641 Results
Form:
photographs
photographs
Actions:
Reference number:
PH1980:1015:359
Description:
"His unexecuted diploma project in 1927 for the Lenin Institute and Library, Moscow, brought him international recognition. The scheme was prominently displayed at the Exhibition of Contemporary Architecture, Moscow, and was published in the OSA Group journal Sovremennaya arkhitektura." Ivan Leonidov [electronicsource] [cited 30 June 2009], available from: http://en.wikipedia.org/wiki/Ivan_leonidov; INTERNET.
PH1980:1015:359
Description:
"His unexecuted diploma project in 1927 for the Lenin Institute and Library, Moscow, brought him international recognition. The scheme was prominently displayed at the Exhibition of Contemporary Architecture, Moscow, and was published in the OSA Group journal Sovremennaya arkhitektura." Ivan Leonidov [electronicsource] [cited 30 June 2009], available from: http://en.wikipedia.org/wiki/Ivan_leonidov; INTERNET.
People:
Subject:
architecture
architecture
Date:
1927
1927
Title:
View of the diploma project model for the Lenin Institute and Library, Moscow, Russia (formerly U.S.S.R.)
Actions:
PH1980:1015:359
Description:
"His unexecuted diploma project in 1927 for the Lenin Institute and Library, Moscow, brought him international recognition. The scheme was prominently displayed at the Exhibition of Contemporary Architecture, Moscow, and was published in the OSA Group journal Sovremennaya arkhitektura." Ivan Leonidov [electronicsource] [cited 30 June 2009], available from: http://en.wikipedia.org/wiki/Ivan_leonidov; INTERNET.
View of the diploma project model for the Lenin Institute and Library, Moscow, Russia (formerly U.S.S.R.)
Actions:
PH1980:1015:359
Description:
"His unexecuted diploma project in 1927 for the Lenin Institute and Library, Moscow, brought him international recognition. The scheme was prominently displayed at the Exhibition of Contemporary Architecture, Moscow, and was published in the OSA Group journal Sovremennaya arkhitektura." Ivan Leonidov [electronicsource] [cited 30 June 2009], available from: http://en.wikipedia.org/wiki/Ivan_leonidov; INTERNET.
Form:
photographs
photographs
Date:
1927
1927
People:
Subject:
architecture
architecture
Form:
born digital
born digital
Actions:
Reference number:
AP184.S3.006
Description:
Complete contents of CD-R labeled "NYSE Executive Ramp 3DTF Display 20th August 2003 Asymptote Architecture". File includes an .iso disk image of the dual-formatted ISO-9660/HFS disk and digital files exported from the disk image using FTK Imager. Most common file formats: JPEG File Interchange Format.
AP184.S3.006
Description:
Complete contents of CD-R labeled "NYSE Executive Ramp 3DTF Display 20th August 2003 Asymptote Architecture". File includes an .iso disk image of the dual-formatted ISO-9660/HFS disk and digital files exported from the disk image using FTK Imager. Most common file formats: JPEG File Interchange Format.
People:
Date:
22 August 2003
22 August 2003
Title:
Digital files for presentation handout of Executive Ramp (1 of 2)
Actions:
AP184.S3.006
Description:
Complete contents of CD-R labeled "NYSE Executive Ramp 3DTF Display 20th August 2003 Asymptote Architecture". File includes an .iso disk image of the dual-formatted ISO-9660/HFS disk and digital files exported from the disk image using FTK Imager. Most common file formats: JPEG File Interchange Format.
Digital files for presentation handout of Executive Ramp (1 of 2)
Actions:
AP184.S3.006
Description:
Complete contents of CD-R labeled "NYSE Executive Ramp 3DTF Display 20th August 2003 Asymptote Architecture". File includes an .iso disk image of the dual-formatted ISO-9660/HFS disk and digital files exported from the disk image using FTK Imager. Most common file formats: JPEG File Interchange Format.
Form:
born digital
born digital
Date:
22 August 2003
22 August 2003
People:
Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Title:
John Bird fonds
John Bird fonds
Actions:
Reference number:
AP108
Synopsis:
The John Bird fonds documents the professional practice of the Westmount-based architect, and includes drawings and photographs of 24 architectural projects carried out in and around Montréal, Québec between 1954 and 1992. The fonds also contains a number of published articles that document John Bird's professional activities. Key projects that are represented include the Canadian Technical Tape Building, St. Laurent (1955-1963), Saint Gabriel's Church, Montréal (1959-1960), and Saint John Brebeuf Church, Lasalle (1962-1966). The fonds also includes numerous projects for Toronto-Dominion Bank buildings (1959-1992) as well as residential designs completed for the Central Mortgage and Housing Corporation (1956-1969).
AP108
Synopsis:
The John Bird fonds documents the professional practice of the Westmount-based architect, and includes drawings and photographs of 24 architectural projects carried out in and around Montréal, Québec between 1954 and 1992. The fonds also contains a number of published articles that document John Bird's professional activities. Key projects that are represented include the Canadian Technical Tape Building, St. Laurent (1955-1963), Saint Gabriel's Church, Montréal (1959-1960), and Saint John Brebeuf Church, Lasalle (1962-1966). The fonds also includes numerous projects for Toronto-Dominion Bank buildings (1959-1992) as well as residential designs completed for the Central Mortgage and Housing Corporation (1956-1969).
People:
Date:
1942 - 1992
1942 - 1992
Title:
John Bird fonds
Actions:
AP108
Synopsis:
The John Bird fonds documents the professional practice of the Westmount-based architect, and includes drawings and photographs of 24 architectural projects carried out in and around Montréal, Québec between 1954 and 1992. The fonds also contains a number of published articles that document John Bird's professional activities. Key projects that are represented include the Canadian Technical Tape Building, St. Laurent (1955-1963), Saint Gabriel's Church, Montréal (1959-1960), and Saint John Brebeuf Church, Lasalle (1962-1966). The fonds also includes numerous projects for Toronto-Dominion Bank buildings (1959-1992) as well as residential designs completed for the Central Mortgage and Housing Corporation (1956-1969).
John Bird fonds
Actions:
AP108
Synopsis:
The John Bird fonds documents the professional practice of the Westmount-based architect, and includes drawings and photographs of 24 architectural projects carried out in and around Montréal, Québec between 1954 and 1992. The fonds also contains a number of published articles that document John Bird's professional activities. Key projects that are represented include the Canadian Technical Tape Building, St. Laurent (1955-1963), Saint Gabriel's Church, Montréal (1959-1960), and Saint John Brebeuf Church, Lasalle (1962-1966). The fonds also includes numerous projects for Toronto-Dominion Bank buildings (1959-1992) as well as residential designs completed for the Central Mortgage and Housing Corporation (1956-1969).
Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Date:
1942 - 1992
1942 - 1992
People:
Form:
exhibitions
exhibitions
Actions:
Description:
During the Second World War, exhibitions and publications played a critical role in the war effort. They were organized internationally as moments of reflection and propaganda, productions of a disciplinary approach to architecture and urban design. This display springs from Jean-Louis Cohen’s research for Architecture in Uniform: Designing and Building for the Second(...)
During the Second World War, exhibitions and publications played a critical role in the war effort. They were organized internationally as moments of reflection and propaganda, productions of a disciplinary approach to architecture and urban design. This display springs from Jean-Louis Cohen’s research for Architecture in Uniform: Designing and Building for the Second(...)
Location:
Hall cases
Hall cases
Date:
13 April 2011 to 18 September 2011
13 April 2011 to 18 September 2011
Title:
A Paper War: Pictures and words, 1939-1945
Actions:
Description:
During the Second World War, exhibitions and publications played a critical role in the war effort. They were organized internationally as moments of reflection and propaganda, productions of a disciplinary approach to architecture and urban design. This display springs from Jean-Louis Cohen’s research for Architecture in Uniform: Designing and Building for the Second(...)
A Paper War: Pictures and words, 1939-1945
Actions:
Description:
During the Second World War, exhibitions and publications played a critical role in the war effort. They were organized internationally as moments of reflection and propaganda, productions of a disciplinary approach to architecture and urban design. This display springs from Jean-Louis Cohen’s research for Architecture in Uniform: Designing and Building for the Second(...)
Form:
exhibitions
exhibitions
Date:
13 April 2011 to
18 September 2011
13 April 2011 to
18 September 2011
Location:
Hall cases
Hall cases
Level of archival description:
Project
Project
Reference number:
CD034.S1.1974.PR01
Description:
This project series contains four reproductions of drawings displayed in the exhibit to document the neighbourhood Quinta do Bacalhau-Monte Coxo, in Lisbon, Portugal. The exhibit text explained the following: The project architect Manuel Vicente was already working on a design for the intervention in the Quintas de Bacalhau and Monte Coxo when he was co-opted by SAAL. The proposed typology referred to another ambitious urban project of 615 housing units, Quinta das Fonsecas - Quinta da Calçada neighbourhood by the architect Raúl Hestnes Ferreira. The intention was to bring the city to the outlying shanty town areas. None of these projects was carried out in full, and they are now fragmented and besieged by the traffic system without having produced any of the essential community and socialising facilities. In Bacalhau-Monte Coxo the structure of the internal patios reveals the ways in which the public space and community was organised. The architecture assigned importance to the facades, although access to the community courtyards was also a central design concept. In a 1976 interview, the architect himself argued that the release of bourgeois guilt allowed for spatial beauty, adopting the slogan 'Facades First' in defence of architectural design. In a way, this proposal anticipated the post-modern, although in a form that did not deny architecture's social engagement. The design emphasizes a strong idea of architectural autonomy, unfortunately only a part of the project was actually built. (The SAAL Process, Housing in Portugal 1974–76) Manuel Vicente worked for SAAL/Lisbon and Central South with the following collaborators: Afonso José Baptista, Agostinho Xavier de Andrade, António Albano Leitão, Cristina Catela Martins Pereira, Eduardo Serrano de Sousa, Gentil Noras, José Manuel Diniz Cabral Caldeira, Manuel Augusto Lopes de Sousa, Nuno Matos Silva, Rita Cabral and the resident association Cooperativa de Habitação Económica Portugal Novo, that was founded on September 6th, 1974. The team built 384 dwellings. The operation began in September 1974, with a construction date in January 1977. This project series contains reproductions of design development drawings and a cadastral plan. The original drawings were produced in 1974 or after and were reproduced in 2015 for the exhibit.
CD034.S1.1974.PR01
Description:
This project series contains four reproductions of drawings displayed in the exhibit to document the neighbourhood Quinta do Bacalhau-Monte Coxo, in Lisbon, Portugal. The exhibit text explained the following: The project architect Manuel Vicente was already working on a design for the intervention in the Quintas de Bacalhau and Monte Coxo when he was co-opted by SAAL. The proposed typology referred to another ambitious urban project of 615 housing units, Quinta das Fonsecas - Quinta da Calçada neighbourhood by the architect Raúl Hestnes Ferreira. The intention was to bring the city to the outlying shanty town areas. None of these projects was carried out in full, and they are now fragmented and besieged by the traffic system without having produced any of the essential community and socialising facilities. In Bacalhau-Monte Coxo the structure of the internal patios reveals the ways in which the public space and community was organised. The architecture assigned importance to the facades, although access to the community courtyards was also a central design concept. In a 1976 interview, the architect himself argued that the release of bourgeois guilt allowed for spatial beauty, adopting the slogan 'Facades First' in defence of architectural design. In a way, this proposal anticipated the post-modern, although in a form that did not deny architecture's social engagement. The design emphasizes a strong idea of architectural autonomy, unfortunately only a part of the project was actually built. (The SAAL Process, Housing in Portugal 1974–76) Manuel Vicente worked for SAAL/Lisbon and Central South with the following collaborators: Afonso José Baptista, Agostinho Xavier de Andrade, António Albano Leitão, Cristina Catela Martins Pereira, Eduardo Serrano de Sousa, Gentil Noras, José Manuel Diniz Cabral Caldeira, Manuel Augusto Lopes de Sousa, Nuno Matos Silva, Rita Cabral and the resident association Cooperativa de Habitação Económica Portugal Novo, that was founded on September 6th, 1974. The team built 384 dwellings. The operation began in September 1974, with a construction date in January 1977. This project series contains reproductions of design development drawings and a cadastral plan. The original drawings were produced in 1974 or after and were reproduced in 2015 for the exhibit.
People:
Date:
circa 1974
circa 1974
Title:
Bairro Quinta do Bacalhau–Monte Coxo, Lisbon
Actions:
CD034.S1.1974.PR01
Description:
This project series contains four reproductions of drawings displayed in the exhibit to document the neighbourhood Quinta do Bacalhau-Monte Coxo, in Lisbon, Portugal. The exhibit text explained the following: The project architect Manuel Vicente was already working on a design for the intervention in the Quintas de Bacalhau and Monte Coxo when he was co-opted by SAAL. The proposed typology referred to another ambitious urban project of 615 housing units, Quinta das Fonsecas - Quinta da Calçada neighbourhood by the architect Raúl Hestnes Ferreira. The intention was to bring the city to the outlying shanty town areas. None of these projects was carried out in full, and they are now fragmented and besieged by the traffic system without having produced any of the essential community and socialising facilities. In Bacalhau-Monte Coxo the structure of the internal patios reveals the ways in which the public space and community was organised. The architecture assigned importance to the facades, although access to the community courtyards was also a central design concept. In a 1976 interview, the architect himself argued that the release of bourgeois guilt allowed for spatial beauty, adopting the slogan 'Facades First' in defence of architectural design. In a way, this proposal anticipated the post-modern, although in a form that did not deny architecture's social engagement. The design emphasizes a strong idea of architectural autonomy, unfortunately only a part of the project was actually built. (The SAAL Process, Housing in Portugal 1974–76) Manuel Vicente worked for SAAL/Lisbon and Central South with the following collaborators: Afonso José Baptista, Agostinho Xavier de Andrade, António Albano Leitão, Cristina Catela Martins Pereira, Eduardo Serrano de Sousa, Gentil Noras, José Manuel Diniz Cabral Caldeira, Manuel Augusto Lopes de Sousa, Nuno Matos Silva, Rita Cabral and the resident association Cooperativa de Habitação Económica Portugal Novo, that was founded on September 6th, 1974. The team built 384 dwellings. The operation began in September 1974, with a construction date in January 1977. This project series contains reproductions of design development drawings and a cadastral plan. The original drawings were produced in 1974 or after and were reproduced in 2015 for the exhibit.
Bairro Quinta do Bacalhau–Monte Coxo, Lisbon
Actions:
CD034.S1.1974.PR01
Description:
This project series contains four reproductions of drawings displayed in the exhibit to document the neighbourhood Quinta do Bacalhau-Monte Coxo, in Lisbon, Portugal. The exhibit text explained the following: The project architect Manuel Vicente was already working on a design for the intervention in the Quintas de Bacalhau and Monte Coxo when he was co-opted by SAAL. The proposed typology referred to another ambitious urban project of 615 housing units, Quinta das Fonsecas - Quinta da Calçada neighbourhood by the architect Raúl Hestnes Ferreira. The intention was to bring the city to the outlying shanty town areas. None of these projects was carried out in full, and they are now fragmented and besieged by the traffic system without having produced any of the essential community and socialising facilities. In Bacalhau-Monte Coxo the structure of the internal patios reveals the ways in which the public space and community was organised. The architecture assigned importance to the facades, although access to the community courtyards was also a central design concept. In a 1976 interview, the architect himself argued that the release of bourgeois guilt allowed for spatial beauty, adopting the slogan 'Facades First' in defence of architectural design. In a way, this proposal anticipated the post-modern, although in a form that did not deny architecture's social engagement. The design emphasizes a strong idea of architectural autonomy, unfortunately only a part of the project was actually built. (The SAAL Process, Housing in Portugal 1974–76) Manuel Vicente worked for SAAL/Lisbon and Central South with the following collaborators: Afonso José Baptista, Agostinho Xavier de Andrade, António Albano Leitão, Cristina Catela Martins Pereira, Eduardo Serrano de Sousa, Gentil Noras, José Manuel Diniz Cabral Caldeira, Manuel Augusto Lopes de Sousa, Nuno Matos Silva, Rita Cabral and the resident association Cooperativa de Habitação Económica Portugal Novo, that was founded on September 6th, 1974. The team built 384 dwellings. The operation began in September 1974, with a construction date in January 1977. This project series contains reproductions of design development drawings and a cadastral plan. The original drawings were produced in 1974 or after and were reproduced in 2015 for the exhibit.
Level of archival description:
Project
Project
Date:
circa 1974
circa 1974
People:
Level of archival description:
Project
Project
Title:
Applausi [Applause] (1968)
Applausi [Applause] (1968)
Actions:
Reference number:
AP207.S1.1968.PR05
Description:
This project series documents Pettena's design for "Applausi", a suitcase split in half to create two flashing signs with the word "Applausi". The signs were designed for the music performance by Vittorio Gelmetti, "La descrittione del gran paese" a post-pop opera for which Pettena was also in charge of the scene direction. The performance was presented at the 6th Festival of Avant-Garde Music at the Teatro Biondo, in Palermo, in December 1968. The signs were placed on each side of the stage, toward the audience. "The text, together with others that indicated the piano, the singer and the cello, reminded the audience of the habits of an illiterate public participating in a televised show." [1] The "Applausi" signs were also presented in the exhibition "The living currency" in Varsaw, at the Teatr Dramatyczny in 2010, and at the 6th Berlin Biennale at the Hau1, Die lebende Münze, in 2010. The project series contains photographs of the 'Applausi' signs, a drawing of the sign, and a draft poster showing the display of the stage for Vittorio Gelmetti performance at the 6th Festival of Avant-Garde Music. The project series also includes photographs of the music performance, a video of Pettena and the sign at the Berlin Biennale in 2010, and project descriptions in English and Italian. Source: [1] Marco Scotini, editor. Non-conscious architecture: Gianni Pettena, Sternberg Press, 2018, 235 pages. p. 102.
AP207.S1.1968.PR05
Description:
This project series documents Pettena's design for "Applausi", a suitcase split in half to create two flashing signs with the word "Applausi". The signs were designed for the music performance by Vittorio Gelmetti, "La descrittione del gran paese" a post-pop opera for which Pettena was also in charge of the scene direction. The performance was presented at the 6th Festival of Avant-Garde Music at the Teatro Biondo, in Palermo, in December 1968. The signs were placed on each side of the stage, toward the audience. "The text, together with others that indicated the piano, the singer and the cello, reminded the audience of the habits of an illiterate public participating in a televised show." [1] The "Applausi" signs were also presented in the exhibition "The living currency" in Varsaw, at the Teatr Dramatyczny in 2010, and at the 6th Berlin Biennale at the Hau1, Die lebende Münze, in 2010. The project series contains photographs of the 'Applausi' signs, a drawing of the sign, and a draft poster showing the display of the stage for Vittorio Gelmetti performance at the 6th Festival of Avant-Garde Music. The project series also includes photographs of the music performance, a video of Pettena and the sign at the Berlin Biennale in 2010, and project descriptions in English and Italian. Source: [1] Marco Scotini, editor. Non-conscious architecture: Gianni Pettena, Sternberg Press, 2018, 235 pages. p. 102.
People:
Date:
circa 1968-2015
circa 1968-2015
Title:
Applausi [Applause] (1968)
Actions:
AP207.S1.1968.PR05
Description:
This project series documents Pettena's design for "Applausi", a suitcase split in half to create two flashing signs with the word "Applausi". The signs were designed for the music performance by Vittorio Gelmetti, "La descrittione del gran paese" a post-pop opera for which Pettena was also in charge of the scene direction. The performance was presented at the 6th Festival of Avant-Garde Music at the Teatro Biondo, in Palermo, in December 1968. The signs were placed on each side of the stage, toward the audience. "The text, together with others that indicated the piano, the singer and the cello, reminded the audience of the habits of an illiterate public participating in a televised show." [1] The "Applausi" signs were also presented in the exhibition "The living currency" in Varsaw, at the Teatr Dramatyczny in 2010, and at the 6th Berlin Biennale at the Hau1, Die lebende Münze, in 2010. The project series contains photographs of the 'Applausi' signs, a drawing of the sign, and a draft poster showing the display of the stage for Vittorio Gelmetti performance at the 6th Festival of Avant-Garde Music. The project series also includes photographs of the music performance, a video of Pettena and the sign at the Berlin Biennale in 2010, and project descriptions in English and Italian. Source: [1] Marco Scotini, editor. Non-conscious architecture: Gianni Pettena, Sternberg Press, 2018, 235 pages. p. 102.
Applausi [Applause] (1968)
Actions:
AP207.S1.1968.PR05
Description:
This project series documents Pettena's design for "Applausi", a suitcase split in half to create two flashing signs with the word "Applausi". The signs were designed for the music performance by Vittorio Gelmetti, "La descrittione del gran paese" a post-pop opera for which Pettena was also in charge of the scene direction. The performance was presented at the 6th Festival of Avant-Garde Music at the Teatro Biondo, in Palermo, in December 1968. The signs were placed on each side of the stage, toward the audience. "The text, together with others that indicated the piano, the singer and the cello, reminded the audience of the habits of an illiterate public participating in a televised show." [1] The "Applausi" signs were also presented in the exhibition "The living currency" in Varsaw, at the Teatr Dramatyczny in 2010, and at the 6th Berlin Biennale at the Hau1, Die lebende Münze, in 2010. The project series contains photographs of the 'Applausi' signs, a drawing of the sign, and a draft poster showing the display of the stage for Vittorio Gelmetti performance at the 6th Festival of Avant-Garde Music. The project series also includes photographs of the music performance, a video of Pettena and the sign at the Berlin Biennale in 2010, and project descriptions in English and Italian. Source: [1] Marco Scotini, editor. Non-conscious architecture: Gianni Pettena, Sternberg Press, 2018, 235 pages. p. 102.
Level of archival description:
Project
Project
Date:
circa 1968-2015
circa 1968-2015
People:
Level of archival description:
Project
Project
Reference number:
AP056.S1.1988.PR01
Description:
This project series documents an expansion of the Marc Laurent store at 110 Bloor Street West in Toronto in 1988. The office identified the project number as 18732. This project consisted of the westward expansion of the high-end retail store. The original design of the store was completed prior to the founding of KPMB, by Bruce Kuwabara and Thomas Payne in 1986. Connected by stairs, the original store was located at the street level, whereas this new space was located on a lower concourse level. The rack system that ran the perimeter of the store was continued in the extension and a new cash counter was added. This project also included the design of new display furnishings for the store. The project is recorded through original drawings and photographs dating from 1987 to around 1989. The drawings consist of sketches, plans, sections, axonometric drawings, elevations, details, and electrical drawings. Many of these drawings are for the store's furnishings and architectural elements such as stairs and walls. The photographs show the finished interiors.
AP056.S1.1988.PR01
Description:
This project series documents an expansion of the Marc Laurent store at 110 Bloor Street West in Toronto in 1988. The office identified the project number as 18732. This project consisted of the westward expansion of the high-end retail store. The original design of the store was completed prior to the founding of KPMB, by Bruce Kuwabara and Thomas Payne in 1986. Connected by stairs, the original store was located at the street level, whereas this new space was located on a lower concourse level. The rack system that ran the perimeter of the store was continued in the extension and a new cash counter was added. This project also included the design of new display furnishings for the store. The project is recorded through original drawings and photographs dating from 1987 to around 1989. The drawings consist of sketches, plans, sections, axonometric drawings, elevations, details, and electrical drawings. Many of these drawings are for the store's furnishings and architectural elements such as stairs and walls. The photographs show the finished interiors.
People:
Date:
1987-circa 1989
1987-circa 1989
Title:
Marc Laurent Store, Phase 2, Toronto (1988)
Actions:
AP056.S1.1988.PR01
Description:
This project series documents an expansion of the Marc Laurent store at 110 Bloor Street West in Toronto in 1988. The office identified the project number as 18732. This project consisted of the westward expansion of the high-end retail store. The original design of the store was completed prior to the founding of KPMB, by Bruce Kuwabara and Thomas Payne in 1986. Connected by stairs, the original store was located at the street level, whereas this new space was located on a lower concourse level. The rack system that ran the perimeter of the store was continued in the extension and a new cash counter was added. This project also included the design of new display furnishings for the store. The project is recorded through original drawings and photographs dating from 1987 to around 1989. The drawings consist of sketches, plans, sections, axonometric drawings, elevations, details, and electrical drawings. Many of these drawings are for the store's furnishings and architectural elements such as stairs and walls. The photographs show the finished interiors.
