10427 Results
Level of archival description:
Series
Series
Title:
CIAM IV, CIRPAC and London
CIAM IV, CIRPAC and London
Reference number:
AP112.S1
Description:
The series contains seven bands of negatives, divided into groups of two and three negatives a band. The first five bands document the 4th Congrès International d'Architecture Moderne (CIAM) held on board the SS Patris II from 29 July to 13 August 1933, as it travelled between Marseilles, France, and Athens, Greece, and then returned. The conference, themed "The Functional City", presented and discussed the results of an analysis of more than thirty cities, and sought to establish new principles in urban planning. Sise participated at the conference as the Canadian delegate and presented the city of Los Angeles, California. The resolutions adopted at the conference were published for the first time in November under the title "Constatations du quatrième CIAM". These findings formed the base of the Charte d'Athenès written by Le Corbusier in 1941. The negatives show some of the participants of the conference including: Le Corbusier (1887-1965), from the French delegation; László Moholy-Nagy (1895-1946), from the German delegation, who was in charge of filming the presentations; Alvar Aalto (1898-1976), representing Finland; and the painter Fernand Léger (1881-1955), also from the French delegatation, who presented on the importance of colour in architecture. The two other bands of negatives provide evidence of Sise's attendance at Comité International pour la Résolution des Problèmes d'Architecture Contemporaine (CIRPAC), held in May 1934 at the Royal Institute of British Architects in London, England, to establish the program for the next CIAM (1). They also show his meeting in London with Georges Braque during the summer of the same year. (1) Eric Mumford states in "The CIAM Discourse on Urbanism, 1928-1960" that Le Corbusier did not participate at this conference (p. 92). _____________________ La série contient des bandes de négatifs, qui contiennent soit deux, soit trois images, et sont au nombre de sept. Les cinq premières bandes documentent le IVe Congrès International d'Architecture Moderne (CIAM) tenu à bord du SS Patris II du 29 juillet au 13 août 1933, entre Marseilles, France et Athènes, Grèce, à Athènes même, et sur le même bateau de croisière durant le retour à Marseilles. Le Congrès, qui se déroulait autour du thème de "The functional city", consistait en la communication des résultats de l'analyse de plus de trente villes et l'objectif visait à établir de nouveaux principes d'urbanisme. Hazen Sise participait au Congrès à titre de délégué du Canada et présenta la ville de Los Angeles, Californie. Les résolutions prises lors du Congrès ont été publiées pour la première fois au mois de novembre suivant sous le titre de "Constatations du quatrième CIAM". Ces "Constatations" seront ensuite à la base de la Charte d'Athènes que Le Corbusier rédigea en 1941. Les clichés montrent quelques-uns des participants au Congrès, dont Le Corbusier (1887-1965), de la délégation française, alors qu'il faisait une communication; László Moholy-Nagy (1895-1946), de la délégation allemande, à qui on avait confié la tâche de filmer les exposés; Alvar Aalto (1898-1976), représentant la Finlande; et le peintre Fernand Léger (1881-1955), délégué de la France, qui présenta un discours à l'attention des architectes au sujet de l'importance de la couleur en architecture. Les deux autres bandes de négatifs témoignent de la présence de Sise au (Comité International pour la Résolution des Problèmes d'Architecture Contemporaine (CIRPAC) à Londres, Angleterre, tenu en mai 1934 au Royal Institute of British Architects pour établir le programme du prochain CIAM (1) et de sa rencontre à Londres avec Georges Braque durant l'été de la même année. (1) Eric Mumford affirme cependant dans "The CIAM Discourse on Urbanism, 1928-1960" que Le Corbusier n'a pas participé à ce congrès (p. 92).
AP112.S1
Description:
The series contains seven bands of negatives, divided into groups of two and three negatives a band. The first five bands document the 4th Congrès International d'Architecture Moderne (CIAM) held on board the SS Patris II from 29 July to 13 August 1933, as it travelled between Marseilles, France, and Athens, Greece, and then returned. The conference, themed "The Functional City", presented and discussed the results of an analysis of more than thirty cities, and sought to establish new principles in urban planning. Sise participated at the conference as the Canadian delegate and presented the city of Los Angeles, California. The resolutions adopted at the conference were published for the first time in November under the title "Constatations du quatrième CIAM". These findings formed the base of the Charte d'Athenès written by Le Corbusier in 1941. The negatives show some of the participants of the conference including: Le Corbusier (1887-1965), from the French delegation; László Moholy-Nagy (1895-1946), from the German delegation, who was in charge of filming the presentations; Alvar Aalto (1898-1976), representing Finland; and the painter Fernand Léger (1881-1955), also from the French delegatation, who presented on the importance of colour in architecture. The two other bands of negatives provide evidence of Sise's attendance at Comité International pour la Résolution des Problèmes d'Architecture Contemporaine (CIRPAC), held in May 1934 at the Royal Institute of British Architects in London, England, to establish the program for the next CIAM (1). They also show his meeting in London with Georges Braque during the summer of the same year. (1) Eric Mumford states in "The CIAM Discourse on Urbanism, 1928-1960" that Le Corbusier did not participate at this conference (p. 92). _____________________ La série contient des bandes de négatifs, qui contiennent soit deux, soit trois images, et sont au nombre de sept. Les cinq premières bandes documentent le IVe Congrès International d'Architecture Moderne (CIAM) tenu à bord du SS Patris II du 29 juillet au 13 août 1933, entre Marseilles, France et Athènes, Grèce, à Athènes même, et sur le même bateau de croisière durant le retour à Marseilles. Le Congrès, qui se déroulait autour du thème de "The functional city", consistait en la communication des résultats de l'analyse de plus de trente villes et l'objectif visait à établir de nouveaux principes d'urbanisme. Hazen Sise participait au Congrès à titre de délégué du Canada et présenta la ville de Los Angeles, Californie. Les résolutions prises lors du Congrès ont été publiées pour la première fois au mois de novembre suivant sous le titre de "Constatations du quatrième CIAM". Ces "Constatations" seront ensuite à la base de la Charte d'Athènes que Le Corbusier rédigea en 1941. Les clichés montrent quelques-uns des participants au Congrès, dont Le Corbusier (1887-1965), de la délégation française, alors qu'il faisait une communication; László Moholy-Nagy (1895-1946), de la délégation allemande, à qui on avait confié la tâche de filmer les exposés; Alvar Aalto (1898-1976), représentant la Finlande; et le peintre Fernand Léger (1881-1955), délégué de la France, qui présenta un discours à l'attention des architectes au sujet de l'importance de la couleur en architecture. Les deux autres bandes de négatifs témoignent de la présence de Sise au (Comité International pour la Résolution des Problèmes d'Architecture Contemporaine (CIRPAC) à Londres, Angleterre, tenu en mai 1934 au Royal Institute of British Architects pour établir le programme du prochain CIAM (1) et de sa rencontre à Londres avec Georges Braque durant l'été de la même année. (1) Eric Mumford affirme cependant dans "The CIAM Discourse on Urbanism, 1928-1960" que Le Corbusier n'a pas participé à ce congrès (p. 92).
People:
Date:
1933-1934
1933-1934
Title:
CIAM IV, CIRPAC and London
Actions:
AP112.S1
Description:
The series contains seven bands of negatives, divided into groups of two and three negatives a band. The first five bands document the 4th Congrès International d'Architecture Moderne (CIAM) held on board the SS Patris II from 29 July to 13 August 1933, as it travelled between Marseilles, France, and Athens, Greece, and then returned. The conference, themed "The Functional City", presented and discussed the results of an analysis of more than thirty cities, and sought to establish new principles in urban planning. Sise participated at the conference as the Canadian delegate and presented the city of Los Angeles, California. The resolutions adopted at the conference were published for the first time in November under the title "Constatations du quatrième CIAM". These findings formed the base of the Charte d'Athenès written by Le Corbusier in 1941. The negatives show some of the participants of the conference including: Le Corbusier (1887-1965), from the French delegation; László Moholy-Nagy (1895-1946), from the German delegation, who was in charge of filming the presentations; Alvar Aalto (1898-1976), representing Finland; and the painter Fernand Léger (1881-1955), also from the French delegatation, who presented on the importance of colour in architecture. The two other bands of negatives provide evidence of Sise's attendance at Comité International pour la Résolution des Problèmes d'Architecture Contemporaine (CIRPAC), held in May 1934 at the Royal Institute of British Architects in London, England, to establish the program for the next CIAM (1). They also show his meeting in London with Georges Braque during the summer of the same year. (1) Eric Mumford states in "The CIAM Discourse on Urbanism, 1928-1960" that Le Corbusier did not participate at this conference (p. 92). _____________________ La série contient des bandes de négatifs, qui contiennent soit deux, soit trois images, et sont au nombre de sept. Les cinq premières bandes documentent le IVe Congrès International d'Architecture Moderne (CIAM) tenu à bord du SS Patris II du 29 juillet au 13 août 1933, entre Marseilles, France et Athènes, Grèce, à Athènes même, et sur le même bateau de croisière durant le retour à Marseilles. Le Congrès, qui se déroulait autour du thème de "The functional city", consistait en la communication des résultats de l'analyse de plus de trente villes et l'objectif visait à établir de nouveaux principes d'urbanisme. Hazen Sise participait au Congrès à titre de délégué du Canada et présenta la ville de Los Angeles, Californie. Les résolutions prises lors du Congrès ont été publiées pour la première fois au mois de novembre suivant sous le titre de "Constatations du quatrième CIAM". Ces "Constatations" seront ensuite à la base de la Charte d'Athènes que Le Corbusier rédigea en 1941. Les clichés montrent quelques-uns des participants au Congrès, dont Le Corbusier (1887-1965), de la délégation française, alors qu'il faisait une communication; László Moholy-Nagy (1895-1946), de la délégation allemande, à qui on avait confié la tâche de filmer les exposés; Alvar Aalto (1898-1976), représentant la Finlande; et le peintre Fernand Léger (1881-1955), délégué de la France, qui présenta un discours à l'attention des architectes au sujet de l'importance de la couleur en architecture. Les deux autres bandes de négatifs témoignent de la présence de Sise au (Comité International pour la Résolution des Problèmes d'Architecture Contemporaine (CIRPAC) à Londres, Angleterre, tenu en mai 1934 au Royal Institute of British Architects pour établir le programme du prochain CIAM (1) et de sa rencontre à Londres avec Georges Braque durant l'été de la même année. (1) Eric Mumford affirme cependant dans "The CIAM Discourse on Urbanism, 1928-1960" que Le Corbusier n'a pas participé à ce congrès (p. 92).
CIAM IV, CIRPAC and London
Actions:
AP112.S1
Description:
The series contains seven bands of negatives, divided into groups of two and three negatives a band. The first five bands document the 4th Congrès International d'Architecture Moderne (CIAM) held on board the SS Patris II from 29 July to 13 August 1933, as it travelled between Marseilles, France, and Athens, Greece, and then returned. The conference, themed "The Functional City", presented and discussed the results of an analysis of more than thirty cities, and sought to establish new principles in urban planning. Sise participated at the conference as the Canadian delegate and presented the city of Los Angeles, California. The resolutions adopted at the conference were published for the first time in November under the title "Constatations du quatrième CIAM". These findings formed the base of the Charte d'Athenès written by Le Corbusier in 1941. The negatives show some of the participants of the conference including: Le Corbusier (1887-1965), from the French delegation; László Moholy-Nagy (1895-1946), from the German delegation, who was in charge of filming the presentations; Alvar Aalto (1898-1976), representing Finland; and the painter Fernand Léger (1881-1955), also from the French delegatation, who presented on the importance of colour in architecture. The two other bands of negatives provide evidence of Sise's attendance at Comité International pour la Résolution des Problèmes d'Architecture Contemporaine (CIRPAC), held in May 1934 at the Royal Institute of British Architects in London, England, to establish the program for the next CIAM (1). They also show his meeting in London with Georges Braque during the summer of the same year. (1) Eric Mumford states in "The CIAM Discourse on Urbanism, 1928-1960" that Le Corbusier did not participate at this conference (p. 92). _____________________ La série contient des bandes de négatifs, qui contiennent soit deux, soit trois images, et sont au nombre de sept. Les cinq premières bandes documentent le IVe Congrès International d'Architecture Moderne (CIAM) tenu à bord du SS Patris II du 29 juillet au 13 août 1933, entre Marseilles, France et Athènes, Grèce, à Athènes même, et sur le même bateau de croisière durant le retour à Marseilles. Le Congrès, qui se déroulait autour du thème de "The functional city", consistait en la communication des résultats de l'analyse de plus de trente villes et l'objectif visait à établir de nouveaux principes d'urbanisme. Hazen Sise participait au Congrès à titre de délégué du Canada et présenta la ville de Los Angeles, Californie. Les résolutions prises lors du Congrès ont été publiées pour la première fois au mois de novembre suivant sous le titre de "Constatations du quatrième CIAM". Ces "Constatations" seront ensuite à la base de la Charte d'Athènes que Le Corbusier rédigea en 1941. Les clichés montrent quelques-uns des participants au Congrès, dont Le Corbusier (1887-1965), de la délégation française, alors qu'il faisait une communication; László Moholy-Nagy (1895-1946), de la délégation allemande, à qui on avait confié la tâche de filmer les exposés; Alvar Aalto (1898-1976), représentant la Finlande; et le peintre Fernand Léger (1881-1955), délégué de la France, qui présenta un discours à l'attention des architectes au sujet de l'importance de la couleur en architecture. Les deux autres bandes de négatifs témoignent de la présence de Sise au (Comité International pour la Résolution des Problèmes d'Architecture Contemporaine (CIRPAC) à Londres, Angleterre, tenu en mai 1934 au Royal Institute of British Architects pour établir le programme du prochain CIAM (1) et de sa rencontre à Londres avec Georges Braque durant l'été de la même année. (1) Eric Mumford affirme cependant dans "The CIAM Discourse on Urbanism, 1928-1960" que Le Corbusier n'a pas participé à ce congrès (p. 92).
Level of archival description:
Series
Series
Date:
1933-1934
1933-1934
People:
Form:
exhibitions
exhibitions
Description:
The New Spirit: Modern Architecture in Vancouver, 1938–1963 looks at key buildings and projects from an exhilarating epoch in Vancouver’s history through design drawings, period photographs, furniture, and decoration. In the years following the Second World War, Vancouver emerged as a city with a particularly vital and progressive architectural culture, adapting the(...)
The New Spirit: Modern Architecture in Vancouver, 1938–1963 looks at key buildings and projects from an exhilarating epoch in Vancouver’s history through design drawings, period photographs, furniture, and decoration. In the years following the Second World War, Vancouver emerged as a city with a particularly vital and progressive architectural culture, adapting the(...)
Location:
Main galleries
Main galleries
Date:
5 March 1997 to 25 May 1997
5 March 1997 to 25 May 1997
Title:
The New Spirit: Modern Architecture in Vancouver, 1938-1963
Actions:
Description:
The New Spirit: Modern Architecture in Vancouver, 1938–1963 looks at key buildings and projects from an exhilarating epoch in Vancouver’s history through design drawings, period photographs, furniture, and decoration. In the years following the Second World War, Vancouver emerged as a city with a particularly vital and progressive architectural culture, adapting the(...)
The New Spirit: Modern Architecture in Vancouver, 1938-1963
Actions:
Description:
The New Spirit: Modern Architecture in Vancouver, 1938–1963 looks at key buildings and projects from an exhilarating epoch in Vancouver’s history through design drawings, period photographs, furniture, and decoration. In the years following the Second World War, Vancouver emerged as a city with a particularly vital and progressive architectural culture, adapting the(...)
Form:
exhibitions
exhibitions
Date:
5 March 1997 to
25 May 1997
5 March 1997 to
25 May 1997
Location:
Main galleries
Main galleries
Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Title:
Arthur Erickson fonds
Arthur Erickson fonds
Reference number:
AP022
Synopsis:
The Arthur Erickson fonds documents the work and activities of Canadian architect Arthur Erickson between 1947 and 2002 (predominant dates 1963-ca. 2000). It comprises architecture projects records with three hundred ninety-seven projects by Erickson / Massey, Arthur Erickson Architects and Arthur Erickson as a design consultant are documented with drawings, photographs, textual documents and other material. It also includes project administration records, records from Erickson's Toronto, Los Angeles and Vancouver offices, records related to Erickson's professional activities, material related to some of Erickson's student projects, and personal papers.
AP022
Synopsis:
The Arthur Erickson fonds documents the work and activities of Canadian architect Arthur Erickson between 1947 and 2002 (predominant dates 1963-ca. 2000). It comprises architecture projects records with three hundred ninety-seven projects by Erickson / Massey, Arthur Erickson Architects and Arthur Erickson as a design consultant are documented with drawings, photographs, textual documents and other material. It also includes project administration records, records from Erickson's Toronto, Los Angeles and Vancouver offices, records related to Erickson's professional activities, material related to some of Erickson's student projects, and personal papers.
People:
Date:
1947-2002 (predominant 1963-2000)
1947-2002 (predominant 1963-2000)
Title:
Arthur Erickson fonds
Actions:
AP022
Synopsis:
The Arthur Erickson fonds documents the work and activities of Canadian architect Arthur Erickson between 1947 and 2002 (predominant dates 1963-ca. 2000). It comprises architecture projects records with three hundred ninety-seven projects by Erickson / Massey, Arthur Erickson Architects and Arthur Erickson as a design consultant are documented with drawings, photographs, textual documents and other material. It also includes project administration records, records from Erickson's Toronto, Los Angeles and Vancouver offices, records related to Erickson's professional activities, material related to some of Erickson's student projects, and personal papers.
Arthur Erickson fonds
Actions:
AP022
Synopsis:
The Arthur Erickson fonds documents the work and activities of Canadian architect Arthur Erickson between 1947 and 2002 (predominant dates 1963-ca. 2000). It comprises architecture projects records with three hundred ninety-seven projects by Erickson / Massey, Arthur Erickson Architects and Arthur Erickson as a design consultant are documented with drawings, photographs, textual documents and other material. It also includes project administration records, records from Erickson's Toronto, Los Angeles and Vancouver offices, records related to Erickson's professional activities, material related to some of Erickson's student projects, and personal papers.
Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Date:
1947-2002 (predominant 1963-2000)
1947-2002 (predominant 1963-2000)
People:
Level of archival description:
Series
Series
Title:
Projects
Projects
Actions:
Reference number:
AP194.S1
Description:
Series contains records associated with three OCEAN North projects to which Johan Bettum brought a significant insight: Synthetic Landscape (1995-2000), Jyväskylä Music and Arts Centre (1997) and Töölö Football Stadium (1997). The collaborative process around these projects allowed exploring design methods through the usage of digital tools. In discussions with Greg Lynn, Johan Bettum and Kivi Sotamaa have expressed that they had broached Töölö as a landscape and Jyväskylä as a cloud. Particle streaming and Channelling Systems approaches were applied in these projects and further developed in the third phase of the Synthetic Landscape project and its Pavilion. The Synthetic Landscape project also featured usage of polymer composite materials. All records are born-digital, except for one 1995 drawing from the Synthetic Landscape project. Records include CAD models, raster and vector images, textual records and animated renderings from Channelling Systems studies. CAD models and drawings show design process of the projects, and range from the abstract (particle streaming) to very detailed plans (Jyväskylä). They were created using form*Z, Microstation, Alias, 3D Studio, AutoCAD and Rhinoceros. Some files were saved in IGES and DXF formats. Most CAD drawings have been saved as raster images. Drawings and models might have been saved in more than one file format. Digital textual records include project descriptions, presentations and reports, budgets and meeting notes, often created using the Microsoft Office software suite. Sources: Bettum, Johan and Michael Hensel. “Channelling Systems: Dynamic Processes and Digital Time-Based Methods in Urban Design.” AD Architectural Design 70, no.3 (June 2000): 36-43. Greg Lynn, ed. Archaeology of the Digital 17: OCEAN North, Jyväskylä Music and Arts Centre, Montréal: Canadian Centre for Architecture, 2017. ePub.
AP194.S1
Description:
Series contains records associated with three OCEAN North projects to which Johan Bettum brought a significant insight: Synthetic Landscape (1995-2000), Jyväskylä Music and Arts Centre (1997) and Töölö Football Stadium (1997). The collaborative process around these projects allowed exploring design methods through the usage of digital tools. In discussions with Greg Lynn, Johan Bettum and Kivi Sotamaa have expressed that they had broached Töölö as a landscape and Jyväskylä as a cloud. Particle streaming and Channelling Systems approaches were applied in these projects and further developed in the third phase of the Synthetic Landscape project and its Pavilion. The Synthetic Landscape project also featured usage of polymer composite materials. All records are born-digital, except for one 1995 drawing from the Synthetic Landscape project. Records include CAD models, raster and vector images, textual records and animated renderings from Channelling Systems studies. CAD models and drawings show design process of the projects, and range from the abstract (particle streaming) to very detailed plans (Jyväskylä). They were created using form*Z, Microstation, Alias, 3D Studio, AutoCAD and Rhinoceros. Some files were saved in IGES and DXF formats. Most CAD drawings have been saved as raster images. Drawings and models might have been saved in more than one file format. Digital textual records include project descriptions, presentations and reports, budgets and meeting notes, often created using the Microsoft Office software suite. Sources: Bettum, Johan and Michael Hensel. “Channelling Systems: Dynamic Processes and Digital Time-Based Methods in Urban Design.” AD Architectural Design 70, no.3 (June 2000): 36-43. Greg Lynn, ed. Archaeology of the Digital 17: OCEAN North, Jyväskylä Music and Arts Centre, Montréal: Canadian Centre for Architecture, 2017. ePub.
People:
Date:
1995-2000
1995-2000
Title:
Projects
Actions:
AP194.S1
Description:
Series contains records associated with three OCEAN North projects to which Johan Bettum brought a significant insight: Synthetic Landscape (1995-2000), Jyväskylä Music and Arts Centre (1997) and Töölö Football Stadium (1997). The collaborative process around these projects allowed exploring design methods through the usage of digital tools. In discussions with Greg Lynn, Johan Bettum and Kivi Sotamaa have expressed that they had broached Töölö as a landscape and Jyväskylä as a cloud. Particle streaming and Channelling Systems approaches were applied in these projects and further developed in the third phase of the Synthetic Landscape project and its Pavilion. The Synthetic Landscape project also featured usage of polymer composite materials. All records are born-digital, except for one 1995 drawing from the Synthetic Landscape project. Records include CAD models, raster and vector images, textual records and animated renderings from Channelling Systems studies. CAD models and drawings show design process of the projects, and range from the abstract (particle streaming) to very detailed plans (Jyväskylä). They were created using form*Z, Microstation, Alias, 3D Studio, AutoCAD and Rhinoceros. Some files were saved in IGES and DXF formats. Most CAD drawings have been saved as raster images. Drawings and models might have been saved in more than one file format. Digital textual records include project descriptions, presentations and reports, budgets and meeting notes, often created using the Microsoft Office software suite. Sources: Bettum, Johan and Michael Hensel. “Channelling Systems: Dynamic Processes and Digital Time-Based Methods in Urban Design.” AD Architectural Design 70, no.3 (June 2000): 36-43. Greg Lynn, ed. Archaeology of the Digital 17: OCEAN North, Jyväskylä Music and Arts Centre, Montréal: Canadian Centre for Architecture, 2017. ePub.
Projects
Actions:
AP194.S1
Description:
Series contains records associated with three OCEAN North projects to which Johan Bettum brought a significant insight: Synthetic Landscape (1995-2000), Jyväskylä Music and Arts Centre (1997) and Töölö Football Stadium (1997). The collaborative process around these projects allowed exploring design methods through the usage of digital tools. In discussions with Greg Lynn, Johan Bettum and Kivi Sotamaa have expressed that they had broached Töölö as a landscape and Jyväskylä as a cloud. Particle streaming and Channelling Systems approaches were applied in these projects and further developed in the third phase of the Synthetic Landscape project and its Pavilion. The Synthetic Landscape project also featured usage of polymer composite materials. All records are born-digital, except for one 1995 drawing from the Synthetic Landscape project. Records include CAD models, raster and vector images, textual records and animated renderings from Channelling Systems studies. CAD models and drawings show design process of the projects, and range from the abstract (particle streaming) to very detailed plans (Jyväskylä). They were created using form*Z, Microstation, Alias, 3D Studio, AutoCAD and Rhinoceros. Some files were saved in IGES and DXF formats. Most CAD drawings have been saved as raster images. Drawings and models might have been saved in more than one file format. Digital textual records include project descriptions, presentations and reports, budgets and meeting notes, often created using the Microsoft Office software suite. Sources: Bettum, Johan and Michael Hensel. “Channelling Systems: Dynamic Processes and Digital Time-Based Methods in Urban Design.” AD Architectural Design 70, no.3 (June 2000): 36-43. Greg Lynn, ed. Archaeology of the Digital 17: OCEAN North, Jyväskylä Music and Arts Centre, Montréal: Canadian Centre for Architecture, 2017. ePub.
Level of archival description:
Series
Series
Date:
1995-2000
1995-2000
People:
Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Reference number:
AP154
Synopsis:
The Pasanella + Klein Stolzman + Berg collection documents selected projects of the architect Giovanni Pasanella and of firms of which he was a principal, namely, Merz & Pasanella, Pasanella + Klein, and Pasanella + Klein Stolzman + Berg.
AP154
Synopsis:
The Pasanella + Klein Stolzman + Berg collection documents selected projects of the architect Giovanni Pasanella and of firms of which he was a principal, namely, Merz & Pasanella, Pasanella + Klein, and Pasanella + Klein Stolzman + Berg.
People:
Date:
1955-2007
1955-2007
Title:
Pasanella + Klein Stolzman + Berg collection
Actions:
AP154
Synopsis:
The Pasanella + Klein Stolzman + Berg collection documents selected projects of the architect Giovanni Pasanella and of firms of which he was a principal, namely, Merz & Pasanella, Pasanella + Klein, and Pasanella + Klein Stolzman + Berg.
Pasanella + Klein Stolzman + Berg collection
Actions:
AP154
Synopsis:
The Pasanella + Klein Stolzman + Berg collection documents selected projects of the architect Giovanni Pasanella and of firms of which he was a principal, namely, Merz & Pasanella, Pasanella + Klein, and Pasanella + Klein Stolzman + Berg.
Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Date:
1955-2007
1955-2007
People:
Level of archival description:
Project
Project
Reference number:
AP148.S1.1970.PR02
Description:
The project series documents Poli's work on the Interplanetary Architecture project, which was also made into a film by Superstudio directed by Alessandro Poli (the film is not included in the fonds). The project reflects Poli's deep fascination with the moon landing in 1969. Poli uses this major media event as a catalyst for thinking about a new approach to architecture and tools for design, including the idea that film and the movie camera should become part of the toolset. The project also seems to be in some way a response to Epoch magazine's challenge for a "Primo concorso di architettura nello spazio" (the first architectural competition in space), and includes much imagery and textual references to a new road or architectural links between the earth and other planets, including an earth moon highway. In his storyboard, Poli also makes reference to his earlier Piper project, and some imagery features wheels and an amusement park. The Interplanetary Architecture project was exhibited by Superstudio in Rome in 1972 and featured in "Casabella" magazine in April 1972 (no. 364). The project was also featured in the 2010 CCA exhibition "Other Space Odysseys". In the accompanying CCA publication, Poli describes this project as "a voyage off earthbound routes in quest of architecture unfettered by the urban nightmare, by induced needs or by planning as the only tool for regulating and solving the world's problems" (Poli quoted in Borasi and Zardini, 2010, 110). Poli's work on this project is deeply tied to the Zeno project, which was also featured in this exhibition and is included in this fonds (see AP148.S1.1972.PR01). For the Zeno project, Poli envisioned a dialogue between astronaut Buzz Aldrin and an Italian peasant, Zeno of Riparbella. Poli felt that these two shared a similarity in that both their homes were isolated capsules, one that provided a lens from which to see the rest of the world and understand their place in it. The material in the series includes numerous photomontages and collages of astronauts in space, as well as drawings of plantery shapes and structures. There are also texts, some of which include calculations of distances and diameters of planets, as well as notebooks and sketchbooks, many of which Poli included in a folder he entitled "Storyboard." The series also includes an unsent letter from Poli to Adolfo Natalini which describes how, after the moon landing, everything - the planet, the moon, the stars - is architecture, and that this will necessitate the need for new design tools, such as the movie camera. Some works are signed Alessandro Poli-Superstudio. Source cited: Giovanna Borasi and Mirko Zardini, eds., Other Space Odysseys, Montreal and Baden: Canadian Centre for Architecture/Lars Müller Publishers, 2010.
AP148.S1.1970.PR02
Description:
The project series documents Poli's work on the Interplanetary Architecture project, which was also made into a film by Superstudio directed by Alessandro Poli (the film is not included in the fonds). The project reflects Poli's deep fascination with the moon landing in 1969. Poli uses this major media event as a catalyst for thinking about a new approach to architecture and tools for design, including the idea that film and the movie camera should become part of the toolset. The project also seems to be in some way a response to Epoch magazine's challenge for a "Primo concorso di architettura nello spazio" (the first architectural competition in space), and includes much imagery and textual references to a new road or architectural links between the earth and other planets, including an earth moon highway. In his storyboard, Poli also makes reference to his earlier Piper project, and some imagery features wheels and an amusement park. The Interplanetary Architecture project was exhibited by Superstudio in Rome in 1972 and featured in "Casabella" magazine in April 1972 (no. 364). The project was also featured in the 2010 CCA exhibition "Other Space Odysseys". In the accompanying CCA publication, Poli describes this project as "a voyage off earthbound routes in quest of architecture unfettered by the urban nightmare, by induced needs or by planning as the only tool for regulating and solving the world's problems" (Poli quoted in Borasi and Zardini, 2010, 110). Poli's work on this project is deeply tied to the Zeno project, which was also featured in this exhibition and is included in this fonds (see AP148.S1.1972.PR01). For the Zeno project, Poli envisioned a dialogue between astronaut Buzz Aldrin and an Italian peasant, Zeno of Riparbella. Poli felt that these two shared a similarity in that both their homes were isolated capsules, one that provided a lens from which to see the rest of the world and understand their place in it. The material in the series includes numerous photomontages and collages of astronauts in space, as well as drawings of plantery shapes and structures. There are also texts, some of which include calculations of distances and diameters of planets, as well as notebooks and sketchbooks, many of which Poli included in a folder he entitled "Storyboard." The series also includes an unsent letter from Poli to Adolfo Natalini which describes how, after the moon landing, everything - the planet, the moon, the stars - is architecture, and that this will necessitate the need for new design tools, such as the movie camera. Some works are signed Alessandro Poli-Superstudio. Source cited: Giovanna Borasi and Mirko Zardini, eds., Other Space Odysseys, Montreal and Baden: Canadian Centre for Architecture/Lars Müller Publishers, 2010.
People:
Date:
1969-1971
1969-1971
Title:
Architettura Interplanetaria [Interplanetary Architecture] (1970-1971)
Actions:
AP148.S1.1970.PR02
Description:
The project series documents Poli's work on the Interplanetary Architecture project, which was also made into a film by Superstudio directed by Alessandro Poli (the film is not included in the fonds). The project reflects Poli's deep fascination with the moon landing in 1969. Poli uses this major media event as a catalyst for thinking about a new approach to architecture and tools for design, including the idea that film and the movie camera should become part of the toolset. The project also seems to be in some way a response to Epoch magazine's challenge for a "Primo concorso di architettura nello spazio" (the first architectural competition in space), and includes much imagery and textual references to a new road or architectural links between the earth and other planets, including an earth moon highway. In his storyboard, Poli also makes reference to his earlier Piper project, and some imagery features wheels and an amusement park. The Interplanetary Architecture project was exhibited by Superstudio in Rome in 1972 and featured in "Casabella" magazine in April 1972 (no. 364). The project was also featured in the 2010 CCA exhibition "Other Space Odysseys". In the accompanying CCA publication, Poli describes this project as "a voyage off earthbound routes in quest of architecture unfettered by the urban nightmare, by induced needs or by planning as the only tool for regulating and solving the world's problems" (Poli quoted in Borasi and Zardini, 2010, 110). Poli's work on this project is deeply tied to the Zeno project, which was also featured in this exhibition and is included in this fonds (see AP148.S1.1972.PR01). For the Zeno project, Poli envisioned a dialogue between astronaut Buzz Aldrin and an Italian peasant, Zeno of Riparbella. Poli felt that these two shared a similarity in that both their homes were isolated capsules, one that provided a lens from which to see the rest of the world and understand their place in it. The material in the series includes numerous photomontages and collages of astronauts in space, as well as drawings of plantery shapes and structures. There are also texts, some of which include calculations of distances and diameters of planets, as well as notebooks and sketchbooks, many of which Poli included in a folder he entitled "Storyboard." The series also includes an unsent letter from Poli to Adolfo Natalini which describes how, after the moon landing, everything - the planet, the moon, the stars - is architecture, and that this will necessitate the need for new design tools, such as the movie camera. Some works are signed Alessandro Poli-Superstudio. Source cited: Giovanna Borasi and Mirko Zardini, eds., Other Space Odysseys, Montreal and Baden: Canadian Centre for Architecture/Lars Müller Publishers, 2010.
Architettura Interplanetaria [Interplanetary Architecture] (1970-1971)
Actions:
AP148.S1.1970.PR02
Description:
The project series documents Poli's work on the Interplanetary Architecture project, which was also made into a film by Superstudio directed by Alessandro Poli (the film is not included in the fonds). The project reflects Poli's deep fascination with the moon landing in 1969. Poli uses this major media event as a catalyst for thinking about a new approach to architecture and tools for design, including the idea that film and the movie camera should become part of the toolset. The project also seems to be in some way a response to Epoch magazine's challenge for a "Primo concorso di architettura nello spazio" (the first architectural competition in space), and includes much imagery and textual references to a new road or architectural links between the earth and other planets, including an earth moon highway. In his storyboard, Poli also makes reference to his earlier Piper project, and some imagery features wheels and an amusement park. The Interplanetary Architecture project was exhibited by Superstudio in Rome in 1972 and featured in "Casabella" magazine in April 1972 (no. 364). The project was also featured in the 2010 CCA exhibition "Other Space Odysseys". In the accompanying CCA publication, Poli describes this project as "a voyage off earthbound routes in quest of architecture unfettered by the urban nightmare, by induced needs or by planning as the only tool for regulating and solving the world's problems" (Poli quoted in Borasi and Zardini, 2010, 110). Poli's work on this project is deeply tied to the Zeno project, which was also featured in this exhibition and is included in this fonds (see AP148.S1.1972.PR01). For the Zeno project, Poli envisioned a dialogue between astronaut Buzz Aldrin and an Italian peasant, Zeno of Riparbella. Poli felt that these two shared a similarity in that both their homes were isolated capsules, one that provided a lens from which to see the rest of the world and understand their place in it. The material in the series includes numerous photomontages and collages of astronauts in space, as well as drawings of plantery shapes and structures. There are also texts, some of which include calculations of distances and diameters of planets, as well as notebooks and sketchbooks, many of which Poli included in a folder he entitled "Storyboard." The series also includes an unsent letter from Poli to Adolfo Natalini which describes how, after the moon landing, everything - the planet, the moon, the stars - is architecture, and that this will necessitate the need for new design tools, such as the movie camera. Some works are signed Alessandro Poli-Superstudio. Source cited: Giovanna Borasi and Mirko Zardini, eds., Other Space Odysseys, Montreal and Baden: Canadian Centre for Architecture/Lars Müller Publishers, 2010.
Level of archival description:
Project
Project
Date:
1969-1971
1969-1971
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:
Level of archival description:
Series
Series
Title:
Projects
Projects
Reference number:
AP144.S2
Description:
Series documents Cedric Price's projects from his early work in the late 1950s to work dating from the time he founded his own practice in 1960 until 2000. Material includes numerous competition entries, planning and building projects, transportation-related projects, exhibitions, conceptual projects, furniture and interior designs, and monuments, follies, and decorations. Some projects also reflect his teaching, research, lecture and publication activities. Price also worked on several competition juries (see projects Musique, Elephant). Many of Cedric Price's projects in the series are unexecuted. Significant unrealized projects from the 1960s and 1970s include Fun Palace (1961-1974), Potteries Thinkbelt (1963-1967), Oxford Corner House (1965-1966), and Generator (1976-1980). Significant built projects from the same period include the New Aviary (1960-1966), his first major realized project (with Lord Snowdon and Frank Newby), and Inter-Action Centre (1971-1979). Other realized projects include an office building (BTDB Computer, 1968-1973) and restaurant (Blackpool Project, 1971-1975). Planning projects from the 1960s and 1970s include Potteries Thinkbelt, Detroit Think Grid (1969-1971) and Rice University's design charette, Atom (1967). In the 1980s and 1990s, Cedric Price worked on several building proposals including greenhouses (Serre, Serre (2)), museums, galleries, and pavilions (Trafalgar, Pertpavs, Snake), a railway station (Strate (2)), a cultural centre (Tiff), houses (Perthut, Castel), a bus station (Walsall), an aviary (CP Aviary) and office buildings (Domain, Berlin). Planning projects from the same time include parks and cultural complexes, (Parc, South Bank), urban areas, (Strate, Stratton, IFPRI, Haven, Mills), university campuses (Frankfurt, Unibad, Bedford), and rural areas (Stark, Arkage). Transportation-related projects include railways (Strate, Control, Rink), roadways (Stratton) and pedestrian links (Magnet, Halmag, South Bank). Only a few of his projects from that period were executed and those include the renovation projects Congress and SAS 29; a mobile market stall design for Westminster City Council (Westal) for which prototypes were built; a coffee cup design (Crowbar); and building conversion projects Gatard and Juke. Exhibition projects in the series include some devoted to Cedric Price's works (AA Exhibition, Aedes, AFX, Afella), some designed by him (Strike, Food for the Future, Topolski/Waterloo, Ashmole, Mean, AFX), as well as projects designed for exhibition (Citlin, Castel). The series also contains self-financed research and client-less projects, which form a significant part of Cedric Price's practice. Undertaken in anticipation of future clients or new planning needs, they include research into air structures and lightweight enclosures as well as integrated construction and transportation solutions (Trucksafe Air Portable Dock Ahoy), and housing research. South Bank, Magnet, and Duck Land represent a few of the client-less projects. The material in this series documents Cedric Price's work in the United Kingdom, in particular England (the Greater London area, and other areas) and Scotland, Germany, France, Austria, Australia, Japan, the United Arab Emirates, and the United States and other locations such as Canada, Nigeria, and Norway. Major clients include J. Lyons & Co. (Oxford Corner House), David Keddie (Two Tree Island, Southend Roof), Howard Gilman (Generator), British Railways (Strate and Strate (2), and others), the McAlpine family , particularly Alistair McAlpine, and their company Sir Robert McAlpine & Sons Ltd. (McAppy, Perthut, Trafalgar, Pertpavs, Ashmole, Perth, Obeliq, McVance); Établissement Public du Parc de la Villette (Parc, Serre, Serre (2), Musique) and the Canadian Centre for Architecture (IFPRI, Mean). He collaborated with several architects and engineers during the course of his career, his closest association being with engineer Frank Newby and quantity surveyor Douglas Smith. Some of his other collaborators include engineer Max Fordham (Strate (2), Tiff, Berlin), engineering firms Scott Wilson Kirkpatrick and Partners (Stratton, Rink, Control), and Sir Frederick Snow & Partners (South Bank), cybernetician Gordon Pask (Kawasaki/Japnet), architectural firm YRM/Yorke Rosenberg Mardall (Unibad), and architect Richard Rogers (Marman). He also collaborated with members of Archigram on the Trondheim Competition, (1972-1974), and with John and Julia Frazer who provided the computer modelling for Generator. David Price, Cedric Price's brother was the model maker for several projects. The series contains conceptual drawings, design development drawings, reference drawings and maps, presentation drawings (particularly for competitions), and working drawings. A significant amount of textual records are included, especially for projects involving a large amount of research or publicity (Air Structures, Lightweight Enclosures, South Bank, CP Aviary, Stratton), for executed projects, and for the larger unrealized projects like Fun Palace and Generator. Also includes photographic materials of project sites and models. Some models included in the series are made from durable materials (wood, metal, plastic), while others are in-office constructions made out of paper, cardboard and Fome-Cor (TM). Of particular note are the 11 models for Magnet, and a full-size prototype of a market stall for Westal. Series also contains publication layouts, including material for the "Cedric Price Supplement", 'Architectural Design' vols. 40- 42 (1970-1972). Changes in office practice are noted around 1971, evident in the Blackpool Project and later, including the adoption of the metric system, and the creation of working and detail drawings on A4 size paper and filed with textual records (e.g. approximately 300 such drawings are included in the textual records for Blackpool Project). At the same time fewer preamble drawings that relate to site sensing, progress and life-cycle graphs and tables are created for the projects (a common feature from the 1960s), although project progress tables are still used. Of particular interest is material in the Early Work and Miscellaneous Records file (AP144.S2.D1) that relates to office work methods and programmes.
AP144.S2
Description:
Series documents Cedric Price's projects from his early work in the late 1950s to work dating from the time he founded his own practice in 1960 until 2000. Material includes numerous competition entries, planning and building projects, transportation-related projects, exhibitions, conceptual projects, furniture and interior designs, and monuments, follies, and decorations. Some projects also reflect his teaching, research, lecture and publication activities. Price also worked on several competition juries (see projects Musique, Elephant). Many of Cedric Price's projects in the series are unexecuted. Significant unrealized projects from the 1960s and 1970s include Fun Palace (1961-1974), Potteries Thinkbelt (1963-1967), Oxford Corner House (1965-1966), and Generator (1976-1980). Significant built projects from the same period include the New Aviary (1960-1966), his first major realized project (with Lord Snowdon and Frank Newby), and Inter-Action Centre (1971-1979). Other realized projects include an office building (BTDB Computer, 1968-1973) and restaurant (Blackpool Project, 1971-1975). Planning projects from the 1960s and 1970s include Potteries Thinkbelt, Detroit Think Grid (1969-1971) and Rice University's design charette, Atom (1967). In the 1980s and 1990s, Cedric Price worked on several building proposals including greenhouses (Serre, Serre (2)), museums, galleries, and pavilions (Trafalgar, Pertpavs, Snake), a railway station (Strate (2)), a cultural centre (Tiff), houses (Perthut, Castel), a bus station (Walsall), an aviary (CP Aviary) and office buildings (Domain, Berlin). Planning projects from the same time include parks and cultural complexes, (Parc, South Bank), urban areas, (Strate, Stratton, IFPRI, Haven, Mills), university campuses (Frankfurt, Unibad, Bedford), and rural areas (Stark, Arkage). Transportation-related projects include railways (Strate, Control, Rink), roadways (Stratton) and pedestrian links (Magnet, Halmag, South Bank). Only a few of his projects from that period were executed and those include the renovation projects Congress and SAS 29; a mobile market stall design for Westminster City Council (Westal) for which prototypes were built; a coffee cup design (Crowbar); and building conversion projects Gatard and Juke. Exhibition projects in the series include some devoted to Cedric Price's works (AA Exhibition, Aedes, AFX, Afella), some designed by him (Strike, Food for the Future, Topolski/Waterloo, Ashmole, Mean, AFX), as well as projects designed for exhibition (Citlin, Castel). The series also contains self-financed research and client-less projects, which form a significant part of Cedric Price's practice. Undertaken in anticipation of future clients or new planning needs, they include research into air structures and lightweight enclosures as well as integrated construction and transportation solutions (Trucksafe Air Portable Dock Ahoy), and housing research. South Bank, Magnet, and Duck Land represent a few of the client-less projects. The material in this series documents Cedric Price's work in the United Kingdom, in particular England (the Greater London area, and other areas) and Scotland, Germany, France, Austria, Australia, Japan, the United Arab Emirates, and the United States and other locations such as Canada, Nigeria, and Norway. Major clients include J. Lyons & Co. (Oxford Corner House), David Keddie (Two Tree Island, Southend Roof), Howard Gilman (Generator), British Railways (Strate and Strate (2), and others), the McAlpine family , particularly Alistair McAlpine, and their company Sir Robert McAlpine & Sons Ltd. (McAppy, Perthut, Trafalgar, Pertpavs, Ashmole, Perth, Obeliq, McVance); Établissement Public du Parc de la Villette (Parc, Serre, Serre (2), Musique) and the Canadian Centre for Architecture (IFPRI, Mean). He collaborated with several architects and engineers during the course of his career, his closest association being with engineer Frank Newby and quantity surveyor Douglas Smith. Some of his other collaborators include engineer Max Fordham (Strate (2), Tiff, Berlin), engineering firms Scott Wilson Kirkpatrick and Partners (Stratton, Rink, Control), and Sir Frederick Snow & Partners (South Bank), cybernetician Gordon Pask (Kawasaki/Japnet), architectural firm YRM/Yorke Rosenberg Mardall (Unibad), and architect Richard Rogers (Marman). He also collaborated with members of Archigram on the Trondheim Competition, (1972-1974), and with John and Julia Frazer who provided the computer modelling for Generator. David Price, Cedric Price's brother was the model maker for several projects. The series contains conceptual drawings, design development drawings, reference drawings and maps, presentation drawings (particularly for competitions), and working drawings. A significant amount of textual records are included, especially for projects involving a large amount of research or publicity (Air Structures, Lightweight Enclosures, South Bank, CP Aviary, Stratton), for executed projects, and for the larger unrealized projects like Fun Palace and Generator. Also includes photographic materials of project sites and models. Some models included in the series are made from durable materials (wood, metal, plastic), while others are in-office constructions made out of paper, cardboard and Fome-Cor (TM). Of particular note are the 11 models for Magnet, and a full-size prototype of a market stall for Westal. Series also contains publication layouts, including material for the "Cedric Price Supplement", 'Architectural Design' vols. 40- 42 (1970-1972). Changes in office practice are noted around 1971, evident in the Blackpool Project and later, including the adoption of the metric system, and the creation of working and detail drawings on A4 size paper and filed with textual records (e.g. approximately 300 such drawings are included in the textual records for Blackpool Project). At the same time fewer preamble drawings that relate to site sensing, progress and life-cycle graphs and tables are created for the projects (a common feature from the 1960s), although project progress tables are still used. Of particular interest is material in the Early Work and Miscellaneous Records file (AP144.S2.D1) that relates to office work methods and programmes.
People:
Date:
1903-2003, predominant 1960-2000
1903-2003, predominant 1960-2000
Title:
Projects
Actions:
AP144.S2
Description:
Series documents Cedric Price's projects from his early work in the late 1950s to work dating from the time he founded his own practice in 1960 until 2000. Material includes numerous competition entries, planning and building projects, transportation-related projects, exhibitions, conceptual projects, furniture and interior designs, and monuments, follies, and decorations. Some projects also reflect his teaching, research, lecture and publication activities. Price also worked on several competition juries (see projects Musique, Elephant). Many of Cedric Price's projects in the series are unexecuted. Significant unrealized projects from the 1960s and 1970s include Fun Palace (1961-1974), Potteries Thinkbelt (1963-1967), Oxford Corner House (1965-1966), and Generator (1976-1980). Significant built projects from the same period include the New Aviary (1960-1966), his first major realized project (with Lord Snowdon and Frank Newby), and Inter-Action Centre (1971-1979). Other realized projects include an office building (BTDB Computer, 1968-1973) and restaurant (Blackpool Project, 1971-1975). Planning projects from the 1960s and 1970s include Potteries Thinkbelt, Detroit Think Grid (1969-1971) and Rice University's design charette, Atom (1967). In the 1980s and 1990s, Cedric Price worked on several building proposals including greenhouses (Serre, Serre (2)), museums, galleries, and pavilions (Trafalgar, Pertpavs, Snake), a railway station (Strate (2)), a cultural centre (Tiff), houses (Perthut, Castel), a bus station (Walsall), an aviary (CP Aviary) and office buildings (Domain, Berlin). Planning projects from the same time include parks and cultural complexes, (Parc, South Bank), urban areas, (Strate, Stratton, IFPRI, Haven, Mills), university campuses (Frankfurt, Unibad, Bedford), and rural areas (Stark, Arkage). Transportation-related projects include railways (Strate, Control, Rink), roadways (Stratton) and pedestrian links (Magnet, Halmag, South Bank). Only a few of his projects from that period were executed and those include the renovation projects Congress and SAS 29; a mobile market stall design for Westminster City Council (Westal) for which prototypes were built; a coffee cup design (Crowbar); and building conversion projects Gatard and Juke. Exhibition projects in the series include some devoted to Cedric Price's works (AA Exhibition, Aedes, AFX, Afella), some designed by him (Strike, Food for the Future, Topolski/Waterloo, Ashmole, Mean, AFX), as well as projects designed for exhibition (Citlin, Castel). The series also contains self-financed research and client-less projects, which form a significant part of Cedric Price's practice. Undertaken in anticipation of future clients or new planning needs, they include research into air structures and lightweight enclosures as well as integrated construction and transportation solutions (Trucksafe Air Portable Dock Ahoy), and housing research. South Bank, Magnet, and Duck Land represent a few of the client-less projects. The material in this series documents Cedric Price's work in the United Kingdom, in particular England (the Greater London area, and other areas) and Scotland, Germany, France, Austria, Australia, Japan, the United Arab Emirates, and the United States and other locations such as Canada, Nigeria, and Norway. Major clients include J. Lyons & Co. (Oxford Corner House), David Keddie (Two Tree Island, Southend Roof), Howard Gilman (Generator), British Railways (Strate and Strate (2), and others), the McAlpine family , particularly Alistair McAlpine, and their company Sir Robert McAlpine & Sons Ltd. (McAppy, Perthut, Trafalgar, Pertpavs, Ashmole, Perth, Obeliq, McVance); Établissement Public du Parc de la Villette (Parc, Serre, Serre (2), Musique) and the Canadian Centre for Architecture (IFPRI, Mean). He collaborated with several architects and engineers during the course of his career, his closest association being with engineer Frank Newby and quantity surveyor Douglas Smith. Some of his other collaborators include engineer Max Fordham (Strate (2), Tiff, Berlin), engineering firms Scott Wilson Kirkpatrick and Partners (Stratton, Rink, Control), and Sir Frederick Snow & Partners (South Bank), cybernetician Gordon Pask (Kawasaki/Japnet), architectural firm YRM/Yorke Rosenberg Mardall (Unibad), and architect Richard Rogers (Marman). He also collaborated with members of Archigram on the Trondheim Competition, (1972-1974), and with John and Julia Frazer who provided the computer modelling for Generator. David Price, Cedric Price's brother was the model maker for several projects. The series contains conceptual drawings, design development drawings, reference drawings and maps, presentation drawings (particularly for competitions), and working drawings. A significant amount of textual records are included, especially for projects involving a large amount of research or publicity (Air Structures, Lightweight Enclosures, South Bank, CP Aviary, Stratton), for executed projects, and for the larger unrealized projects like Fun Palace and Generator. Also includes photographic materials of project sites and models. Some models included in the series are made from durable materials (wood, metal, plastic), while others are in-office constructions made out of paper, cardboard and Fome-Cor (TM). Of particular note are the 11 models for Magnet, and a full-size prototype of a market stall for Westal. Series also contains publication layouts, including material for the "Cedric Price Supplement", 'Architectural Design' vols. 40- 42 (1970-1972). Changes in office practice are noted around 1971, evident in the Blackpool Project and later, including the adoption of the metric system, and the creation of working and detail drawings on A4 size paper and filed with textual records (e.g. approximately 300 such drawings are included in the textual records for Blackpool Project). At the same time fewer preamble drawings that relate to site sensing, progress and life-cycle graphs and tables are created for the projects (a common feature from the 1960s), although project progress tables are still used. Of particular interest is material in the Early Work and Miscellaneous Records file (AP144.S2.D1) that relates to office work methods and programmes.
Projects
Actions:
AP144.S2
Description:
Series documents Cedric Price's projects from his early work in the late 1950s to work dating from the time he founded his own practice in 1960 until 2000. Material includes numerous competition entries, planning and building projects, transportation-related projects, exhibitions, conceptual projects, furniture and interior designs, and monuments, follies, and decorations. Some projects also reflect his teaching, research, lecture and publication activities. Price also worked on several competition juries (see projects Musique, Elephant). Many of Cedric Price's projects in the series are unexecuted. Significant unrealized projects from the 1960s and 1970s include Fun Palace (1961-1974), Potteries Thinkbelt (1963-1967), Oxford Corner House (1965-1966), and Generator (1976-1980). Significant built projects from the same period include the New Aviary (1960-1966), his first major realized project (with Lord Snowdon and Frank Newby), and Inter-Action Centre (1971-1979). Other realized projects include an office building (BTDB Computer, 1968-1973) and restaurant (Blackpool Project, 1971-1975). Planning projects from the 1960s and 1970s include Potteries Thinkbelt, Detroit Think Grid (1969-1971) and Rice University's design charette, Atom (1967). In the 1980s and 1990s, Cedric Price worked on several building proposals including greenhouses (Serre, Serre (2)), museums, galleries, and pavilions (Trafalgar, Pertpavs, Snake), a railway station (Strate (2)), a cultural centre (Tiff), houses (Perthut, Castel), a bus station (Walsall), an aviary (CP Aviary) and office buildings (Domain, Berlin). Planning projects from the same time include parks and cultural complexes, (Parc, South Bank), urban areas, (Strate, Stratton, IFPRI, Haven, Mills), university campuses (Frankfurt, Unibad, Bedford), and rural areas (Stark, Arkage). Transportation-related projects include railways (Strate, Control, Rink), roadways (Stratton) and pedestrian links (Magnet, Halmag, South Bank). Only a few of his projects from that period were executed and those include the renovation projects Congress and SAS 29; a mobile market stall design for Westminster City Council (Westal) for which prototypes were built; a coffee cup design (Crowbar); and building conversion projects Gatard and Juke. Exhibition projects in the series include some devoted to Cedric Price's works (AA Exhibition, Aedes, AFX, Afella), some designed by him (Strike, Food for the Future, Topolski/Waterloo, Ashmole, Mean, AFX), as well as projects designed for exhibition (Citlin, Castel). The series also contains self-financed research and client-less projects, which form a significant part of Cedric Price's practice. Undertaken in anticipation of future clients or new planning needs, they include research into air structures and lightweight enclosures as well as integrated construction and transportation solutions (Trucksafe Air Portable Dock Ahoy), and housing research. South Bank, Magnet, and Duck Land represent a few of the client-less projects. The material in this series documents Cedric Price's work in the United Kingdom, in particular England (the Greater London area, and other areas) and Scotland, Germany, France, Austria, Australia, Japan, the United Arab Emirates, and the United States and other locations such as Canada, Nigeria, and Norway. Major clients include J. Lyons & Co. (Oxford Corner House), David Keddie (Two Tree Island, Southend Roof), Howard Gilman (Generator), British Railways (Strate and Strate (2), and others), the McAlpine family , particularly Alistair McAlpine, and their company Sir Robert McAlpine & Sons Ltd. (McAppy, Perthut, Trafalgar, Pertpavs, Ashmole, Perth, Obeliq, McVance); Établissement Public du Parc de la Villette (Parc, Serre, Serre (2), Musique) and the Canadian Centre for Architecture (IFPRI, Mean). He collaborated with several architects and engineers during the course of his career, his closest association being with engineer Frank Newby and quantity surveyor Douglas Smith. Some of his other collaborators include engineer Max Fordham (Strate (2), Tiff, Berlin), engineering firms Scott Wilson Kirkpatrick and Partners (Stratton, Rink, Control), and Sir Frederick Snow & Partners (South Bank), cybernetician Gordon Pask (Kawasaki/Japnet), architectural firm YRM/Yorke Rosenberg Mardall (Unibad), and architect Richard Rogers (Marman). He also collaborated with members of Archigram on the Trondheim Competition, (1972-1974), and with John and Julia Frazer who provided the computer modelling for Generator. David Price, Cedric Price's brother was the model maker for several projects. The series contains conceptual drawings, design development drawings, reference drawings and maps, presentation drawings (particularly for competitions), and working drawings. A significant amount of textual records are included, especially for projects involving a large amount of research or publicity (Air Structures, Lightweight Enclosures, South Bank, CP Aviary, Stratton), for executed projects, and for the larger unrealized projects like Fun Palace and Generator. Also includes photographic materials of project sites and models. Some models included in the series are made from durable materials (wood, metal, plastic), while others are in-office constructions made out of paper, cardboard and Fome-Cor (TM). Of particular note are the 11 models for Magnet, and a full-size prototype of a market stall for Westal. Series also contains publication layouts, including material for the "Cedric Price Supplement", 'Architectural Design' vols. 40- 42 (1970-1972). Changes in office practice are noted around 1971, evident in the Blackpool Project and later, including the adoption of the metric system, and the creation of working and detail drawings on A4 size paper and filed with textual records (e.g. approximately 300 such drawings are included in the textual records for Blackpool Project). At the same time fewer preamble drawings that relate to site sensing, progress and life-cycle graphs and tables are created for the projects (a common feature from the 1960s), although project progress tables are still used. Of particular interest is material in the Early Work and Miscellaneous Records file (AP144.S2.D1) that relates to office work methods and programmes.
Level of archival description:
Series
Series
Date:
1903-2003, predominant 1960-2000
1903-2003, predominant 1960-2000
People:
Level of archival description:
Project
Project
Actions:
Reference number:
AP206.S1.1963.PR01
Description:
This project series documents the Punjab Agricultural University in Ludhiana, India from 1963-1968. With Prakash as the senior architect, this project consisted of the design of the entire campus, including the boys' hostel and mess, and the Agricultural Engineering College (AEC). Under this project, Prakash also designed campuses for the University in Hisar and Palampur. The boys' hostel, constructed first, consisted of a long, rectangular volume of exposed brick and concrete columns. Balconies lined its exterior, alternating on each floor so that every balcony had a view of the sky above. A covered walkway connected the hostel to the square mess, which was turned 45 degrees on its axis. The AEC, the campus's main building, was a long, single-storey building with a series of enclosed courtyards. Round exhaust openings were the only element that marked the building's façade. Prakash, developing his love of sculpture at this time, also crafted a large outdoor sculpture for the campus's main courtyard.[1] This project is recorded through a reprographic copy of a plan of the boys' hostel dating from around 1963. [1]Vikramaditya Prakash, One Continuous Line: Art, Architecture and Urbanism of Aditya Prakash (Ahmedabad, India: Mapin Publishing Pvt. Ltd., 2019), 107-132.
AP206.S1.1963.PR01
Description:
This project series documents the Punjab Agricultural University in Ludhiana, India from 1963-1968. With Prakash as the senior architect, this project consisted of the design of the entire campus, including the boys' hostel and mess, and the Agricultural Engineering College (AEC). Under this project, Prakash also designed campuses for the University in Hisar and Palampur. The boys' hostel, constructed first, consisted of a long, rectangular volume of exposed brick and concrete columns. Balconies lined its exterior, alternating on each floor so that every balcony had a view of the sky above. A covered walkway connected the hostel to the square mess, which was turned 45 degrees on its axis. The AEC, the campus's main building, was a long, single-storey building with a series of enclosed courtyards. Round exhaust openings were the only element that marked the building's façade. Prakash, developing his love of sculpture at this time, also crafted a large outdoor sculpture for the campus's main courtyard.[1] This project is recorded through a reprographic copy of a plan of the boys' hostel dating from around 1963. [1]Vikramaditya Prakash, One Continuous Line: Art, Architecture and Urbanism of Aditya Prakash (Ahmedabad, India: Mapin Publishing Pvt. Ltd., 2019), 107-132.
People:
Date:
circa 1963
circa 1963
Title:
Punjab Agricultural University, Ludhiana, India (1963-1968)
Actions:
AP206.S1.1963.PR01
Description:
This project series documents the Punjab Agricultural University in Ludhiana, India from 1963-1968. With Prakash as the senior architect, this project consisted of the design of the entire campus, including the boys' hostel and mess, and the Agricultural Engineering College (AEC). Under this project, Prakash also designed campuses for the University in Hisar and Palampur. The boys' hostel, constructed first, consisted of a long, rectangular volume of exposed brick and concrete columns. Balconies lined its exterior, alternating on each floor so that every balcony had a view of the sky above. A covered walkway connected the hostel to the square mess, which was turned 45 degrees on its axis. The AEC, the campus's main building, was a long, single-storey building with a series of enclosed courtyards. Round exhaust openings were the only element that marked the building's façade. Prakash, developing his love of sculpture at this time, also crafted a large outdoor sculpture for the campus's main courtyard.[1] This project is recorded through a reprographic copy of a plan of the boys' hostel dating from around 1963. [1]Vikramaditya Prakash, One Continuous Line: Art, Architecture and Urbanism of Aditya Prakash (Ahmedabad, India: Mapin Publishing Pvt. Ltd., 2019), 107-132.
Punjab Agricultural University, Ludhiana, India (1963-1968)
Actions:
AP206.S1.1963.PR01
Description:
This project series documents the Punjab Agricultural University in Ludhiana, India from 1963-1968. With Prakash as the senior architect, this project consisted of the design of the entire campus, including the boys' hostel and mess, and the Agricultural Engineering College (AEC). Under this project, Prakash also designed campuses for the University in Hisar and Palampur. The boys' hostel, constructed first, consisted of a long, rectangular volume of exposed brick and concrete columns. Balconies lined its exterior, alternating on each floor so that every balcony had a view of the sky above. A covered walkway connected the hostel to the square mess, which was turned 45 degrees on its axis. The AEC, the campus's main building, was a long, single-storey building with a series of enclosed courtyards. Round exhaust openings were the only element that marked the building's façade. Prakash, developing his love of sculpture at this time, also crafted a large outdoor sculpture for the campus's main courtyard.[1] This project is recorded through a reprographic copy of a plan of the boys' hostel dating from around 1963. [1]Vikramaditya Prakash, One Continuous Line: Art, Architecture and Urbanism of Aditya Prakash (Ahmedabad, India: Mapin Publishing Pvt. Ltd., 2019), 107-132.
Level of archival description:
Project
Project
Date:
circa 1963
circa 1963
People:
Level of archival description:
Project
Project
Reference number:
CD034.S1.1974.PR01
Description:
This project series contains four reproductions of drawings displayed in the exhibit to document the neighbourhood Quinta do Bacalhau-Monte Coxo, in Lisbon, Portugal. The exhibit text explained the following: The project architect Manuel Vicente was already working on a design for the intervention in the Quintas de Bacalhau and Monte Coxo when he was co-opted by SAAL. The proposed typology referred to another ambitious urban project of 615 housing units, Quinta das Fonsecas - Quinta da Calçada neighbourhood by the architect Raúl Hestnes Ferreira. The intention was to bring the city to the outlying shanty town areas. None of these projects was carried out in full, and they are now fragmented and besieged by the traffic system without having produced any of the essential community and socialising facilities. In Bacalhau-Monte Coxo the structure of the internal patios reveals the ways in which the public space and community was organised. The architecture assigned importance to the facades, although access to the community courtyards was also a central design concept. In a 1976 interview, the architect himself argued that the release of bourgeois guilt allowed for spatial beauty, adopting the slogan 'Facades First' in defence of architectural design. In a way, this proposal anticipated the post-modern, although in a form that did not deny architecture's social engagement. The design emphasizes a strong idea of architectural autonomy, unfortunately only a part of the project was actually built. (The SAAL Process, Housing in Portugal 1974–76) Manuel Vicente worked for SAAL/Lisbon and Central South with the following collaborators: Afonso José Baptista, Agostinho Xavier de Andrade, António Albano Leitão, Cristina Catela Martins Pereira, Eduardo Serrano de Sousa, Gentil Noras, José Manuel Diniz Cabral Caldeira, Manuel Augusto Lopes de Sousa, Nuno Matos Silva, Rita Cabral and the resident association Cooperativa de Habitação Económica Portugal Novo, that was founded on September 6th, 1974. The team built 384 dwellings. The operation began in September 1974, with a construction date in January 1977. This project series contains reproductions of design development drawings and a cadastral plan. The original drawings were produced in 1974 or after and were reproduced in 2015 for the exhibit.
CD034.S1.1974.PR01
Description:
This project series contains four reproductions of drawings displayed in the exhibit to document the neighbourhood Quinta do Bacalhau-Monte Coxo, in Lisbon, Portugal. The exhibit text explained the following: The project architect Manuel Vicente was already working on a design for the intervention in the Quintas de Bacalhau and Monte Coxo when he was co-opted by SAAL. The proposed typology referred to another ambitious urban project of 615 housing units, Quinta das Fonsecas - Quinta da Calçada neighbourhood by the architect Raúl Hestnes Ferreira. The intention was to bring the city to the outlying shanty town areas. None of these projects was carried out in full, and they are now fragmented and besieged by the traffic system without having produced any of the essential community and socialising facilities. In Bacalhau-Monte Coxo the structure of the internal patios reveals the ways in which the public space and community was organised. The architecture assigned importance to the facades, although access to the community courtyards was also a central design concept. In a 1976 interview, the architect himself argued that the release of bourgeois guilt allowed for spatial beauty, adopting the slogan 'Facades First' in defence of architectural design. In a way, this proposal anticipated the post-modern, although in a form that did not deny architecture's social engagement. The design emphasizes a strong idea of architectural autonomy, unfortunately only a part of the project was actually built. (The SAAL Process, Housing in Portugal 1974–76) Manuel Vicente worked for SAAL/Lisbon and Central South with the following collaborators: Afonso José Baptista, Agostinho Xavier de Andrade, António Albano Leitão, Cristina Catela Martins Pereira, Eduardo Serrano de Sousa, Gentil Noras, José Manuel Diniz Cabral Caldeira, Manuel Augusto Lopes de Sousa, Nuno Matos Silva, Rita Cabral and the resident association Cooperativa de Habitação Económica Portugal Novo, that was founded on September 6th, 1974. The team built 384 dwellings. The operation began in September 1974, with a construction date in January 1977. This project series contains reproductions of design development drawings and a cadastral plan. The original drawings were produced in 1974 or after and were reproduced in 2015 for the exhibit.
People:
Date:
circa 1974
circa 1974
Title:
Bairro Quinta do Bacalhau–Monte Coxo, Lisbon
Actions:
CD034.S1.1974.PR01
Description:
This project series contains four reproductions of drawings displayed in the exhibit to document the neighbourhood Quinta do Bacalhau-Monte Coxo, in Lisbon, Portugal. The exhibit text explained the following: The project architect Manuel Vicente was already working on a design for the intervention in the Quintas de Bacalhau and Monte Coxo when he was co-opted by SAAL. The proposed typology referred to another ambitious urban project of 615 housing units, Quinta das Fonsecas - Quinta da Calçada neighbourhood by the architect Raúl Hestnes Ferreira. The intention was to bring the city to the outlying shanty town areas. None of these projects was carried out in full, and they are now fragmented and besieged by the traffic system without having produced any of the essential community and socialising facilities. In Bacalhau-Monte Coxo the structure of the internal patios reveals the ways in which the public space and community was organised. The architecture assigned importance to the facades, although access to the community courtyards was also a central design concept. In a 1976 interview, the architect himself argued that the release of bourgeois guilt allowed for spatial beauty, adopting the slogan 'Facades First' in defence of architectural design. In a way, this proposal anticipated the post-modern, although in a form that did not deny architecture's social engagement. The design emphasizes a strong idea of architectural autonomy, unfortunately only a part of the project was actually built. (The SAAL Process, Housing in Portugal 1974–76) Manuel Vicente worked for SAAL/Lisbon and Central South with the following collaborators: Afonso José Baptista, Agostinho Xavier de Andrade, António Albano Leitão, Cristina Catela Martins Pereira, Eduardo Serrano de Sousa, Gentil Noras, José Manuel Diniz Cabral Caldeira, Manuel Augusto Lopes de Sousa, Nuno Matos Silva, Rita Cabral and the resident association Cooperativa de Habitação Económica Portugal Novo, that was founded on September 6th, 1974. The team built 384 dwellings. The operation began in September 1974, with a construction date in January 1977. This project series contains reproductions of design development drawings and a cadastral plan. The original drawings were produced in 1974 or after and were reproduced in 2015 for the exhibit.
Bairro Quinta do Bacalhau–Monte Coxo, Lisbon
Actions:
CD034.S1.1974.PR01
Description:
This project series contains four reproductions of drawings displayed in the exhibit to document the neighbourhood Quinta do Bacalhau-Monte Coxo, in Lisbon, Portugal. The exhibit text explained the following: The project architect Manuel Vicente was already working on a design for the intervention in the Quintas de Bacalhau and Monte Coxo when he was co-opted by SAAL. The proposed typology referred to another ambitious urban project of 615 housing units, Quinta das Fonsecas - Quinta da Calçada neighbourhood by the architect Raúl Hestnes Ferreira. The intention was to bring the city to the outlying shanty town areas. None of these projects was carried out in full, and they are now fragmented and besieged by the traffic system without having produced any of the essential community and socialising facilities. In Bacalhau-Monte Coxo the structure of the internal patios reveals the ways in which the public space and community was organised. The architecture assigned importance to the facades, although access to the community courtyards was also a central design concept. In a 1976 interview, the architect himself argued that the release of bourgeois guilt allowed for spatial beauty, adopting the slogan 'Facades First' in defence of architectural design. In a way, this proposal anticipated the post-modern, although in a form that did not deny architecture's social engagement. The design emphasizes a strong idea of architectural autonomy, unfortunately only a part of the project was actually built. (The SAAL Process, Housing in Portugal 1974–76) Manuel Vicente worked for SAAL/Lisbon and Central South with the following collaborators: Afonso José Baptista, Agostinho Xavier de Andrade, António Albano Leitão, Cristina Catela Martins Pereira, Eduardo Serrano de Sousa, Gentil Noras, José Manuel Diniz Cabral Caldeira, Manuel Augusto Lopes de Sousa, Nuno Matos Silva, Rita Cabral and the resident association Cooperativa de Habitação Económica Portugal Novo, that was founded on September 6th, 1974. The team built 384 dwellings. The operation began in September 1974, with a construction date in January 1977. This project series contains reproductions of design development drawings and a cadastral plan. The original drawings were produced in 1974 or after and were reproduced in 2015 for the exhibit.
Level of archival description:
Project
Project
Date:
circa 1974
circa 1974
People:
