6031 Results
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events
events
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Description:
In this conversation, Kenneth Frampton (Columbia University) will discuss approaches to architectural history today with Esra Akcan (Cornell University) and Mark Jarzombek (Massachusetts Institute of Technology). What does it mean to write a global history of architecture now? What is the relationship between such a history and urgent contemporary concerns? During a(...)
In this conversation, Kenneth Frampton (Columbia University) will discuss approaches to architectural history today with Esra Akcan (Cornell University) and Mark Jarzombek (Massachusetts Institute of Technology). What does it mean to write a global history of architecture now? What is the relationship between such a history and urgent contemporary concerns? During a(...)
Date:
6 April 2017
6 April 2017
Title:
A Conversation with Kenneth Frampton: Can There Be a Global Architectural History Today?
Actions:
Description:
In this conversation, Kenneth Frampton (Columbia University) will discuss approaches to architectural history today with Esra Akcan (Cornell University) and Mark Jarzombek (Massachusetts Institute of Technology). What does it mean to write a global history of architecture now? What is the relationship between such a history and urgent contemporary concerns? During a(...)
A Conversation with Kenneth Frampton: Can There Be a Global Architectural History Today?
Actions:
Description:
In this conversation, Kenneth Frampton (Columbia University) will discuss approaches to architectural history today with Esra Akcan (Cornell University) and Mark Jarzombek (Massachusetts Institute of Technology). What does it mean to write a global history of architecture now? What is the relationship between such a history and urgent contemporary concerns? During a(...)
Form:
events
events
Date:
6 April 2017
6 April 2017
Level of archival description:
Project
Project
Actions:
Reference number:
AP018.S1.1982.PR07
Description:
This project series documents the design and construction of the Hamilton Trade Centre and Arena in Hamilton, Ontario from 1982-1985. The office identified the project number as 8207. The project consisted of a 60,000 square foot exhibition hall and arena, which had a capacity of 18,000. Opening in November 1985, the building was designed to host sports events (primarily hockey) and concerts. The project was reported to have cost $42 million. Along with Parkin Partnership as the architecture firm, John C. Parkin’s engineering company Parkin Engineers Ltd. worked as structural engineers on the project. The building, commissioned by the city of Hamilton, was officially called Copps Coliseum after the former Hamilton mayor, Victor Copps, who pushed for its creation throughout his career. In 2014, the name was changed to FirstOntario Centre. The project is recorded through reprographic copies of construction drawings, research, construction and presentation photographs, and textual records dating from 1982-1987. The textual records show design research, client correspondence, contractor work, specifications, publicity, and financial records. Any original drawings for this project are arranged within the textual records.
AP018.S1.1982.PR07
Description:
This project series documents the design and construction of the Hamilton Trade Centre and Arena in Hamilton, Ontario from 1982-1985. The office identified the project number as 8207. The project consisted of a 60,000 square foot exhibition hall and arena, which had a capacity of 18,000. Opening in November 1985, the building was designed to host sports events (primarily hockey) and concerts. The project was reported to have cost $42 million. Along with Parkin Partnership as the architecture firm, John C. Parkin’s engineering company Parkin Engineers Ltd. worked as structural engineers on the project. The building, commissioned by the city of Hamilton, was officially called Copps Coliseum after the former Hamilton mayor, Victor Copps, who pushed for its creation throughout his career. In 2014, the name was changed to FirstOntario Centre. The project is recorded through reprographic copies of construction drawings, research, construction and presentation photographs, and textual records dating from 1982-1987. The textual records show design research, client correspondence, contractor work, specifications, publicity, and financial records. Any original drawings for this project are arranged within the textual records.
People:
Date:
1982-1987
1982-1987
Title:
Hamilton Trade Centre and Arena, Hamilton, Ontario (1982-1985)
Actions:
AP018.S1.1982.PR07
Description:
This project series documents the design and construction of the Hamilton Trade Centre and Arena in Hamilton, Ontario from 1982-1985. The office identified the project number as 8207. The project consisted of a 60,000 square foot exhibition hall and arena, which had a capacity of 18,000. Opening in November 1985, the building was designed to host sports events (primarily hockey) and concerts. The project was reported to have cost $42 million. Along with Parkin Partnership as the architecture firm, John C. Parkin’s engineering company Parkin Engineers Ltd. worked as structural engineers on the project. The building, commissioned by the city of Hamilton, was officially called Copps Coliseum after the former Hamilton mayor, Victor Copps, who pushed for its creation throughout his career. In 2014, the name was changed to FirstOntario Centre. The project is recorded through reprographic copies of construction drawings, research, construction and presentation photographs, and textual records dating from 1982-1987. The textual records show design research, client correspondence, contractor work, specifications, publicity, and financial records. Any original drawings for this project are arranged within the textual records.
Hamilton Trade Centre and Arena, Hamilton, Ontario (1982-1985)
Actions:
AP018.S1.1982.PR07
Description:
This project series documents the design and construction of the Hamilton Trade Centre and Arena in Hamilton, Ontario from 1982-1985. The office identified the project number as 8207. The project consisted of a 60,000 square foot exhibition hall and arena, which had a capacity of 18,000. Opening in November 1985, the building was designed to host sports events (primarily hockey) and concerts. The project was reported to have cost $42 million. Along with Parkin Partnership as the architecture firm, John C. Parkin’s engineering company Parkin Engineers Ltd. worked as structural engineers on the project. The building, commissioned by the city of Hamilton, was officially called Copps Coliseum after the former Hamilton mayor, Victor Copps, who pushed for its creation throughout his career. In 2014, the name was changed to FirstOntario Centre. The project is recorded through reprographic copies of construction drawings, research, construction and presentation photographs, and textual records dating from 1982-1987. The textual records show design research, client correspondence, contractor work, specifications, publicity, and financial records. Any original drawings for this project are arranged within the textual records.
Level of archival description:
Project
Project
Date:
1982-1987
1982-1987
People:
Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Title:
Victor Prus fonds
Victor Prus fonds
Reference number:
AP163
Synopsis:
The Victor Prus fonds documents the professional practice of architect Victor Prus from student and professional work in England to architectural projects in Canada. The majority of the documents in the fonds consist of drawings and textual records relating to over 90 projects, such as Centre Rockland (1960), the Expo 67 Stadium (1967), the Grand Théâtre de Québec (1971) and the Palais des Congrès de Montréal (1983).
AP163
Synopsis:
The Victor Prus fonds documents the professional practice of architect Victor Prus from student and professional work in England to architectural projects in Canada. The majority of the documents in the fonds consist of drawings and textual records relating to over 90 projects, such as Centre Rockland (1960), the Expo 67 Stadium (1967), the Grand Théâtre de Québec (1971) and the Palais des Congrès de Montréal (1983).
People:
Date:
1945-1992
1945-1992
Title:
Victor Prus fonds
Actions:
AP163
Synopsis:
The Victor Prus fonds documents the professional practice of architect Victor Prus from student and professional work in England to architectural projects in Canada. The majority of the documents in the fonds consist of drawings and textual records relating to over 90 projects, such as Centre Rockland (1960), the Expo 67 Stadium (1967), the Grand Théâtre de Québec (1971) and the Palais des Congrès de Montréal (1983).
Victor Prus fonds
Actions:
AP163
Synopsis:
The Victor Prus fonds documents the professional practice of architect Victor Prus from student and professional work in England to architectural projects in Canada. The majority of the documents in the fonds consist of drawings and textual records relating to over 90 projects, such as Centre Rockland (1960), the Expo 67 Stadium (1967), the Grand Théâtre de Québec (1971) and the Palais des Congrès de Montréal (1983).
Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Date:
1945-1992
1945-1992
People:
Level of archival description:
Project
Project
Actions:
Reference number:
AP178.S1.1992.PR04
Description:
This project series documents the Helsenki Museum of Contemporary Art. While the records were held in the office’s archives this project was assigned the number 28/90. The office assigned the dates 1992-1993 to this project. For the 75th anniversary of the independence of the country, the Finnish government held a competition for the design of the Museum of Contemporary Art of Helsinki. The competition was exclusive to Scandinavian architects, with the exception of four invited architects, including Àlvaro Siza. Eduardo Souto de Moura collaborated with Siza on the design. The project site was located in the center of Helsinki, near the main post office and the Parliament. Siza decided to name the building Cometa. The proposal included exhibition spaces, teaching and public facilities, an auditorium, workrooms, workshops, storerooms, film studio, and spaces for the administration and archives. The showrooms were located on the first floor and most of the lighting was intended to come from natural light. The design proposed by Siza included the use of granite for the exterior of the building. Steven Holl was selected by the jury to built the museum. Documenting this project are floor plans, sections, elevations, and site plans. Textual material includes project documentation, competition documentation, and correspondence. Photographs and negatives document the project site.
AP178.S1.1992.PR04
Description:
This project series documents the Helsenki Museum of Contemporary Art. While the records were held in the office’s archives this project was assigned the number 28/90. The office assigned the dates 1992-1993 to this project. For the 75th anniversary of the independence of the country, the Finnish government held a competition for the design of the Museum of Contemporary Art of Helsinki. The competition was exclusive to Scandinavian architects, with the exception of four invited architects, including Àlvaro Siza. Eduardo Souto de Moura collaborated with Siza on the design. The project site was located in the center of Helsinki, near the main post office and the Parliament. Siza decided to name the building Cometa. The proposal included exhibition spaces, teaching and public facilities, an auditorium, workrooms, workshops, storerooms, film studio, and spaces for the administration and archives. The showrooms were located on the first floor and most of the lighting was intended to come from natural light. The design proposed by Siza included the use of granite for the exterior of the building. Steven Holl was selected by the jury to built the museum. Documenting this project are floor plans, sections, elevations, and site plans. Textual material includes project documentation, competition documentation, and correspondence. Photographs and negatives document the project site.
People:
Date:
1992-1993
1992-1993
Title:
Museu de Arte Contemporânea para Helsínquia [Helsenki Museum of Contemporary Art], Helsenki, Finland (1992-1993)
Actions:
AP178.S1.1992.PR04
Description:
This project series documents the Helsenki Museum of Contemporary Art. While the records were held in the office’s archives this project was assigned the number 28/90. The office assigned the dates 1992-1993 to this project. For the 75th anniversary of the independence of the country, the Finnish government held a competition for the design of the Museum of Contemporary Art of Helsinki. The competition was exclusive to Scandinavian architects, with the exception of four invited architects, including Àlvaro Siza. Eduardo Souto de Moura collaborated with Siza on the design. The project site was located in the center of Helsinki, near the main post office and the Parliament. Siza decided to name the building Cometa. The proposal included exhibition spaces, teaching and public facilities, an auditorium, workrooms, workshops, storerooms, film studio, and spaces for the administration and archives. The showrooms were located on the first floor and most of the lighting was intended to come from natural light. The design proposed by Siza included the use of granite for the exterior of the building. Steven Holl was selected by the jury to built the museum. Documenting this project are floor plans, sections, elevations, and site plans. Textual material includes project documentation, competition documentation, and correspondence. Photographs and negatives document the project site.
Museu de Arte Contemporânea para Helsínquia [Helsenki Museum of Contemporary Art], Helsenki, Finland (1992-1993)
Actions:
AP178.S1.1992.PR04
Description:
This project series documents the Helsenki Museum of Contemporary Art. While the records were held in the office’s archives this project was assigned the number 28/90. The office assigned the dates 1992-1993 to this project. For the 75th anniversary of the independence of the country, the Finnish government held a competition for the design of the Museum of Contemporary Art of Helsinki. The competition was exclusive to Scandinavian architects, with the exception of four invited architects, including Àlvaro Siza. Eduardo Souto de Moura collaborated with Siza on the design. The project site was located in the center of Helsinki, near the main post office and the Parliament. Siza decided to name the building Cometa. The proposal included exhibition spaces, teaching and public facilities, an auditorium, workrooms, workshops, storerooms, film studio, and spaces for the administration and archives. The showrooms were located on the first floor and most of the lighting was intended to come from natural light. The design proposed by Siza included the use of granite for the exterior of the building. Steven Holl was selected by the jury to built the museum. Documenting this project are floor plans, sections, elevations, and site plans. Textual material includes project documentation, competition documentation, and correspondence. Photographs and negatives document the project site.
Level of archival description:
Project
Project
Date:
1992-1993
1992-1993
People:
Level of archival description:
Series
Series
Actions:
Reference number:
AP179.S1
Description:
Series 1, Casa La Roca, Caracas, Venezuela, 1995 – 2001, documents the development of a project (unrealized) for a residential home situated among the hills at the southern edge of Caracas. The majority of records were produced between 1995 and 1997. The series consists of sketches, drawings and reprographic copies for the conceptual and design development phases of the project, a wood model and model pieces, photographs of the site, and textual records including correspondence and zoning records. The series also contains an oversized banner printed with an image of the model that was featured in the Fabrications exhibition at the Museum of Modern Art, New York, in 1998, as well as plans for the show. The digital material in this series consists of an animated rendering of the brick patio wall and photographs of the physical drawings and the model for Casa La Roca. The name of the project, Casa la Roca (in English, “the rock house”), is derived from a large mass of rock that occupies the back of the property. The design utilizes the presence of the rock, in combination with sliding glass doors and windows, to create an “outdoor room” that functions both as a living space and back yard. The design also incorporates the nature of the site through the use of materials such as terracotta block, brick, and tile.
AP179.S1
Description:
Series 1, Casa La Roca, Caracas, Venezuela, 1995 – 2001, documents the development of a project (unrealized) for a residential home situated among the hills at the southern edge of Caracas. The majority of records were produced between 1995 and 1997. The series consists of sketches, drawings and reprographic copies for the conceptual and design development phases of the project, a wood model and model pieces, photographs of the site, and textual records including correspondence and zoning records. The series also contains an oversized banner printed with an image of the model that was featured in the Fabrications exhibition at the Museum of Modern Art, New York, in 1998, as well as plans for the show. The digital material in this series consists of an animated rendering of the brick patio wall and photographs of the physical drawings and the model for Casa La Roca. The name of the project, Casa la Roca (in English, “the rock house”), is derived from a large mass of rock that occupies the back of the property. The design utilizes the presence of the rock, in combination with sliding glass doors and windows, to create an “outdoor room” that functions both as a living space and back yard. The design also incorporates the nature of the site through the use of materials such as terracotta block, brick, and tile.
People:
Date:
1995 - 2001
1995 - 2001
Title:
Casa La Roca, Caracas, Venezuela (1995 - 2001)
Actions:
AP179.S1
Description:
Series 1, Casa La Roca, Caracas, Venezuela, 1995 – 2001, documents the development of a project (unrealized) for a residential home situated among the hills at the southern edge of Caracas. The majority of records were produced between 1995 and 1997. The series consists of sketches, drawings and reprographic copies for the conceptual and design development phases of the project, a wood model and model pieces, photographs of the site, and textual records including correspondence and zoning records. The series also contains an oversized banner printed with an image of the model that was featured in the Fabrications exhibition at the Museum of Modern Art, New York, in 1998, as well as plans for the show. The digital material in this series consists of an animated rendering of the brick patio wall and photographs of the physical drawings and the model for Casa La Roca. The name of the project, Casa la Roca (in English, “the rock house”), is derived from a large mass of rock that occupies the back of the property. The design utilizes the presence of the rock, in combination with sliding glass doors and windows, to create an “outdoor room” that functions both as a living space and back yard. The design also incorporates the nature of the site through the use of materials such as terracotta block, brick, and tile.
Casa La Roca, Caracas, Venezuela (1995 - 2001)
Actions:
AP179.S1
Description:
Series 1, Casa La Roca, Caracas, Venezuela, 1995 – 2001, documents the development of a project (unrealized) for a residential home situated among the hills at the southern edge of Caracas. The majority of records were produced between 1995 and 1997. The series consists of sketches, drawings and reprographic copies for the conceptual and design development phases of the project, a wood model and model pieces, photographs of the site, and textual records including correspondence and zoning records. The series also contains an oversized banner printed with an image of the model that was featured in the Fabrications exhibition at the Museum of Modern Art, New York, in 1998, as well as plans for the show. The digital material in this series consists of an animated rendering of the brick patio wall and photographs of the physical drawings and the model for Casa La Roca. The name of the project, Casa la Roca (in English, “the rock house”), is derived from a large mass of rock that occupies the back of the property. The design utilizes the presence of the rock, in combination with sliding glass doors and windows, to create an “outdoor room” that functions both as a living space and back yard. The design also incorporates the nature of the site through the use of materials such as terracotta block, brick, and tile.
Level of archival description:
Series
Series
Date:
1995 - 2001
1995 - 2001
People:
Level of archival description:
Series
Series
Title:
Project records from Mr. Koz
Project records from Mr. Koz
Actions:
Reference number:
AP168.S2
Description:
The Project records from Mr. Koz series, 1996, consists of records produced by Seiichi Kozu of Studio KOZ, a local architect who managed the physical construction and installation of Denari’s show “Interrupted Projections” at Gallery MA in Tokyo, Japan. The series consists of 20 drawings and/or reprographic copies, 19 layouts, 16 slides, and a small amount of promotional material including three posters and one promotional pamphlet. Records date from 1996. For Interrupted Projections, in collaboration with Tokyo-based architect Seiichi Kozu (Mr. Koz) of Studio KOZ, Denari used traditional construction techniques to build a structure inside the gallery space that blended floor, wall and ceiling into a continuous curved surface. This surface displayed printed logos for fictional corporations, designed specifically for the exhibition. The majority of drawings and reprographic copies in the series relate to the construction of the principal architectural installation built on the third floor of Gallery MA. This includes plans and sections for the third floor, as well as working drawings that detail specifications such as dimensions, materials, layouts, and assembly techniques. The series also contains a set of five drawings that include first and second floor plans and sections of Gallery MA. The majority of writing on the drawings is Japanese, aside from one reprographic copy with third floor plans and sections that contains notes in English about elements of the installation such as lighting and the placement and size of fictional company logos. Photographic materials in the series comprise 16 slides that contain images of the built installation, as well as images of the exhibition open to the public, including slides of visitors interacting with the NaviCam. The series also includes printed layouts of the 3D digital renderings for the Interrupted Projections model alongside a pantone sheet, which were used as a reference during the construction process. Promotional material in the series includes three small posters for the exhibition, as well as a brochure that highlights selected works from the show.
AP168.S2
Description:
The Project records from Mr. Koz series, 1996, consists of records produced by Seiichi Kozu of Studio KOZ, a local architect who managed the physical construction and installation of Denari’s show “Interrupted Projections” at Gallery MA in Tokyo, Japan. The series consists of 20 drawings and/or reprographic copies, 19 layouts, 16 slides, and a small amount of promotional material including three posters and one promotional pamphlet. Records date from 1996. For Interrupted Projections, in collaboration with Tokyo-based architect Seiichi Kozu (Mr. Koz) of Studio KOZ, Denari used traditional construction techniques to build a structure inside the gallery space that blended floor, wall and ceiling into a continuous curved surface. This surface displayed printed logos for fictional corporations, designed specifically for the exhibition. The majority of drawings and reprographic copies in the series relate to the construction of the principal architectural installation built on the third floor of Gallery MA. This includes plans and sections for the third floor, as well as working drawings that detail specifications such as dimensions, materials, layouts, and assembly techniques. The series also contains a set of five drawings that include first and second floor plans and sections of Gallery MA. The majority of writing on the drawings is Japanese, aside from one reprographic copy with third floor plans and sections that contains notes in English about elements of the installation such as lighting and the placement and size of fictional company logos. Photographic materials in the series comprise 16 slides that contain images of the built installation, as well as images of the exhibition open to the public, including slides of visitors interacting with the NaviCam. The series also includes printed layouts of the 3D digital renderings for the Interrupted Projections model alongside a pantone sheet, which were used as a reference during the construction process. Promotional material in the series includes three small posters for the exhibition, as well as a brochure that highlights selected works from the show.
People:
Date:
1996
1996
Title:
Project records from Mr. Koz
Actions:
AP168.S2
Description:
The Project records from Mr. Koz series, 1996, consists of records produced by Seiichi Kozu of Studio KOZ, a local architect who managed the physical construction and installation of Denari’s show “Interrupted Projections” at Gallery MA in Tokyo, Japan. The series consists of 20 drawings and/or reprographic copies, 19 layouts, 16 slides, and a small amount of promotional material including three posters and one promotional pamphlet. Records date from 1996. For Interrupted Projections, in collaboration with Tokyo-based architect Seiichi Kozu (Mr. Koz) of Studio KOZ, Denari used traditional construction techniques to build a structure inside the gallery space that blended floor, wall and ceiling into a continuous curved surface. This surface displayed printed logos for fictional corporations, designed specifically for the exhibition. The majority of drawings and reprographic copies in the series relate to the construction of the principal architectural installation built on the third floor of Gallery MA. This includes plans and sections for the third floor, as well as working drawings that detail specifications such as dimensions, materials, layouts, and assembly techniques. The series also contains a set of five drawings that include first and second floor plans and sections of Gallery MA. The majority of writing on the drawings is Japanese, aside from one reprographic copy with third floor plans and sections that contains notes in English about elements of the installation such as lighting and the placement and size of fictional company logos. Photographic materials in the series comprise 16 slides that contain images of the built installation, as well as images of the exhibition open to the public, including slides of visitors interacting with the NaviCam. The series also includes printed layouts of the 3D digital renderings for the Interrupted Projections model alongside a pantone sheet, which were used as a reference during the construction process. Promotional material in the series includes three small posters for the exhibition, as well as a brochure that highlights selected works from the show.
Project records from Mr. Koz
Actions:
AP168.S2
Description:
The Project records from Mr. Koz series, 1996, consists of records produced by Seiichi Kozu of Studio KOZ, a local architect who managed the physical construction and installation of Denari’s show “Interrupted Projections” at Gallery MA in Tokyo, Japan. The series consists of 20 drawings and/or reprographic copies, 19 layouts, 16 slides, and a small amount of promotional material including three posters and one promotional pamphlet. Records date from 1996. For Interrupted Projections, in collaboration with Tokyo-based architect Seiichi Kozu (Mr. Koz) of Studio KOZ, Denari used traditional construction techniques to build a structure inside the gallery space that blended floor, wall and ceiling into a continuous curved surface. This surface displayed printed logos for fictional corporations, designed specifically for the exhibition. The majority of drawings and reprographic copies in the series relate to the construction of the principal architectural installation built on the third floor of Gallery MA. This includes plans and sections for the third floor, as well as working drawings that detail specifications such as dimensions, materials, layouts, and assembly techniques. The series also contains a set of five drawings that include first and second floor plans and sections of Gallery MA. The majority of writing on the drawings is Japanese, aside from one reprographic copy with third floor plans and sections that contains notes in English about elements of the installation such as lighting and the placement and size of fictional company logos. Photographic materials in the series comprise 16 slides that contain images of the built installation, as well as images of the exhibition open to the public, including slides of visitors interacting with the NaviCam. The series also includes printed layouts of the 3D digital renderings for the Interrupted Projections model alongside a pantone sheet, which were used as a reference during the construction process. Promotional material in the series includes three small posters for the exhibition, as well as a brochure that highlights selected works from the show.
Level of archival description:
Series
Series
Date:
1996
1996
People:
Form:
exhibitions
exhibitions
Actions:
Description:
Cornelia Hahn Oberlander: Ecological Landscapes demonstrates Oberlanders pioneering vision of socially conscious and environmentally sustainable landscape design in Canada. The exhibition presents a selection of projects executed in Ottawa, Toronto, Vancouver, Yellowknife, and Berlin over a period of more than 30 years. Drawings and writings from the CCA’s Oberlander(...)
Cornelia Hahn Oberlander: Ecological Landscapes demonstrates Oberlanders pioneering vision of socially conscious and environmentally sustainable landscape design in Canada. The exhibition presents a selection of projects executed in Ottawa, Toronto, Vancouver, Yellowknife, and Berlin over a period of more than 30 years. Drawings and writings from the CCA’s Oberlander(...)
Location:
Octagonal gallery
Octagonal gallery
Date:
11 May 2006 to 30 July 2006
11 May 2006 to 30 July 2006
Title:
Cornelia Hahn Oberlander: Ecological Landscapes
Actions:
Description:
Cornelia Hahn Oberlander: Ecological Landscapes demonstrates Oberlanders pioneering vision of socially conscious and environmentally sustainable landscape design in Canada. The exhibition presents a selection of projects executed in Ottawa, Toronto, Vancouver, Yellowknife, and Berlin over a period of more than 30 years. Drawings and writings from the CCA’s Oberlander(...)
Cornelia Hahn Oberlander: Ecological Landscapes
Actions:
Description:
Cornelia Hahn Oberlander: Ecological Landscapes demonstrates Oberlanders pioneering vision of socially conscious and environmentally sustainable landscape design in Canada. The exhibition presents a selection of projects executed in Ottawa, Toronto, Vancouver, Yellowknife, and Berlin over a period of more than 30 years. Drawings and writings from the CCA’s Oberlander(...)
Form:
exhibitions
exhibitions
Date:
11 May 2006 to
30 July 2006
11 May 2006 to
30 July 2006
Location:
Octagonal gallery
Octagonal gallery
Level of archival description:
Project
Project
Actions:
Reference number:
AP207.S1.2017.PR01
Description:
The project series documents the installation "Levitazione" designed by Pettena and presented at the Fattoria Montellori in Fucecchio near Florence, in 2017. The installation used the existing wooden roof structure of the exhibition space to hang wood beams from it giving the impression of tree trunks with roots. For Pettena, the installation is "a story telling about the wish for a synthesis in the relationship between nature and artifice as well as between emotion and reason, between project strategies and laws of nature." [1] The project series contains sketches, drawings and two photographs of the installation. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/nat-levitation-2017/ (last accessed 28 January 2020)
AP207.S1.2017.PR01
Description:
The project series documents the installation "Levitazione" designed by Pettena and presented at the Fattoria Montellori in Fucecchio near Florence, in 2017. The installation used the existing wooden roof structure of the exhibition space to hang wood beams from it giving the impression of tree trunks with roots. For Pettena, the installation is "a story telling about the wish for a synthesis in the relationship between nature and artifice as well as between emotion and reason, between project strategies and laws of nature." [1] The project series contains sketches, drawings and two photographs of the installation. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/nat-levitation-2017/ (last accessed 28 January 2020)
People:
Date:
circa 2017
circa 2017
Title:
Levitazione [Levitation] (2017)
Actions:
AP207.S1.2017.PR01
Description:
The project series documents the installation "Levitazione" designed by Pettena and presented at the Fattoria Montellori in Fucecchio near Florence, in 2017. The installation used the existing wooden roof structure of the exhibition space to hang wood beams from it giving the impression of tree trunks with roots. For Pettena, the installation is "a story telling about the wish for a synthesis in the relationship between nature and artifice as well as between emotion and reason, between project strategies and laws of nature." [1] The project series contains sketches, drawings and two photographs of the installation. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/nat-levitation-2017/ (last accessed 28 January 2020)
Levitazione [Levitation] (2017)
Actions:
AP207.S1.2017.PR01
Description:
The project series documents the installation "Levitazione" designed by Pettena and presented at the Fattoria Montellori in Fucecchio near Florence, in 2017. The installation used the existing wooden roof structure of the exhibition space to hang wood beams from it giving the impression of tree trunks with roots. For Pettena, the installation is "a story telling about the wish for a synthesis in the relationship between nature and artifice as well as between emotion and reason, between project strategies and laws of nature." [1] The project series contains sketches, drawings and two photographs of the installation. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/nat-levitation-2017/ (last accessed 28 January 2020)
Level of archival description:
Project
Project
Date:
circa 2017
circa 2017
People:
Level of archival description:
Project
Project
Reference number:
AP178.S1.1983.PR02
Description:
The project series documents the 1983 design entry for the competition of the Prinz-Albrecht-Palais Monument to Gestapo victims. While the records were held in the office’s archives this project was assigned the number 18/80. The office assigned the date 1983 for this project. This project was submitted to the International Architectural Exhibition Berlin competition (International Bauaustellung, IBA, circa 1979-1987), an urban renewal strategy for West Berlin, Germany. Siza had previously submitted four other projects to this competition: the Görtlitzer Bad swimming pool, Block 70 and 89 (Fränkelufer residential complex), Bonjour Tristesse (Block 121), and Block 11-12. He would also submit a design proposal to the IBA competition for the Kulturforum. According to the documentation from the IBA competition, entries for the memorial were to include a pedestrian walkway that cut through the memorial parallel to Schöneberger strasse leading to Kochstrasse. Entries were also to include a playground and along Stresemann strasse there was to be the addition of a two storey building and a corner building. Other requested components included a parking lot and a partial reconstruction of the Fine Arts School. Documenting the design proposal are conceptual and design development drawings, including studies, a site axonometric drawing, ground plan, site plan and north, south, and east elevations. Also included is textual documentation on the competition as well as correspondence from IBA officials such as Marion Wilbert. Photographic materials consist of slides of plans, sections and elevations.
AP178.S1.1983.PR02
Description:
The project series documents the 1983 design entry for the competition of the Prinz-Albrecht-Palais Monument to Gestapo victims. While the records were held in the office’s archives this project was assigned the number 18/80. The office assigned the date 1983 for this project. This project was submitted to the International Architectural Exhibition Berlin competition (International Bauaustellung, IBA, circa 1979-1987), an urban renewal strategy for West Berlin, Germany. Siza had previously submitted four other projects to this competition: the Görtlitzer Bad swimming pool, Block 70 and 89 (Fränkelufer residential complex), Bonjour Tristesse (Block 121), and Block 11-12. He would also submit a design proposal to the IBA competition for the Kulturforum. According to the documentation from the IBA competition, entries for the memorial were to include a pedestrian walkway that cut through the memorial parallel to Schöneberger strasse leading to Kochstrasse. Entries were also to include a playground and along Stresemann strasse there was to be the addition of a two storey building and a corner building. Other requested components included a parking lot and a partial reconstruction of the Fine Arts School. Documenting the design proposal are conceptual and design development drawings, including studies, a site axonometric drawing, ground plan, site plan and north, south, and east elevations. Also included is textual documentation on the competition as well as correspondence from IBA officials such as Marion Wilbert. Photographic materials consist of slides of plans, sections and elevations.
People:
Date:
1983-1984
1983-1984
Title:
Monumento às vítimas da Gestapo [Monument to Gestapo victims], Prinz-Albrecht-Palais, Berlin, Germany (1983)
Actions:
AP178.S1.1983.PR02
Description:
The project series documents the 1983 design entry for the competition of the Prinz-Albrecht-Palais Monument to Gestapo victims. While the records were held in the office’s archives this project was assigned the number 18/80. The office assigned the date 1983 for this project. This project was submitted to the International Architectural Exhibition Berlin competition (International Bauaustellung, IBA, circa 1979-1987), an urban renewal strategy for West Berlin, Germany. Siza had previously submitted four other projects to this competition: the Görtlitzer Bad swimming pool, Block 70 and 89 (Fränkelufer residential complex), Bonjour Tristesse (Block 121), and Block 11-12. He would also submit a design proposal to the IBA competition for the Kulturforum. According to the documentation from the IBA competition, entries for the memorial were to include a pedestrian walkway that cut through the memorial parallel to Schöneberger strasse leading to Kochstrasse. Entries were also to include a playground and along Stresemann strasse there was to be the addition of a two storey building and a corner building. Other requested components included a parking lot and a partial reconstruction of the Fine Arts School. Documenting the design proposal are conceptual and design development drawings, including studies, a site axonometric drawing, ground plan, site plan and north, south, and east elevations. Also included is textual documentation on the competition as well as correspondence from IBA officials such as Marion Wilbert. Photographic materials consist of slides of plans, sections and elevations.
Monumento às vítimas da Gestapo [Monument to Gestapo victims], Prinz-Albrecht-Palais, Berlin, Germany (1983)
Actions:
AP178.S1.1983.PR02
Description:
The project series documents the 1983 design entry for the competition of the Prinz-Albrecht-Palais Monument to Gestapo victims. While the records were held in the office’s archives this project was assigned the number 18/80. The office assigned the date 1983 for this project. This project was submitted to the International Architectural Exhibition Berlin competition (International Bauaustellung, IBA, circa 1979-1987), an urban renewal strategy for West Berlin, Germany. Siza had previously submitted four other projects to this competition: the Görtlitzer Bad swimming pool, Block 70 and 89 (Fränkelufer residential complex), Bonjour Tristesse (Block 121), and Block 11-12. He would also submit a design proposal to the IBA competition for the Kulturforum. According to the documentation from the IBA competition, entries for the memorial were to include a pedestrian walkway that cut through the memorial parallel to Schöneberger strasse leading to Kochstrasse. Entries were also to include a playground and along Stresemann strasse there was to be the addition of a two storey building and a corner building. Other requested components included a parking lot and a partial reconstruction of the Fine Arts School. Documenting the design proposal are conceptual and design development drawings, including studies, a site axonometric drawing, ground plan, site plan and north, south, and east elevations. Also included is textual documentation on the competition as well as correspondence from IBA officials such as Marion Wilbert. Photographic materials consist of slides of plans, sections and elevations.
Level of archival description:
Project
Project
Date:
1983-1984
1983-1984
People:
Level of archival description:
Project
Project
Reference number:
AP140.S2.SS1.D70
Description:
File documents an unexecuted project for the Abando Passenger Interchange, in Bilbao, Spain. The office of James Stirling, Michael Wilford and Associates was appointed in 1985 to design the Passenger Interchange, including a dance and music school. The building programme was revised and enlarged in 1991 and design work began in 1992. This second project was developed after the death of James Stirling in 1992 by the firm of Michael Wilford and Partners. Material in this file was produced between 1974 and 2000. File contains reference drawings, presentation drawings and a large number of design development and working drawings. Photographic materials include views of the site by photographers Millar and Harris, aerial views of existing railway stations by photographers FOAT S.L., and views of models by photographer Chris Edgcombe, John Donat Photography and by Kandor Modelmakers. Textual records include photographs, a study model and model parts. Drawings, photographic materials and textual records also relate to several Abando Passenger Interchange exhibitions. File also contains a presentation model.
AP140.S2.SS1.D70
Description:
File documents an unexecuted project for the Abando Passenger Interchange, in Bilbao, Spain. The office of James Stirling, Michael Wilford and Associates was appointed in 1985 to design the Passenger Interchange, including a dance and music school. The building programme was revised and enlarged in 1991 and design work began in 1992. This second project was developed after the death of James Stirling in 1992 by the firm of Michael Wilford and Partners. Material in this file was produced between 1974 and 2000. File contains reference drawings, presentation drawings and a large number of design development and working drawings. Photographic materials include views of the site by photographers Millar and Harris, aerial views of existing railway stations by photographers FOAT S.L., and views of models by photographer Chris Edgcombe, John Donat Photography and by Kandor Modelmakers. Textual records include photographs, a study model and model parts. Drawings, photographic materials and textual records also relate to several Abando Passenger Interchange exhibitions. File also contains a presentation model.
People:
Date:
1974-1999
1974-1999
Title:
Abando Passenger Interchange, Bilbao, Spain
Actions:
AP140.S2.SS1.D70
Description:
File documents an unexecuted project for the Abando Passenger Interchange, in Bilbao, Spain. The office of James Stirling, Michael Wilford and Associates was appointed in 1985 to design the Passenger Interchange, including a dance and music school. The building programme was revised and enlarged in 1991 and design work began in 1992. This second project was developed after the death of James Stirling in 1992 by the firm of Michael Wilford and Partners. Material in this file was produced between 1974 and 2000. File contains reference drawings, presentation drawings and a large number of design development and working drawings. Photographic materials include views of the site by photographers Millar and Harris, aerial views of existing railway stations by photographers FOAT S.L., and views of models by photographer Chris Edgcombe, John Donat Photography and by Kandor Modelmakers. Textual records include photographs, a study model and model parts. Drawings, photographic materials and textual records also relate to several Abando Passenger Interchange exhibitions. File also contains a presentation model.
Abando Passenger Interchange, Bilbao, Spain
Actions:
AP140.S2.SS1.D70
Description:
File documents an unexecuted project for the Abando Passenger Interchange, in Bilbao, Spain. The office of James Stirling, Michael Wilford and Associates was appointed in 1985 to design the Passenger Interchange, including a dance and music school. The building programme was revised and enlarged in 1991 and design work began in 1992. This second project was developed after the death of James Stirling in 1992 by the firm of Michael Wilford and Partners. Material in this file was produced between 1974 and 2000. File contains reference drawings, presentation drawings and a large number of design development and working drawings. Photographic materials include views of the site by photographers Millar and Harris, aerial views of existing railway stations by photographers FOAT S.L., and views of models by photographer Chris Edgcombe, John Donat Photography and by Kandor Modelmakers. Textual records include photographs, a study model and model parts. Drawings, photographic materials and textual records also relate to several Abando Passenger Interchange exhibitions. File also contains a presentation model.
Level of archival description:
File 70
File 70
Date:
1974-1999
1974-1999
People:
