7910 Results
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articles
articles
Title:
Material Witness
Material Witness
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Susanne Kriemann on how photography records radioactive landscapes
Keyword(s):
The Lives of Documents, Photography as a Project, Stefano Graziani and Bas Princen, Susanne Kriemann, conversation, oral history, radioactive landscapes
The Lives of Documents, Photography as a Project, Stefano Graziani and Bas Princen, Susanne Kriemann, conversation, oral history, radioactive landscapes
Published:
11 March 2024
11 March 2024
Form:
events
events
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Description:
Curatorial practice as it emerged during the twentieth century is no doubt being extensively recast. The tremendous change in the status of the object, of culture, of the various disciplines, or information and education, implies an inevitable transformation of the curator’s role and competences. A renewed interest for curatorial practice has emerged within the field of(...)
Curatorial practice as it emerged during the twentieth century is no doubt being extensively recast. The tremendous change in the status of the object, of culture, of the various disciplines, or information and education, implies an inevitable transformation of the curator’s role and competences. A renewed interest for curatorial practice has emerged within the field of(...)
Location:
Paul Desmarais Theatre
Paul Desmarais Theatre
Date:
11 November 2010 to 13 November 2010
11 November 2010 to 13 November 2010
Title:
The CCA in an Expanding Curatorial Field
Actions:
Description:
Curatorial practice as it emerged during the twentieth century is no doubt being extensively recast. The tremendous change in the status of the object, of culture, of the various disciplines, or information and education, implies an inevitable transformation of the curator’s role and competences. A renewed interest for curatorial practice has emerged within the field of(...)
The CCA in an Expanding Curatorial Field
Actions:
Description:
Curatorial practice as it emerged during the twentieth century is no doubt being extensively recast. The tremendous change in the status of the object, of culture, of the various disciplines, or information and education, implies an inevitable transformation of the curator’s role and competences. A renewed interest for curatorial practice has emerged within the field of(...)
Form:
events
events
Date:
11 November 2010 to
13 November 2010
11 November 2010 to
13 November 2010
Location:
Paul Desmarais Theatre
Paul Desmarais Theatre
Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Title:
Max Wolfe Roth fonds
Max Wolfe Roth fonds
Actions:
Reference number:
AP125
Synopsis:
The Max Wolfe Roth fonds, 1933-2000, documents the professional career of architect Max Wolfe Roth. The fonds comprises of materials relating to 15 student projects (1933-1937) and 333 professional projects (1937-2000). Materials in this fonds consist of 7,589 drawings (including reprographic copies), 303 photographs, 22 panels, 2.83 l.m. of textual records, 0.33 l.m.of slides, 82 notebooks, 7 stamps, 1 slide rule and 1 model.
AP125
Synopsis:
The Max Wolfe Roth fonds, 1933-2000, documents the professional career of architect Max Wolfe Roth. The fonds comprises of materials relating to 15 student projects (1933-1937) and 333 professional projects (1937-2000). Materials in this fonds consist of 7,589 drawings (including reprographic copies), 303 photographs, 22 panels, 2.83 l.m. of textual records, 0.33 l.m.of slides, 82 notebooks, 7 stamps, 1 slide rule and 1 model.
People:
Date:
1933-2000
1933-2000
Title:
Max Wolfe Roth fonds
Actions:
AP125
Synopsis:
The Max Wolfe Roth fonds, 1933-2000, documents the professional career of architect Max Wolfe Roth. The fonds comprises of materials relating to 15 student projects (1933-1937) and 333 professional projects (1937-2000). Materials in this fonds consist of 7,589 drawings (including reprographic copies), 303 photographs, 22 panels, 2.83 l.m. of textual records, 0.33 l.m.of slides, 82 notebooks, 7 stamps, 1 slide rule and 1 model.
Max Wolfe Roth fonds
Actions:
AP125
Synopsis:
The Max Wolfe Roth fonds, 1933-2000, documents the professional career of architect Max Wolfe Roth. The fonds comprises of materials relating to 15 student projects (1933-1937) and 333 professional projects (1937-2000). Materials in this fonds consist of 7,589 drawings (including reprographic copies), 303 photographs, 22 panels, 2.83 l.m. of textual records, 0.33 l.m.of slides, 82 notebooks, 7 stamps, 1 slide rule and 1 model.
Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Date:
1933-2000
1933-2000
People:
Level of archival description:
Project
Project
Reference number:
AP178.S1.1979.PR06
Description:
The project series documents the 1979 design entry for Block 70 and 89, also known as the Fränkelufer residential complex. While the records were held in the office’s archives this project was assigned the number 55/70. The office assigned the date 1979 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. Six months prior to submitting the design for Block 70 and 89 Siza submitted a design for the Görlitzer Bad swimming pool, which did not win the competition but received a special prize. Siza later submitted proposals to the IBA for Bonjour Tristesse (Block 121), Monument to Gestapo victims Prinz-Albrecht-Palais, Block 11-12 (Kottbusser Damm), and the Kulturforum, all of which are documented in this fonds. The IBA divided West Berlin into two parts: IBA Neubau ('new building'), led by Josef Paul Kleihues, and IBA Altbau ('old building') led by Hardt-Walherr Hämer. IBA Nuebau's focus was to build new structures while IBA Altbau's was to renovate existing buildings. The competition site for Block 70 and 89 was located on the west side of Kreuzberg, a district on the eastern edge of West Berlin. Although this project was part of the Altbau section, it nonetheless required building new housing complexes, which was generally under the purview of the Neubau section (Mota, "An archaeology of the ordinary" 299). Siza won second prize in the competition for his design of Block 70 and 89. This design proposal is said to have prepared Siza's ideas for his first international built project, Block 121 (Mathur, "The migrant's time"). The project series contains sketches and studies, which include notes. Several of the project sketches also include sketches of people. Documenting the design proposal are site plans, elevations, interior elevations, and floor plans. Photographs, negatives, contact sheets, and slides depict the project site and surrounding area as well as the model and drawings. Additionally there are panoramic photomontages of the project site. Please note that documentation for this project series is housed with documentation on Block 11-12 in file AP178.S1.1980.PR03.008, in the order it was kept by the office. Documentation for Block 70 and 89 includes an invitation to the competition, recommendations from the IBA advisory council, and other information regarding the competition.
AP178.S1.1979.PR06
Description:
The project series documents the 1979 design entry for Block 70 and 89, also known as the Fränkelufer residential complex. While the records were held in the office’s archives this project was assigned the number 55/70. The office assigned the date 1979 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. Six months prior to submitting the design for Block 70 and 89 Siza submitted a design for the Görlitzer Bad swimming pool, which did not win the competition but received a special prize. Siza later submitted proposals to the IBA for Bonjour Tristesse (Block 121), Monument to Gestapo victims Prinz-Albrecht-Palais, Block 11-12 (Kottbusser Damm), and the Kulturforum, all of which are documented in this fonds. The IBA divided West Berlin into two parts: IBA Neubau ('new building'), led by Josef Paul Kleihues, and IBA Altbau ('old building') led by Hardt-Walherr Hämer. IBA Nuebau's focus was to build new structures while IBA Altbau's was to renovate existing buildings. The competition site for Block 70 and 89 was located on the west side of Kreuzberg, a district on the eastern edge of West Berlin. Although this project was part of the Altbau section, it nonetheless required building new housing complexes, which was generally under the purview of the Neubau section (Mota, "An archaeology of the ordinary" 299). Siza won second prize in the competition for his design of Block 70 and 89. This design proposal is said to have prepared Siza's ideas for his first international built project, Block 121 (Mathur, "The migrant's time"). The project series contains sketches and studies, which include notes. Several of the project sketches also include sketches of people. Documenting the design proposal are site plans, elevations, interior elevations, and floor plans. Photographs, negatives, contact sheets, and slides depict the project site and surrounding area as well as the model and drawings. Additionally there are panoramic photomontages of the project site. Please note that documentation for this project series is housed with documentation on Block 11-12 in file AP178.S1.1980.PR03.008, in the order it was kept by the office. Documentation for Block 70 and 89 includes an invitation to the competition, recommendations from the IBA advisory council, and other information regarding the competition.
People:
Date:
1976-1982
1976-1982
Title:
Blocke 70 und 89, Kreuzberg, Fränkelufer [Fränkelufer residential complex], Berlin, Germany (1976-1982)
Actions:
AP178.S1.1979.PR06
Description:
The project series documents the 1979 design entry for Block 70 and 89, also known as the Fränkelufer residential complex. While the records were held in the office’s archives this project was assigned the number 55/70. The office assigned the date 1979 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. Six months prior to submitting the design for Block 70 and 89 Siza submitted a design for the Görlitzer Bad swimming pool, which did not win the competition but received a special prize. Siza later submitted proposals to the IBA for Bonjour Tristesse (Block 121), Monument to Gestapo victims Prinz-Albrecht-Palais, Block 11-12 (Kottbusser Damm), and the Kulturforum, all of which are documented in this fonds. The IBA divided West Berlin into two parts: IBA Neubau ('new building'), led by Josef Paul Kleihues, and IBA Altbau ('old building') led by Hardt-Walherr Hämer. IBA Nuebau's focus was to build new structures while IBA Altbau's was to renovate existing buildings. The competition site for Block 70 and 89 was located on the west side of Kreuzberg, a district on the eastern edge of West Berlin. Although this project was part of the Altbau section, it nonetheless required building new housing complexes, which was generally under the purview of the Neubau section (Mota, "An archaeology of the ordinary" 299). Siza won second prize in the competition for his design of Block 70 and 89. This design proposal is said to have prepared Siza's ideas for his first international built project, Block 121 (Mathur, "The migrant's time"). The project series contains sketches and studies, which include notes. Several of the project sketches also include sketches of people. Documenting the design proposal are site plans, elevations, interior elevations, and floor plans. Photographs, negatives, contact sheets, and slides depict the project site and surrounding area as well as the model and drawings. Additionally there are panoramic photomontages of the project site. Please note that documentation for this project series is housed with documentation on Block 11-12 in file AP178.S1.1980.PR03.008, in the order it was kept by the office. Documentation for Block 70 and 89 includes an invitation to the competition, recommendations from the IBA advisory council, and other information regarding the competition.
Blocke 70 und 89, Kreuzberg, Fränkelufer [Fränkelufer residential complex], Berlin, Germany (1976-1982)
Actions:
AP178.S1.1979.PR06
Description:
The project series documents the 1979 design entry for Block 70 and 89, also known as the Fränkelufer residential complex. While the records were held in the office’s archives this project was assigned the number 55/70. The office assigned the date 1979 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. Six months prior to submitting the design for Block 70 and 89 Siza submitted a design for the Görlitzer Bad swimming pool, which did not win the competition but received a special prize. Siza later submitted proposals to the IBA for Bonjour Tristesse (Block 121), Monument to Gestapo victims Prinz-Albrecht-Palais, Block 11-12 (Kottbusser Damm), and the Kulturforum, all of which are documented in this fonds. The IBA divided West Berlin into two parts: IBA Neubau ('new building'), led by Josef Paul Kleihues, and IBA Altbau ('old building') led by Hardt-Walherr Hämer. IBA Nuebau's focus was to build new structures while IBA Altbau's was to renovate existing buildings. The competition site for Block 70 and 89 was located on the west side of Kreuzberg, a district on the eastern edge of West Berlin. Although this project was part of the Altbau section, it nonetheless required building new housing complexes, which was generally under the purview of the Neubau section (Mota, "An archaeology of the ordinary" 299). Siza won second prize in the competition for his design of Block 70 and 89. This design proposal is said to have prepared Siza's ideas for his first international built project, Block 121 (Mathur, "The migrant's time"). The project series contains sketches and studies, which include notes. Several of the project sketches also include sketches of people. Documenting the design proposal are site plans, elevations, interior elevations, and floor plans. Photographs, negatives, contact sheets, and slides depict the project site and surrounding area as well as the model and drawings. Additionally there are panoramic photomontages of the project site. Please note that documentation for this project series is housed with documentation on Block 11-12 in file AP178.S1.1980.PR03.008, in the order it was kept by the office. Documentation for Block 70 and 89 includes an invitation to the competition, recommendations from the IBA advisory council, and other information regarding the competition.
Level of archival description:
Project
Project
Date:
1976-1982
1976-1982
People:
Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Title:
Myron Goldsmith fonds
Myron Goldsmith fonds
Reference number:
AP032
Synopsis:
The Myron Goldsmith fonds consists primarily of 30.4 metres of textual documents, including notebooks, research and reading notes, travel journals, documentation files, correspondence, sketchbooks and personal and office papers. There are also 2,800 original drawings and prints, 10,000 photographs and slides, and 5 architectural models. The material ranges in date from c.1933 to 1996. In shedding light on Goldsmith's student years and working career, the fonds' rich collection of documents also provides material on activities in the architectural profession, architectural education, and architectural and engineering theory and building techniques through the 1940s to the 1990s.
AP032
Synopsis:
The Myron Goldsmith fonds consists primarily of 30.4 metres of textual documents, including notebooks, research and reading notes, travel journals, documentation files, correspondence, sketchbooks and personal and office papers. There are also 2,800 original drawings and prints, 10,000 photographs and slides, and 5 architectural models. The material ranges in date from c.1933 to 1996. In shedding light on Goldsmith's student years and working career, the fonds' rich collection of documents also provides material on activities in the architectural profession, architectural education, and architectural and engineering theory and building techniques through the 1940s to the 1990s.
People:
Date:
1933-1996
1933-1996
Title:
Myron Goldsmith fonds
Actions:
AP032
Synopsis:
The Myron Goldsmith fonds consists primarily of 30.4 metres of textual documents, including notebooks, research and reading notes, travel journals, documentation files, correspondence, sketchbooks and personal and office papers. There are also 2,800 original drawings and prints, 10,000 photographs and slides, and 5 architectural models. The material ranges in date from c.1933 to 1996. In shedding light on Goldsmith's student years and working career, the fonds' rich collection of documents also provides material on activities in the architectural profession, architectural education, and architectural and engineering theory and building techniques through the 1940s to the 1990s.
Myron Goldsmith fonds
Actions:
AP032
Synopsis:
The Myron Goldsmith fonds consists primarily of 30.4 metres of textual documents, including notebooks, research and reading notes, travel journals, documentation files, correspondence, sketchbooks and personal and office papers. There are also 2,800 original drawings and prints, 10,000 photographs and slides, and 5 architectural models. The material ranges in date from c.1933 to 1996. In shedding light on Goldsmith's student years and working career, the fonds' rich collection of documents also provides material on activities in the architectural profession, architectural education, and architectural and engineering theory and building techniques through the 1940s to the 1990s.
Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Date:
1933-1996
1933-1996
People:
Form:
events
events
Description:
The first biography of one of the most influential landscape architects of the 20th century, Cornelia Hahn Oberlander: Making the Modern Landscape draws upon archival research, site analyses, and numerous interviews with Cornelia Oberlander and her collaborators. Author Susan Herrington joins Oberlander in conversation about her works and career. The series They want(...)
The first biography of one of the most influential landscape architects of the 20th century, Cornelia Hahn Oberlander: Making the Modern Landscape draws upon archival research, site analyses, and numerous interviews with Cornelia Oberlander and her collaborators. Author Susan Herrington joins Oberlander in conversation about her works and career. The series They want(...)
Date:
14 September 2014 , 3pm
14 September 2014 , 3pm
Title:
Cornelia Oberlander and Susan Herrington want to speak with you
Actions:
Description:
The first biography of one of the most influential landscape architects of the 20th century, Cornelia Hahn Oberlander: Making the Modern Landscape draws upon archival research, site analyses, and numerous interviews with Cornelia Oberlander and her collaborators. Author Susan Herrington joins Oberlander in conversation about her works and career. The series They want(...)
Cornelia Oberlander and Susan Herrington want to speak with you
Actions:
Description:
The first biography of one of the most influential landscape architects of the 20th century, Cornelia Hahn Oberlander: Making the Modern Landscape draws upon archival research, site analyses, and numerous interviews with Cornelia Oberlander and her collaborators. Author Susan Herrington joins Oberlander in conversation about her works and career. The series They want(...)
Form:
events
events
Date:
14 September 2014
3pm
14 September 2014
3pm
Level of archival description:
Series
Series
Title:
Dessins et tableaux
Dessins et tableaux
Actions:
Reference number:
AP104.S1
Description:
Series I consists of sketches, drawings and paintings, mostly created by Parizeau. From the period he spent in Europe (1923-1933), there are 11 student drawings in the standard presentation format of the École des Beaux-arts de Paris, a volume of course notes, as well as unidentified drawings, sketchbooks and paintings of primarily buildings and landscapes executed in Paris and during his travels in France. Drawings relating to Parizeau's architectural career in Montreal are represented in a number of independant projects, including a small chapel beside the St. Lawrence River, a pair of two-storey cabin-cottages outside of Montreal, and several residences in the city. The documents are mostly original preliminary studies with some reproductions of working drawings. It should be noted that there are also photographs of exterior details of the Laroque Residence and the Jarry Residence in documents CO2 in Series II. Reproductions of designs for worker housing by French architect Eugène Beaudoin in 1938 perhaps give a clue to Parizeau's relatively early employment of modernist forms. A residence in Baie D'Urfé is unlikely to be connected to Parizeau because its date, ca. 1955, is a decade after his death. Parizeau's concern with furniture and interior design is represented in the Archive with many lively perspective sketches in colour, and elevation and plan studies of several kinds of rooms and types of furniture. Some preliminary drawings for interiors were grouped with the Gillow house in Ville Mont-Royal, and the Walter Downs Residence in Montreal. The artworks by Parizeau consist of paintings and drawings of landscapes, buildings, still lifes and figure studies on loose sheets and in bound sketchbooks. These works are executed in a variety of media, including pencil, coloured pencil, watercolour on paper, and oil paint on masonite panels. Studies of buildings in Brittany and Paris are the subjects in three small sketchbooks, while larger spiral-bound drawing books contain some architectural plans, elevations and details. Most of these artworks and sketches were likely created in Europe before 1933.
AP104.S1
Description:
Series I consists of sketches, drawings and paintings, mostly created by Parizeau. From the period he spent in Europe (1923-1933), there are 11 student drawings in the standard presentation format of the École des Beaux-arts de Paris, a volume of course notes, as well as unidentified drawings, sketchbooks and paintings of primarily buildings and landscapes executed in Paris and during his travels in France. Drawings relating to Parizeau's architectural career in Montreal are represented in a number of independant projects, including a small chapel beside the St. Lawrence River, a pair of two-storey cabin-cottages outside of Montreal, and several residences in the city. The documents are mostly original preliminary studies with some reproductions of working drawings. It should be noted that there are also photographs of exterior details of the Laroque Residence and the Jarry Residence in documents CO2 in Series II. Reproductions of designs for worker housing by French architect Eugène Beaudoin in 1938 perhaps give a clue to Parizeau's relatively early employment of modernist forms. A residence in Baie D'Urfé is unlikely to be connected to Parizeau because its date, ca. 1955, is a decade after his death. Parizeau's concern with furniture and interior design is represented in the Archive with many lively perspective sketches in colour, and elevation and plan studies of several kinds of rooms and types of furniture. Some preliminary drawings for interiors were grouped with the Gillow house in Ville Mont-Royal, and the Walter Downs Residence in Montreal. The artworks by Parizeau consist of paintings and drawings of landscapes, buildings, still lifes and figure studies on loose sheets and in bound sketchbooks. These works are executed in a variety of media, including pencil, coloured pencil, watercolour on paper, and oil paint on masonite panels. Studies of buildings in Brittany and Paris are the subjects in three small sketchbooks, while larger spiral-bound drawing books contain some architectural plans, elevations and details. Most of these artworks and sketches were likely created in Europe before 1933.
People:
Date:
1917-1955
1917-1955
Title:
Dessins et tableaux
Actions:
AP104.S1
Description:
Series I consists of sketches, drawings and paintings, mostly created by Parizeau. From the period he spent in Europe (1923-1933), there are 11 student drawings in the standard presentation format of the École des Beaux-arts de Paris, a volume of course notes, as well as unidentified drawings, sketchbooks and paintings of primarily buildings and landscapes executed in Paris and during his travels in France. Drawings relating to Parizeau's architectural career in Montreal are represented in a number of independant projects, including a small chapel beside the St. Lawrence River, a pair of two-storey cabin-cottages outside of Montreal, and several residences in the city. The documents are mostly original preliminary studies with some reproductions of working drawings. It should be noted that there are also photographs of exterior details of the Laroque Residence and the Jarry Residence in documents CO2 in Series II. Reproductions of designs for worker housing by French architect Eugène Beaudoin in 1938 perhaps give a clue to Parizeau's relatively early employment of modernist forms. A residence in Baie D'Urfé is unlikely to be connected to Parizeau because its date, ca. 1955, is a decade after his death. Parizeau's concern with furniture and interior design is represented in the Archive with many lively perspective sketches in colour, and elevation and plan studies of several kinds of rooms and types of furniture. Some preliminary drawings for interiors were grouped with the Gillow house in Ville Mont-Royal, and the Walter Downs Residence in Montreal. The artworks by Parizeau consist of paintings and drawings of landscapes, buildings, still lifes and figure studies on loose sheets and in bound sketchbooks. These works are executed in a variety of media, including pencil, coloured pencil, watercolour on paper, and oil paint on masonite panels. Studies of buildings in Brittany and Paris are the subjects in three small sketchbooks, while larger spiral-bound drawing books contain some architectural plans, elevations and details. Most of these artworks and sketches were likely created in Europe before 1933.
Dessins et tableaux
Actions:
AP104.S1
Description:
Series I consists of sketches, drawings and paintings, mostly created by Parizeau. From the period he spent in Europe (1923-1933), there are 11 student drawings in the standard presentation format of the École des Beaux-arts de Paris, a volume of course notes, as well as unidentified drawings, sketchbooks and paintings of primarily buildings and landscapes executed in Paris and during his travels in France. Drawings relating to Parizeau's architectural career in Montreal are represented in a number of independant projects, including a small chapel beside the St. Lawrence River, a pair of two-storey cabin-cottages outside of Montreal, and several residences in the city. The documents are mostly original preliminary studies with some reproductions of working drawings. It should be noted that there are also photographs of exterior details of the Laroque Residence and the Jarry Residence in documents CO2 in Series II. Reproductions of designs for worker housing by French architect Eugène Beaudoin in 1938 perhaps give a clue to Parizeau's relatively early employment of modernist forms. A residence in Baie D'Urfé is unlikely to be connected to Parizeau because its date, ca. 1955, is a decade after his death. Parizeau's concern with furniture and interior design is represented in the Archive with many lively perspective sketches in colour, and elevation and plan studies of several kinds of rooms and types of furniture. Some preliminary drawings for interiors were grouped with the Gillow house in Ville Mont-Royal, and the Walter Downs Residence in Montreal. The artworks by Parizeau consist of paintings and drawings of landscapes, buildings, still lifes and figure studies on loose sheets and in bound sketchbooks. These works are executed in a variety of media, including pencil, coloured pencil, watercolour on paper, and oil paint on masonite panels. Studies of buildings in Brittany and Paris are the subjects in three small sketchbooks, while larger spiral-bound drawing books contain some architectural plans, elevations and details. Most of these artworks and sketches were likely created in Europe before 1933.
Level of archival description:
Série 1
Série 1
Date:
1917-1955
1917-1955
People:
Form:
exhibitions
exhibitions
Actions:
Description:
The exhibition focuses on one of Ernest Cormier’s masterworks—the Université de Montréal, built high on the northwest slope of Mount Royal between 1928 and 1943—and situates the Montréal architect and his work in the context of international thought where European and North American cultural and architectural ideas converged. The objects in the exhibition are drawn in(...)
The exhibition focuses on one of Ernest Cormier’s masterworks—the Université de Montréal, built high on the northwest slope of Mount Royal between 1928 and 1943—and situates the Montréal architect and his work in the context of international thought where European and North American cultural and architectural ideas converged. The objects in the exhibition are drawn in(...)
Location:
Main galleries
Main galleries
Date:
2 May 1990 to 21 October 1990
2 May 1990 to 21 October 1990
Title:
Ernest Cormier and the Université de Montréal
Actions:
Description:
The exhibition focuses on one of Ernest Cormier’s masterworks—the Université de Montréal, built high on the northwest slope of Mount Royal between 1928 and 1943—and situates the Montréal architect and his work in the context of international thought where European and North American cultural and architectural ideas converged. The objects in the exhibition are drawn in(...)
Ernest Cormier and the Université de Montréal
Actions:
Description:
The exhibition focuses on one of Ernest Cormier’s masterworks—the Université de Montréal, built high on the northwest slope of Mount Royal between 1928 and 1943—and situates the Montréal architect and his work in the context of international thought where European and North American cultural and architectural ideas converged. The objects in the exhibition are drawn in(...)
Form:
exhibitions
exhibitions
Date:
2 May 1990 to
21 October 1990
2 May 1990 to
21 October 1990
Location:
Main galleries
Main galleries
Level of archival description:
Series
Series
Reference number:
AP168.S1
Description:
The Project records from Neil Denari series, 1994 – 2004, consists of records produced by Denari for his show “Interrupted Projections” at Gallery MA in Tokyo, Japan. It documents the development and final design for the principal architectural installation built on the third level of the gallery, as well as related materials displayed on the gallery’s fourth floor. The series also contains photographic and video documentation of the exhibit, the show catalogue, and promotional materials. The series includes 4003 digital files (1 GB), 53 slides, 21 transparencies, seven drawings and/or reprographic copies, two VHS video cassettes, one exhibition catalogue, and a small amount of promotional material comprising one large and two small posters, one postcard, and one t-shirt. The majority of records date from 1994-1996. Denari used a combination of physical drawings and digital modelling to draft the design for Interrupted Projections. The series contains one ink drawing and one transfer print with plans and sections of the third floor gallery space, two reprographic copies of drawings with elevations and plans of existing conditions of the third and fourth floors at Gallery MA, and three graphite hand drawings of the installation. Digital files in the series include two original Softimage databases containing full and partial 3D models of the installation, as well as one forward-migrated database containing models compiled from the two original databases. The original models were created in Softimage ’95 on Windows NT and will not open in contemporary versions of Autodesk Softimage. The forward-migrated model database was created by members of Autodesk’s Montreal office for the Archaeology of the Digital exhibition Complexity and Convention and will open in Softimage 2014. Each Softimage model database is made up of several directories that contain information necessary to render all models and their animation into a “scene” (such as textures, lighting, camera movements, etc.). When the Interrupted Projections models were migrated, the information from all directories in both original databases was compiled into the Scenes directory of a single database. These updated scene files (SCN) contain all the elements needed to render the models without the need for additional directories. Each scene file has a corresponding scene TOC file (scene table of content), which can be used to further modify the information in the scene. Scene files in the migrated database contain full and partial models for Interrupted Projections, including one animated scene that follows a camera path through the interior and exterior of the final model. These files document the various stages of design work for the project, as well as Denari’s use of animation features in Softimage to visualize and study the spatial character of his drawings. Project collaborator Duks Koschitz created additional animations of the model that were edited and shown on the fourth floor of the exhibition. A compilation of his work is included on a VHS tape in the archive. The video, which spans one minute 16 seconds, contains four animations that move around the 3D gallery space. Koschitz attempted to reflect the concerns of the project in the movements of the camera, focusing on details such as the fictional company logos or curvatures in the surface of the model. The majority of photographic materials in the series are digital renderings of the model, comprising 38 slides, 14 diapositives, and seven digital images. Photographic materials also include images of the completed show, including seven diapositives that document the built work from various views on the third floor of Gallery MA, as well as the exhibition of materials on the fourth floor. A small number of slides document the exhibit open to the public, and include images of visitors interacting with the Sony Navicam. Most of the diapositive photographs and a small number of slides were taken by Fujitsuka Mitsumasa, a photographer of architecture based in Tokyo. A second VHS tape in the archive provides in-depth documentation of the Interrupted Projections exhibition, containing 45 minutes of raw video footage that explores Gallery MA and surrounding areas of Tokyo. The Interrupted Projections book contains in print the text and images from the installation and website. It was written by Denari and designed by Michiharu Shimoda, a graphic designer and underground trip-hop artist who was also responsible for the design of the fictional logos used in the exhibit. The book acts as an extension of the content of the show, as well as exhibition catalogue, and covers Denari’s other projects represented in the show. The series also contains a small amount of promotional media for Interrupted Projections, including one large and two small posters, a postcard, and a t-shirt.
AP168.S1
Description:
The Project records from Neil Denari series, 1994 – 2004, consists of records produced by Denari for his show “Interrupted Projections” at Gallery MA in Tokyo, Japan. It documents the development and final design for the principal architectural installation built on the third level of the gallery, as well as related materials displayed on the gallery’s fourth floor. The series also contains photographic and video documentation of the exhibit, the show catalogue, and promotional materials. The series includes 4003 digital files (1 GB), 53 slides, 21 transparencies, seven drawings and/or reprographic copies, two VHS video cassettes, one exhibition catalogue, and a small amount of promotional material comprising one large and two small posters, one postcard, and one t-shirt. The majority of records date from 1994-1996. Denari used a combination of physical drawings and digital modelling to draft the design for Interrupted Projections. The series contains one ink drawing and one transfer print with plans and sections of the third floor gallery space, two reprographic copies of drawings with elevations and plans of existing conditions of the third and fourth floors at Gallery MA, and three graphite hand drawings of the installation. Digital files in the series include two original Softimage databases containing full and partial 3D models of the installation, as well as one forward-migrated database containing models compiled from the two original databases. The original models were created in Softimage ’95 on Windows NT and will not open in contemporary versions of Autodesk Softimage. The forward-migrated model database was created by members of Autodesk’s Montreal office for the Archaeology of the Digital exhibition Complexity and Convention and will open in Softimage 2014. Each Softimage model database is made up of several directories that contain information necessary to render all models and their animation into a “scene” (such as textures, lighting, camera movements, etc.). When the Interrupted Projections models were migrated, the information from all directories in both original databases was compiled into the Scenes directory of a single database. These updated scene files (SCN) contain all the elements needed to render the models without the need for additional directories. Each scene file has a corresponding scene TOC file (scene table of content), which can be used to further modify the information in the scene. Scene files in the migrated database contain full and partial models for Interrupted Projections, including one animated scene that follows a camera path through the interior and exterior of the final model. These files document the various stages of design work for the project, as well as Denari’s use of animation features in Softimage to visualize and study the spatial character of his drawings. Project collaborator Duks Koschitz created additional animations of the model that were edited and shown on the fourth floor of the exhibition. A compilation of his work is included on a VHS tape in the archive. The video, which spans one minute 16 seconds, contains four animations that move around the 3D gallery space. Koschitz attempted to reflect the concerns of the project in the movements of the camera, focusing on details such as the fictional company logos or curvatures in the surface of the model. The majority of photographic materials in the series are digital renderings of the model, comprising 38 slides, 14 diapositives, and seven digital images. Photographic materials also include images of the completed show, including seven diapositives that document the built work from various views on the third floor of Gallery MA, as well as the exhibition of materials on the fourth floor. A small number of slides document the exhibit open to the public, and include images of visitors interacting with the Sony Navicam. Most of the diapositive photographs and a small number of slides were taken by Fujitsuka Mitsumasa, a photographer of architecture based in Tokyo. A second VHS tape in the archive provides in-depth documentation of the Interrupted Projections exhibition, containing 45 minutes of raw video footage that explores Gallery MA and surrounding areas of Tokyo. The Interrupted Projections book contains in print the text and images from the installation and website. It was written by Denari and designed by Michiharu Shimoda, a graphic designer and underground trip-hop artist who was also responsible for the design of the fictional logos used in the exhibit. The book acts as an extension of the content of the show, as well as exhibition catalogue, and covers Denari’s other projects represented in the show. The series also contains a small amount of promotional media for Interrupted Projections, including one large and two small posters, a postcard, and a t-shirt.
People:
Date:
1994 - 2004
1994 - 2004
Title:
Project records from Neil Denari
Actions:
AP168.S1
Description:
The Project records from Neil Denari series, 1994 – 2004, consists of records produced by Denari for his show “Interrupted Projections” at Gallery MA in Tokyo, Japan. It documents the development and final design for the principal architectural installation built on the third level of the gallery, as well as related materials displayed on the gallery’s fourth floor. The series also contains photographic and video documentation of the exhibit, the show catalogue, and promotional materials. The series includes 4003 digital files (1 GB), 53 slides, 21 transparencies, seven drawings and/or reprographic copies, two VHS video cassettes, one exhibition catalogue, and a small amount of promotional material comprising one large and two small posters, one postcard, and one t-shirt. The majority of records date from 1994-1996. Denari used a combination of physical drawings and digital modelling to draft the design for Interrupted Projections. The series contains one ink drawing and one transfer print with plans and sections of the third floor gallery space, two reprographic copies of drawings with elevations and plans of existing conditions of the third and fourth floors at Gallery MA, and three graphite hand drawings of the installation. Digital files in the series include two original Softimage databases containing full and partial 3D models of the installation, as well as one forward-migrated database containing models compiled from the two original databases. The original models were created in Softimage ’95 on Windows NT and will not open in contemporary versions of Autodesk Softimage. The forward-migrated model database was created by members of Autodesk’s Montreal office for the Archaeology of the Digital exhibition Complexity and Convention and will open in Softimage 2014. Each Softimage model database is made up of several directories that contain information necessary to render all models and their animation into a “scene” (such as textures, lighting, camera movements, etc.). When the Interrupted Projections models were migrated, the information from all directories in both original databases was compiled into the Scenes directory of a single database. These updated scene files (SCN) contain all the elements needed to render the models without the need for additional directories. Each scene file has a corresponding scene TOC file (scene table of content), which can be used to further modify the information in the scene. Scene files in the migrated database contain full and partial models for Interrupted Projections, including one animated scene that follows a camera path through the interior and exterior of the final model. These files document the various stages of design work for the project, as well as Denari’s use of animation features in Softimage to visualize and study the spatial character of his drawings. Project collaborator Duks Koschitz created additional animations of the model that were edited and shown on the fourth floor of the exhibition. A compilation of his work is included on a VHS tape in the archive. The video, which spans one minute 16 seconds, contains four animations that move around the 3D gallery space. Koschitz attempted to reflect the concerns of the project in the movements of the camera, focusing on details such as the fictional company logos or curvatures in the surface of the model. The majority of photographic materials in the series are digital renderings of the model, comprising 38 slides, 14 diapositives, and seven digital images. Photographic materials also include images of the completed show, including seven diapositives that document the built work from various views on the third floor of Gallery MA, as well as the exhibition of materials on the fourth floor. A small number of slides document the exhibit open to the public, and include images of visitors interacting with the Sony Navicam. Most of the diapositive photographs and a small number of slides were taken by Fujitsuka Mitsumasa, a photographer of architecture based in Tokyo. A second VHS tape in the archive provides in-depth documentation of the Interrupted Projections exhibition, containing 45 minutes of raw video footage that explores Gallery MA and surrounding areas of Tokyo. The Interrupted Projections book contains in print the text and images from the installation and website. It was written by Denari and designed by Michiharu Shimoda, a graphic designer and underground trip-hop artist who was also responsible for the design of the fictional logos used in the exhibit. The book acts as an extension of the content of the show, as well as exhibition catalogue, and covers Denari’s other projects represented in the show. The series also contains a small amount of promotional media for Interrupted Projections, including one large and two small posters, a postcard, and a t-shirt.
Project records from Neil Denari
Actions:
AP168.S1
Description:
The Project records from Neil Denari series, 1994 – 2004, consists of records produced by Denari for his show “Interrupted Projections” at Gallery MA in Tokyo, Japan. It documents the development and final design for the principal architectural installation built on the third level of the gallery, as well as related materials displayed on the gallery’s fourth floor. The series also contains photographic and video documentation of the exhibit, the show catalogue, and promotional materials. The series includes 4003 digital files (1 GB), 53 slides, 21 transparencies, seven drawings and/or reprographic copies, two VHS video cassettes, one exhibition catalogue, and a small amount of promotional material comprising one large and two small posters, one postcard, and one t-shirt. The majority of records date from 1994-1996. Denari used a combination of physical drawings and digital modelling to draft the design for Interrupted Projections. The series contains one ink drawing and one transfer print with plans and sections of the third floor gallery space, two reprographic copies of drawings with elevations and plans of existing conditions of the third and fourth floors at Gallery MA, and three graphite hand drawings of the installation. Digital files in the series include two original Softimage databases containing full and partial 3D models of the installation, as well as one forward-migrated database containing models compiled from the two original databases. The original models were created in Softimage ’95 on Windows NT and will not open in contemporary versions of Autodesk Softimage. The forward-migrated model database was created by members of Autodesk’s Montreal office for the Archaeology of the Digital exhibition Complexity and Convention and will open in Softimage 2014. Each Softimage model database is made up of several directories that contain information necessary to render all models and their animation into a “scene” (such as textures, lighting, camera movements, etc.). When the Interrupted Projections models were migrated, the information from all directories in both original databases was compiled into the Scenes directory of a single database. These updated scene files (SCN) contain all the elements needed to render the models without the need for additional directories. Each scene file has a corresponding scene TOC file (scene table of content), which can be used to further modify the information in the scene. Scene files in the migrated database contain full and partial models for Interrupted Projections, including one animated scene that follows a camera path through the interior and exterior of the final model. These files document the various stages of design work for the project, as well as Denari’s use of animation features in Softimage to visualize and study the spatial character of his drawings. Project collaborator Duks Koschitz created additional animations of the model that were edited and shown on the fourth floor of the exhibition. A compilation of his work is included on a VHS tape in the archive. The video, which spans one minute 16 seconds, contains four animations that move around the 3D gallery space. Koschitz attempted to reflect the concerns of the project in the movements of the camera, focusing on details such as the fictional company logos or curvatures in the surface of the model. The majority of photographic materials in the series are digital renderings of the model, comprising 38 slides, 14 diapositives, and seven digital images. Photographic materials also include images of the completed show, including seven diapositives that document the built work from various views on the third floor of Gallery MA, as well as the exhibition of materials on the fourth floor. A small number of slides document the exhibit open to the public, and include images of visitors interacting with the Sony Navicam. Most of the diapositive photographs and a small number of slides were taken by Fujitsuka Mitsumasa, a photographer of architecture based in Tokyo. A second VHS tape in the archive provides in-depth documentation of the Interrupted Projections exhibition, containing 45 minutes of raw video footage that explores Gallery MA and surrounding areas of Tokyo. The Interrupted Projections book contains in print the text and images from the installation and website. It was written by Denari and designed by Michiharu Shimoda, a graphic designer and underground trip-hop artist who was also responsible for the design of the fictional logos used in the exhibit. The book acts as an extension of the content of the show, as well as exhibition catalogue, and covers Denari’s other projects represented in the show. The series also contains a small amount of promotional media for Interrupted Projections, including one large and two small posters, a postcard, and a t-shirt.
Level of archival description:
Series
Series
Date:
1994 - 2004
1994 - 2004
People:
Form:
events
events
Description:
David Howes, Professor of Anthropology and Director of the Centre for Sensory Studies at Concordia University, applies a sensory studies approach to the analysis of a series of interiors he has encountered in the course of his anthropological and archival research. These range from a men’s house in the Sepik River region of Papua New Guinea to the exclusively feminine(...)
David Howes, Professor of Anthropology and Director of the Centre for Sensory Studies at Concordia University, applies a sensory studies approach to the analysis of a series of interiors he has encountered in the course of his anthropological and archival research. These range from a men’s house in the Sepik River region of Papua New Guinea to the exclusively feminine(...)
Location:
Shaughnessy House
Shaughnessy House
Date:
26 February 2015 , 6pm
26 February 2015 , 6pm
Title:
The Sensory Interior
Actions:
Description:
David Howes, Professor of Anthropology and Director of the Centre for Sensory Studies at Concordia University, applies a sensory studies approach to the analysis of a series of interiors he has encountered in the course of his anthropological and archival research. These range from a men’s house in the Sepik River region of Papua New Guinea to the exclusively feminine(...)
The Sensory Interior
Actions:
Description:
David Howes, Professor of Anthropology and Director of the Centre for Sensory Studies at Concordia University, applies a sensory studies approach to the analysis of a series of interiors he has encountered in the course of his anthropological and archival research. These range from a men’s house in the Sepik River region of Papua New Guinea to the exclusively feminine(...)
Form:
events
events
Date:
26 February 2015
6pm
26 February 2015
6pm
Location:
Shaughnessy House
Shaughnessy House
