct character and industrial past of Rotterdam. The construction of this landmark was one component of a larger redevelopment project, coinciding with other major developments in the city of Rotterdam. The goal was to develop a dense urban intervention on the southern shore of the Nieuwe Maas, in the Kop van Zuid neighborhood. This explains the implication of UNStudio in the planning of urban configuration of the neighborhoods on both sides of the river and their work for Spido, a ferry company operating on the Nieuwe Maas, work spaces and parking garage. This commercial building was designed by the firm and also hosts The Grand Café and Jazz Café. This commercial building is integrated to one of the bridge pillar on the north shore of the river. For the design the firm used AutoCAD to work along with engineers and to conceptualize 3D models. They also used the software to evaluate the circulation flow of drivers, pedestrians and streetcars, measuring its impact on the structure and the urban configuration of the neighborhoods on both sides of the river. The records contain sketches for bridge and pier design, plans and sections for pier, Spido and bridge, architectural and construction details created by engineering companies for every component of the bridge, from drawbridge, to cable car system, to bridge furnitures such as traffic light, handrails and cameras and photographs documenting the research for precedent and the original configuration of the neighborhoods on both sides of the river. The record contains AutoCAD plans, details and sections for both the bridge and Spido parking garage. The records also contain one physical model: a small scale plastic, glass and metal model of the bridge.
Level of archival description:
Series
Series
Date:
1990-1996
1990-1996
People:
Form:
exhibitions
exhibitions
Actions:
Description:
Created on the occasion of the Mois de la Photo à Montréal 2009, Canadian photographer Robert Burley’s Photographic Proof is a large-scale photographic installation on the north facade of the CCA. The mural reproduces a processed Polaroid photograph, symmetrically juxtaposing the negative and positive versions of the same image, and shows an unidentified crowd observing(...)
Created on the occasion of the Mois de la Photo à Montréal 2009, Canadian photographer Robert Burley’s Photographic Proof is a large-scale photographic installation on the north facade of the CCA. The mural reproduces a processed Polaroid photograph, symmetrically juxtaposing the negative and positive versions of the same image, and shows an unidentified crowd observing(...)
Location:
North façade
North façade
Date:
11 September 2009 to 19 October 2009
11 September 2009 to 19 October 2009
Title:
Robert Burley: Photographic Proof
Actions:
Description:
Created on the occasion of the Mois de la Photo à Montréal 2009, Canadian photographer Robert Burley’s Photographic Proof is a large-scale photographic installation on the north facade of the CCA. The mural reproduces a processed Polaroid photograph, symmetrically juxtaposing the negative and positive versions of the same image, and shows an unidentified crowd observing(...)
Robert Burley: Photographic Proof
Actions:
Description:
Created on the occasion of the Mois de la Photo à Montréal 2009, Canadian photographer Robert Burley’s Photographic Proof is a large-scale photographic installation on the north facade of the CCA. The mural reproduces a processed Polaroid photograph, symmetrically juxtaposing the negative and positive versions of the same image, and shows an unidentified crowd observing(...)
Form:
exhibitions
exhibitions
Date:
11 September 2009 to
19 October 2009
11 September 2009 to
19 October 2009
Location:
North façade
North façade
Form:
exhibitions
exhibitions
Actions:
Description:
The exhibition Robert Burley: The Disappearance of Darkness presents a series of photographs by Canadian artist Robert Burley, documenting the decline of traditional photographic equipment manufacturing brought on by new technologies. Since 2005, digital photographic technology has increasingly displaced its analog predecessor, resulting in a plummeting demand for(...)
The exhibition Robert Burley: The Disappearance of Darkness presents a series of photographs by Canadian artist Robert Burley, documenting the decline of traditional photographic equipment manufacturing brought on by new technologies. Since 2005, digital photographic technology has increasingly displaced its analog predecessor, resulting in a plummeting demand for(...)
Location:
Hall cases
Hall cases
Date:
11 September 2009 to 15 November 2009
11 September 2009 to 15 November 2009
Title:
Robert Burley: The Disappearance of Darkness
Actions:
Description:
The exhibition Robert Burley: The Disappearance of Darkness presents a series of photographs by Canadian artist Robert Burley, documenting the decline of traditional photographic equipment manufacturing brought on by new technologies. Since 2005, digital photographic technology has increasingly displaced its analog predecessor, resulting in a plummeting demand for(...)
Robert Burley: The Disappearance of Darkness
Actions:
Description:
The exhibition Robert Burley: The Disappearance of Darkness presents a series of photographs by Canadian artist Robert Burley, documenting the decline of traditional photographic equipment manufacturing brought on by new technologies. Since 2005, digital photographic technology has increasingly displaced its analog predecessor, resulting in a plummeting demand for(...)
Form:
exhibitions
exhibitions
Date:
11 September 2009 to
15 November 2009
11 September 2009 to
15 November 2009
Location:
Hall cases
Hall cases