Marc Laurent Store, Phase 2, Toronto (1988)
Actions:
AP056.S1.1988.PR01
Description:
This project series documents an expansion of the Marc Laurent store at 110 Bloor Street West in Toronto in 1988. The office identified the project number as 18732. This project consisted of the westward expansion of the high-end retail store. The original design of the store was completed prior to the founding of KPMB, by Bruce Kuwabara and Thomas Payne in 1986. Connected by stairs, the original store was located at the street level, whereas this new space was located on a lower concourse level. The rack system that ran the perimeter of the store was continued in the extension and a new cash counter was added. This project also included the design of new display furnishings for the store. The project is recorded through original drawings and photographs dating from 1987 to around 1989. The drawings consist of sketches, plans, sections, axonometric drawings, elevations, details, and electrical drawings. Many of these drawings are for the store's furnishings and architectural elements such as stairs and walls. The photographs show the finished interiors.
Level of archival description:
Project
Project
Date:
1987-circa 1989
1987-circa 1989
People:
Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Reference number:
AP168
Synopsis:
The Neil Denari Interrupted Projections project records, 1994-2004 (predominant 1994-1996), document the development and installation of Denari’s show “Interrupted Projections” at Gallery MA in Tokyo, Japan. The archive consists of original born-digital files and a small amount of physical material, including drawings, transparencies, slides, and promotional materials.
AP168
Synopsis:
The Neil Denari Interrupted Projections project records, 1994-2004 (predominant 1994-1996), document the development and installation of Denari’s show “Interrupted Projections” at Gallery MA in Tokyo, Japan. The archive consists of original born-digital files and a small amount of physical material, including drawings, transparencies, slides, and promotional materials.
People:
Date:
1994-2004
1994-2004
Title:
Neil Denari Interrupted Projections project records
Actions:
AP168
Synopsis:
The Neil Denari Interrupted Projections project records, 1994-2004 (predominant 1994-1996), document the development and installation of Denari’s show “Interrupted Projections” at Gallery MA in Tokyo, Japan. The archive consists of original born-digital files and a small amount of physical material, including drawings, transparencies, slides, and promotional materials.
Neil Denari Interrupted Projections project records
Actions:
AP168
Synopsis:
The Neil Denari Interrupted Projections project records, 1994-2004 (predominant 1994-1996), document the development and installation of Denari’s show “Interrupted Projections” at Gallery MA in Tokyo, Japan. The archive consists of original born-digital files and a small amount of physical material, including drawings, transparencies, slides, and promotional materials.
Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Date:
1994-2004
1994-2004
People:
Level of archival description:
Project
Project
Reference number:
AP207.S1.1971.PR04
Description:
This project series documents Pettena's performance "Vestirsi Di Siede", also know in English as "Wearable Chairs". The performance was carried out between 3 pm and 5 pm on February 12, 1971, in the streets of Minneapolis by ten students of Pettena at the Minneapolis College of Art and Design. The students, each wearing a portable chair harnessed on their back, wandered around the city, either by foot or by bus, and than returned to the college. "In this performance, it was the body that activated and gave meaning to the object: the chair only taking on meaning when carried, otherwise, it became disjointed." [1] The chairs were then put on display at the Minneapolis Institute of Art. A second edition of the performance was also carried out with the students from Nuova Accademia di Belle Arti (NABA) in Milan, 2011, and an installation of the chairs was presented at the exhibition "Un art pauvre" at the Centre Pompidou in 2016. The project series contains photographs of the performance by the students of the Minneapolis College of Art and Design and photographs of the exhibit at the Minneapolis Institute of Art in 1971. It also contains three sketches for the chairs, a drawing of the performance and a statement about the perfomance. The project series also includes photographs of the performance of the NABA students in 2011. Source: [1] FRAC Centre-Val de Loire, http://www.frac-centre.fr/_en/art-and-architecture-collection/pettena-gianni/wearable-chairs-verstirsi-siede-317.html?authID=148&ensembleID=1286 (last accessed 11 November 2019)
AP207.S1.1971.PR04
Description:
This project series documents Pettena's performance "Vestirsi Di Siede", also know in English as "Wearable Chairs". The performance was carried out between 3 pm and 5 pm on February 12, 1971, in the streets of Minneapolis by ten students of Pettena at the Minneapolis College of Art and Design. The students, each wearing a portable chair harnessed on their back, wandered around the city, either by foot or by bus, and than returned to the college. "In this performance, it was the body that activated and gave meaning to the object: the chair only taking on meaning when carried, otherwise, it became disjointed." [1] The chairs were then put on display at the Minneapolis Institute of Art. A second edition of the performance was also carried out with the students from Nuova Accademia di Belle Arti (NABA) in Milan, 2011, and an installation of the chairs was presented at the exhibition "Un art pauvre" at the Centre Pompidou in 2016. The project series contains photographs of the performance by the students of the Minneapolis College of Art and Design and photographs of the exhibit at the Minneapolis Institute of Art in 1971. It also contains three sketches for the chairs, a drawing of the performance and a statement about the perfomance. The project series also includes photographs of the performance of the NABA students in 2011. Source: [1] FRAC Centre-Val de Loire, http://www.frac-centre.fr/_en/art-and-architecture-collection/pettena-gianni/wearable-chairs-verstirsi-siede-317.html?authID=148&ensembleID=1286 (last accessed 11 November 2019)
People:
Date:
1971-2017
1971-2017
Title:
Vestirsi Di Siede [Wearable Chairs] (1971)
Actions:
AP207.S1.1971.PR04
Description:
This project series documents Pettena's performance "Vestirsi Di Siede", also know in English as "Wearable Chairs". The performance was carried out between 3 pm and 5 pm on February 12, 1971, in the streets of Minneapolis by ten students of Pettena at the Minneapolis College of Art and Design. The students, each wearing a portable chair harnessed on their back, wandered around the city, either by foot or by bus, and than returned to the college. "In this performance, it was the body that activated and gave meaning to the object: the chair only taking on meaning when carried, otherwise, it became disjointed." [1] The chairs were then put on display at the Minneapolis Institute of Art. A second edition of the performance was also carried out with the students from Nuova Accademia di Belle Arti (NABA) in Milan, 2011, and an installation of the chairs was presented at the exhibition "Un art pauvre" at the Centre Pompidou in 2016. The project series contains photographs of the performance by the students of the Minneapolis College of Art and Design and photographs of the exhibit at the Minneapolis Institute of Art in 1971. It also contains three sketches for the chairs, a drawing of the performance and a statement about the perfomance. The project series also includes photographs of the performance of the NABA students in 2011. Source: [1] FRAC Centre-Val de Loire, http://www.frac-centre.fr/_en/art-and-architecture-collection/pettena-gianni/wearable-chairs-verstirsi-siede-317.html?authID=148&ensembleID=1286 (last accessed 11 November 2019)
Vestirsi Di Siede [Wearable Chairs] (1971)
Actions:
AP207.S1.1971.PR04
Description:
This project series documents Pettena's performance "Vestirsi Di Siede", also know in English as "Wearable Chairs". The performance was carried out between 3 pm and 5 pm on February 12, 1971, in the streets of Minneapolis by ten students of Pettena at the Minneapolis College of Art and Design. The students, each wearing a portable chair harnessed on their back, wandered around the city, either by foot or by bus, and than returned to the college. "In this performance, it was the body that activated and gave meaning to the object: the chair only taking on meaning when carried, otherwise, it became disjointed." [1] The chairs were then put on display at the Minneapolis Institute of Art. A second edition of the performance was also carried out with the students from Nuova Accademia di Belle Arti (NABA) in Milan, 2011, and an installation of the chairs was presented at the exhibition "Un art pauvre" at the Centre Pompidou in 2016. The project series contains photographs of the performance by the students of the Minneapolis College of Art and Design and photographs of the exhibit at the Minneapolis Institute of Art in 1971. It also contains three sketches for the chairs, a drawing of the performance and a statement about the perfomance. The project series also includes photographs of the performance of the NABA students in 2011. Source: [1] FRAC Centre-Val de Loire, http://www.frac-centre.fr/_en/art-and-architecture-collection/pettena-gianni/wearable-chairs-verstirsi-siede-317.html?authID=148&ensembleID=1286 (last accessed 11 November 2019)
Level of archival description:
Project
Project
Date:
1971-2017
1971-2017
People:
Level of archival description:
Project
Project
Title:
São Victor, Porto
São Victor, Porto
Actions:
Reference number:
CD034.S1.1974.PR04
Description:
This project series contains reproductions of photographs, drawings and panels displayed in the exhibit to document the São Victor neighbourhood, in Porto, Portugal. The exhibit text explained that: ... the group of 12 houses built for the São Victor neighbourhood was one of SAAL's most important operations, despite the fact that only a small part of the project was carried out. Maintaining the urban fabric of the 'ilhas' (islands) and their internal community ties, the São Victor design combined the responsiveness inherent in the participatory nature of the project with architectural and technical precision. An important case study, it led Álvaro Siza Vieira, the project architect, being invited to design projects in Berlin and The Hague in the following decade. In many aspects, São Victor represents an ethically and politically-minded architectural practice, with a stress on understanding the link between being responsive to the voice of the people and the permanence of architectural design. (The SAAL Process, Housing in Portugal 1974–76) Álvaro Siza worked for SAAL/North with Adalberto Dias, Domingos Tavares, Eduardo Souto de Moura, Francisco Guedes, Graça Nieto, Manuel Borges, Manuela Sambade, Paula Cabral and the residents' association S. Victor, that was founded on April 14th, 1975. The first phase of the project included 32 dwellings and the second, 20 dwellings. The operation began in November 1974, with a construction date in October 1975. This project series contains reproductions of design development drawings, exhibition panels and photographs. The original material was produced around 1974-1975 and were reproduced in 2015 for the exhibit.
CD034.S1.1974.PR04
Description:
This project series contains reproductions of photographs, drawings and panels displayed in the exhibit to document the São Victor neighbourhood, in Porto, Portugal. The exhibit text explained that: ... the group of 12 houses built for the São Victor neighbourhood was one of SAAL's most important operations, despite the fact that only a small part of the project was carried out. Maintaining the urban fabric of the 'ilhas' (islands) and their internal community ties, the São Victor design combined the responsiveness inherent in the participatory nature of the project with architectural and technical precision. An important case study, it led Álvaro Siza Vieira, the project architect, being invited to design projects in Berlin and The Hague in the following decade. In many aspects, São Victor represents an ethically and politically-minded architectural practice, with a stress on understanding the link between being responsive to the voice of the people and the permanence of architectural design. (The SAAL Process, Housing in Portugal 1974–76) Álvaro Siza worked for SAAL/North with Adalberto Dias, Domingos Tavares, Eduardo Souto de Moura, Francisco Guedes, Graça Nieto, Manuel Borges, Manuela Sambade, Paula Cabral and the residents' association S. Victor, that was founded on April 14th, 1975. The first phase of the project included 32 dwellings and the second, 20 dwellings. The operation began in November 1974, with a construction date in October 1975. This project series contains reproductions of design development drawings, exhibition panels and photographs. The original material was produced around 1974-1975 and were reproduced in 2015 for the exhibit.
People:
Date:
circa 1974-1975
circa 1974-1975
Title:
São Victor, Porto
Actions:
CD034.S1.1974.PR04
Description:
This project series contains reproductions of photographs, drawings and panels displayed in the exhibit to document the São Victor neighbourhood, in Porto, Portugal. The exhibit text explained that: ... the group of 12 houses built for the São Victor neighbourhood was one of SAAL's most important operations, despite the fact that only a small part of the project was carried out. Maintaining the urban fabric of the 'ilhas' (islands) and their internal community ties, the São Victor design combined the responsiveness inherent in the participatory nature of the project with architectural and technical precision. An important case study, it led Álvaro Siza Vieira, the project architect, being invited to design projects in Berlin and The Hague in the following decade. In many aspects, São Victor represents an ethically and politically-minded architectural practice, with a stress on understanding the link between being responsive to the voice of the people and the permanence of architectural design. (The SAAL Process, Housing in Portugal 1974–76) Álvaro Siza worked for SAAL/North with Adalberto Dias, Domingos Tavares, Eduardo Souto de Moura, Francisco Guedes, Graça Nieto, Manuel Borges, Manuela Sambade, Paula Cabral and the residents' association S. Victor, that was founded on April 14th, 1975. The first phase of the project included 32 dwellings and the second, 20 dwellings. The operation began in November 1974, with a construction date in October 1975. This project series contains reproductions of design development drawings, exhibition panels and photographs. The original material was produced around 1974-1975 and were reproduced in 2015 for the exhibit.
São Victor, Porto
Actions:
CD034.S1.1974.PR04
Description:
This project series contains reproductions of photographs, drawings and panels displayed in the exhibit to document the São Victor neighbourhood, in Porto, Portugal. The exhibit text explained that: ... the group of 12 houses built for the São Victor neighbourhood was one of SAAL's most important operations, despite the fact that only a small part of the project was carried out. Maintaining the urban fabric of the 'ilhas' (islands) and their internal community ties, the São Victor design combined the responsiveness inherent in the participatory nature of the project with architectural and technical precision. An important case study, it led Álvaro Siza Vieira, the project architect, being invited to design projects in Berlin and The Hague in the following decade. In many aspects, São Victor represents an ethically and politically-minded architectural practice, with a stress on understanding the link between being responsive to the voice of the people and the permanence of architectural design. (The SAAL Process, Housing in Portugal 1974–76) Álvaro Siza worked for SAAL/North with Adalberto Dias, Domingos Tavares, Eduardo Souto de Moura, Francisco Guedes, Graça Nieto, Manuel Borges, Manuela Sambade, Paula Cabral and the residents' association S. Victor, that was founded on April 14th, 1975. The first phase of the project included 32 dwellings and the second, 20 dwellings. The operation began in November 1974, with a construction date in October 1975. This project series contains reproductions of design development drawings, exhibition panels and photographs. The original material was produced around 1974-1975 and were reproduced in 2015 for the exhibit.
Level of archival description:
Project
Project
Date:
circa 1974-1975
circa 1974-1975
People:
