6031 Results
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events
events
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Description:
Soon after the opening of The University Is Now on Air: Broadcasting Modern Architecture, Tim Benton presents another reading of the new exhibition through a counter-tour. Rather than a tour through the galleries that gives voice to the curator’s ideas, counter-tours propose critical, subversive, corrective, or alternative versions of a given project through encounters(...)
Soon after the opening of The University Is Now on Air: Broadcasting Modern Architecture, Tim Benton presents another reading of the new exhibition through a counter-tour. Rather than a tour through the galleries that gives voice to the curator’s ideas, counter-tours propose critical, subversive, corrective, or alternative versions of a given project through encounters(...)
Date:
16 November 2017
16 November 2017
Title:
Counter-tour: Tim Benton’s Cut
Actions:
Description:
Soon after the opening of The University Is Now on Air: Broadcasting Modern Architecture, Tim Benton presents another reading of the new exhibition through a counter-tour. Rather than a tour through the galleries that gives voice to the curator’s ideas, counter-tours propose critical, subversive, corrective, or alternative versions of a given project through encounters(...)
Counter-tour: Tim Benton’s Cut
Actions:
Description:
Soon after the opening of The University Is Now on Air: Broadcasting Modern Architecture, Tim Benton presents another reading of the new exhibition through a counter-tour. Rather than a tour through the galleries that gives voice to the curator’s ideas, counter-tours propose critical, subversive, corrective, or alternative versions of a given project through encounters(...)
Form:
events
events
Date:
16 November 2017
16 November 2017
Level of archival description:
Project
Project
Reference number:
AP178.S1.1983.PR04
Description:
The project series documents the 1983 design entry for the Kulturforum. While the records were held in the office’s archives this project was assigned the number 21/80. The office assigned the date 1983 for this project. This project was a competition entry for the International Architectural Exhibition Berlin competition (International Bauaustellung, IBA, circa 1979-1987), an urban renewal strategy for West Berlin, Germany. Siza also submitted five other entries to the IBA: Görtlitzer Bad swimming pool; Block 70 and 89 (Fränkelufer residential complex); Bonjour Tristesse (Block 121); Block 11-12; and Monument to Gestapo victims. The Kulturforum was a complex of cultural buildings. The site underwent many changes during Nazi Germany and post-war with the construction of the National Library of Staatsbibliothek, designed by Hans Scharoun. Two examples of features that the IBA asked participants to include in their design proposals were to exclude vehicle traffic between the library and national gallery, and to reinterpret the Forum space. Documenting this project are several sketches and studies. There are also plans, elevations, and axonometric drawings of site plans. Siza’s office has indicated on some of the studies that they were possibly not created by Siza. Where this is the case it has been noted with the physical material. Photographs and negatives document the competition site and model, and there are transparencies and slides of drawings. Also included is textual documentation on the competition site and a few letters from members of the Berlin Senate, two of which are from Brigitte Cassirer (later Brigitte Fleck).
AP178.S1.1983.PR04
Description:
The project series documents the 1983 design entry for the Kulturforum. While the records were held in the office’s archives this project was assigned the number 21/80. The office assigned the date 1983 for this project. This project was a competition entry for the International Architectural Exhibition Berlin competition (International Bauaustellung, IBA, circa 1979-1987), an urban renewal strategy for West Berlin, Germany. Siza also submitted five other entries to the IBA: Görtlitzer Bad swimming pool; Block 70 and 89 (Fränkelufer residential complex); Bonjour Tristesse (Block 121); Block 11-12; and Monument to Gestapo victims. The Kulturforum was a complex of cultural buildings. The site underwent many changes during Nazi Germany and post-war with the construction of the National Library of Staatsbibliothek, designed by Hans Scharoun. Two examples of features that the IBA asked participants to include in their design proposals were to exclude vehicle traffic between the library and national gallery, and to reinterpret the Forum space. Documenting this project are several sketches and studies. There are also plans, elevations, and axonometric drawings of site plans. Siza’s office has indicated on some of the studies that they were possibly not created by Siza. Where this is the case it has been noted with the physical material. Photographs and negatives document the competition site and model, and there are transparencies and slides of drawings. Also included is textual documentation on the competition site and a few letters from members of the Berlin Senate, two of which are from Brigitte Cassirer (later Brigitte Fleck).
People:
Date:
1982-2012
1982-2012
Title:
Kulturforum [Kulturforum], Berlin, Germany (1982-1986)
Actions:
AP178.S1.1983.PR04
Description:
The project series documents the 1983 design entry for the Kulturforum. While the records were held in the office’s archives this project was assigned the number 21/80. The office assigned the date 1983 for this project. This project was a competition entry for the International Architectural Exhibition Berlin competition (International Bauaustellung, IBA, circa 1979-1987), an urban renewal strategy for West Berlin, Germany. Siza also submitted five other entries to the IBA: Görtlitzer Bad swimming pool; Block 70 and 89 (Fränkelufer residential complex); Bonjour Tristesse (Block 121); Block 11-12; and Monument to Gestapo victims. The Kulturforum was a complex of cultural buildings. The site underwent many changes during Nazi Germany and post-war with the construction of the National Library of Staatsbibliothek, designed by Hans Scharoun. Two examples of features that the IBA asked participants to include in their design proposals were to exclude vehicle traffic between the library and national gallery, and to reinterpret the Forum space. Documenting this project are several sketches and studies. There are also plans, elevations, and axonometric drawings of site plans. Siza’s office has indicated on some of the studies that they were possibly not created by Siza. Where this is the case it has been noted with the physical material. Photographs and negatives document the competition site and model, and there are transparencies and slides of drawings. Also included is textual documentation on the competition site and a few letters from members of the Berlin Senate, two of which are from Brigitte Cassirer (later Brigitte Fleck).
Kulturforum [Kulturforum], Berlin, Germany (1982-1986)
Actions:
AP178.S1.1983.PR04
Description:
The project series documents the 1983 design entry for the Kulturforum. While the records were held in the office’s archives this project was assigned the number 21/80. The office assigned the date 1983 for this project. This project was a competition entry for the International Architectural Exhibition Berlin competition (International Bauaustellung, IBA, circa 1979-1987), an urban renewal strategy for West Berlin, Germany. Siza also submitted five other entries to the IBA: Görtlitzer Bad swimming pool; Block 70 and 89 (Fränkelufer residential complex); Bonjour Tristesse (Block 121); Block 11-12; and Monument to Gestapo victims. The Kulturforum was a complex of cultural buildings. The site underwent many changes during Nazi Germany and post-war with the construction of the National Library of Staatsbibliothek, designed by Hans Scharoun. Two examples of features that the IBA asked participants to include in their design proposals were to exclude vehicle traffic between the library and national gallery, and to reinterpret the Forum space. Documenting this project are several sketches and studies. There are also plans, elevations, and axonometric drawings of site plans. Siza’s office has indicated on some of the studies that they were possibly not created by Siza. Where this is the case it has been noted with the physical material. Photographs and negatives document the competition site and model, and there are transparencies and slides of drawings. Also included is textual documentation on the competition site and a few letters from members of the Berlin Senate, two of which are from Brigitte Cassirer (later Brigitte Fleck).
Level of archival description:
Project
Project
Date:
1982-2012
1982-2012
People:
Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Title:
Joseph Rykwert fonds
Joseph Rykwert fonds
Reference number:
AP209
Synopsis:
The Joseph Rykwert fonds, 1928-2022, documents Joseph Rykwert’s career as an architectural historian, author and professor. The fonds includes the records for over a dozen monographs written between the mid-1960s and the mid-2010s as well as edited works and articles, and details his teaching and lecturing activities from the 1960s onwards in universities in Europe and the United States. The records highlight Joseph Rykwert’s multidisciplinary approach, which involved archaeology, anthropology and psychoanalysis in his study of the history and theory of architecture and of the urban form. The fonds is composed of textual records, publications and ephemera, and of photographs including multiple albums and a large number of slides; the fonds also documents Joseph Rykwert’s career as an independent designer through drawings realized between the late 1940s and the late 1970s.
AP209
Synopsis:
The Joseph Rykwert fonds, 1928-2022, documents Joseph Rykwert’s career as an architectural historian, author and professor. The fonds includes the records for over a dozen monographs written between the mid-1960s and the mid-2010s as well as edited works and articles, and details his teaching and lecturing activities from the 1960s onwards in universities in Europe and the United States. The records highlight Joseph Rykwert’s multidisciplinary approach, which involved archaeology, anthropology and psychoanalysis in his study of the history and theory of architecture and of the urban form. The fonds is composed of textual records, publications and ephemera, and of photographs including multiple albums and a large number of slides; the fonds also documents Joseph Rykwert’s career as an independent designer through drawings realized between the late 1940s and the late 1970s.
People:
Date:
1928-2022
1928-2022
Title:
Joseph Rykwert fonds
Actions:
AP209
Synopsis:
The Joseph Rykwert fonds, 1928-2022, documents Joseph Rykwert’s career as an architectural historian, author and professor. The fonds includes the records for over a dozen monographs written between the mid-1960s and the mid-2010s as well as edited works and articles, and details his teaching and lecturing activities from the 1960s onwards in universities in Europe and the United States. The records highlight Joseph Rykwert’s multidisciplinary approach, which involved archaeology, anthropology and psychoanalysis in his study of the history and theory of architecture and of the urban form. The fonds is composed of textual records, publications and ephemera, and of photographs including multiple albums and a large number of slides; the fonds also documents Joseph Rykwert’s career as an independent designer through drawings realized between the late 1940s and the late 1970s.
Joseph Rykwert fonds
Actions:
AP209
Synopsis:
The Joseph Rykwert fonds, 1928-2022, documents Joseph Rykwert’s career as an architectural historian, author and professor. The fonds includes the records for over a dozen monographs written between the mid-1960s and the mid-2010s as well as edited works and articles, and details his teaching and lecturing activities from the 1960s onwards in universities in Europe and the United States. The records highlight Joseph Rykwert’s multidisciplinary approach, which involved archaeology, anthropology and psychoanalysis in his study of the history and theory of architecture and of the urban form. The fonds is composed of textual records, publications and ephemera, and of photographs including multiple albums and a large number of slides; the fonds also documents Joseph Rykwert’s career as an independent designer through drawings realized between the late 1940s and the late 1970s.
Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Date:
1928-2022
1928-2022
People:
Form:
exhibitions
exhibitions
Title:
1973: Sorry, Out of Gas
1973: Sorry, Out of Gas
Actions:
Description:
1973: Sorry, Out of Gas captures the architectural innovation spurred by the 1973 oil crisis, when the value of oil increased exponentially and triggered economic, political, and social upheaval across the world. Featuring over 350 objects including architectural drawings, photographs, books and pamphlets, archival television footage, and historical artefacts, it maps the(...)
1973: Sorry, Out of Gas captures the architectural innovation spurred by the 1973 oil crisis, when the value of oil increased exponentially and triggered economic, political, and social upheaval across the world. Featuring over 350 objects including architectural drawings, photographs, books and pamphlets, archival television footage, and historical artefacts, it maps the(...)
Date:
7 November 2007 to 20 April 2008
7 November 2007 to 20 April 2008
Title:
1973: Sorry, Out of Gas
Actions:
Description:
1973: Sorry, Out of Gas captures the architectural innovation spurred by the 1973 oil crisis, when the value of oil increased exponentially and triggered economic, political, and social upheaval across the world. Featuring over 350 objects including architectural drawings, photographs, books and pamphlets, archival television footage, and historical artefacts, it maps the(...)
1973: Sorry, Out of Gas
Actions:
Description:
1973: Sorry, Out of Gas captures the architectural innovation spurred by the 1973 oil crisis, when the value of oil increased exponentially and triggered economic, political, and social upheaval across the world. Featuring over 350 objects including architectural drawings, photographs, books and pamphlets, archival television footage, and historical artefacts, it maps the(...)
Form:
exhibitions
exhibitions
Date:
7 November 2007 to
20 April 2008
7 November 2007 to
20 April 2008
Level of archival description:
Project
Project
Reference number:
AP207.S1.1971.PR04
Description:
This project series documents Pettena's performance "Vestirsi Di Siede", also know in English as "Wearable Chairs". The performance was carried out between 3 pm and 5 pm on February 12, 1971, in the streets of Minneapolis by ten students of Pettena at the Minneapolis College of Art and Design. The students, each wearing a portable chair harnessed on their back, wandered around the city, either by foot or by bus, and than returned to the college. "In this performance, it was the body that activated and gave meaning to the object: the chair only taking on meaning when carried, otherwise, it became disjointed." [1] The chairs were then put on display at the Minneapolis Institute of Art. A second edition of the performance was also carried out with the students from Nuova Accademia di Belle Arti (NABA) in Milan, 2011, and an installation of the chairs was presented at the exhibition "Un art pauvre" at the Centre Pompidou in 2016. The project series contains photographs of the performance by the students of the Minneapolis College of Art and Design and photographs of the exhibit at the Minneapolis Institute of Art in 1971. It also contains three sketches for the chairs, a drawing of the performance and a statement about the perfomance. The project series also includes photographs of the performance of the NABA students in 2011. Source: [1] FRAC Centre-Val de Loire, http://www.frac-centre.fr/_en/art-and-architecture-collection/pettena-gianni/wearable-chairs-verstirsi-siede-317.html?authID=148&ensembleID=1286 (last accessed 11 November 2019)
AP207.S1.1971.PR04
Description:
This project series documents Pettena's performance "Vestirsi Di Siede", also know in English as "Wearable Chairs". The performance was carried out between 3 pm and 5 pm on February 12, 1971, in the streets of Minneapolis by ten students of Pettena at the Minneapolis College of Art and Design. The students, each wearing a portable chair harnessed on their back, wandered around the city, either by foot or by bus, and than returned to the college. "In this performance, it was the body that activated and gave meaning to the object: the chair only taking on meaning when carried, otherwise, it became disjointed." [1] The chairs were then put on display at the Minneapolis Institute of Art. A second edition of the performance was also carried out with the students from Nuova Accademia di Belle Arti (NABA) in Milan, 2011, and an installation of the chairs was presented at the exhibition "Un art pauvre" at the Centre Pompidou in 2016. The project series contains photographs of the performance by the students of the Minneapolis College of Art and Design and photographs of the exhibit at the Minneapolis Institute of Art in 1971. It also contains three sketches for the chairs, a drawing of the performance and a statement about the perfomance. The project series also includes photographs of the performance of the NABA students in 2011. Source: [1] FRAC Centre-Val de Loire, http://www.frac-centre.fr/_en/art-and-architecture-collection/pettena-gianni/wearable-chairs-verstirsi-siede-317.html?authID=148&ensembleID=1286 (last accessed 11 November 2019)
People:
Date:
1971-2017
1971-2017
Title:
Vestirsi Di Siede [Wearable Chairs] (1971)
Actions:
AP207.S1.1971.PR04
Description:
This project series documents Pettena's performance "Vestirsi Di Siede", also know in English as "Wearable Chairs". The performance was carried out between 3 pm and 5 pm on February 12, 1971, in the streets of Minneapolis by ten students of Pettena at the Minneapolis College of Art and Design. The students, each wearing a portable chair harnessed on their back, wandered around the city, either by foot or by bus, and than returned to the college. "In this performance, it was the body that activated and gave meaning to the object: the chair only taking on meaning when carried, otherwise, it became disjointed." [1] The chairs were then put on display at the Minneapolis Institute of Art. A second edition of the performance was also carried out with the students from Nuova Accademia di Belle Arti (NABA) in Milan, 2011, and an installation of the chairs was presented at the exhibition "Un art pauvre" at the Centre Pompidou in 2016. The project series contains photographs of the performance by the students of the Minneapolis College of Art and Design and photographs of the exhibit at the Minneapolis Institute of Art in 1971. It also contains three sketches for the chairs, a drawing of the performance and a statement about the perfomance. The project series also includes photographs of the performance of the NABA students in 2011. Source: [1] FRAC Centre-Val de Loire, http://www.frac-centre.fr/_en/art-and-architecture-collection/pettena-gianni/wearable-chairs-verstirsi-siede-317.html?authID=148&ensembleID=1286 (last accessed 11 November 2019)
Vestirsi Di Siede [Wearable Chairs] (1971)
Actions:
AP207.S1.1971.PR04
Description:
This project series documents Pettena's performance "Vestirsi Di Siede", also know in English as "Wearable Chairs". The performance was carried out between 3 pm and 5 pm on February 12, 1971, in the streets of Minneapolis by ten students of Pettena at the Minneapolis College of Art and Design. The students, each wearing a portable chair harnessed on their back, wandered around the city, either by foot or by bus, and than returned to the college. "In this performance, it was the body that activated and gave meaning to the object: the chair only taking on meaning when carried, otherwise, it became disjointed." [1] The chairs were then put on display at the Minneapolis Institute of Art. A second edition of the performance was also carried out with the students from Nuova Accademia di Belle Arti (NABA) in Milan, 2011, and an installation of the chairs was presented at the exhibition "Un art pauvre" at the Centre Pompidou in 2016. The project series contains photographs of the performance by the students of the Minneapolis College of Art and Design and photographs of the exhibit at the Minneapolis Institute of Art in 1971. It also contains three sketches for the chairs, a drawing of the performance and a statement about the perfomance. The project series also includes photographs of the performance of the NABA students in 2011. Source: [1] FRAC Centre-Val de Loire, http://www.frac-centre.fr/_en/art-and-architecture-collection/pettena-gianni/wearable-chairs-verstirsi-siede-317.html?authID=148&ensembleID=1286 (last accessed 11 November 2019)
Level of archival description:
Project
Project
Date:
1971-2017
1971-2017
People:
Form:
exhibitions
exhibitions
Title:
Arrivals
Arrivals
Actions:
Description:
Arrivals features gifts to the collection received in honour of Phyllis Lambert’s eightieth birthday. It includes original prints by acclaimed photographers and artists experimenting with the language of photography: Dieter Appelt, Robert Burley, Edward Burtynsky, Giovanni Chiaramonte, Thomas Florschuetz, John Gossage, Guido Guidi, Gordon Matta-Clark (donated by Jane(...)
Arrivals features gifts to the collection received in honour of Phyllis Lambert’s eightieth birthday. It includes original prints by acclaimed photographers and artists experimenting with the language of photography: Dieter Appelt, Robert Burley, Edward Burtynsky, Giovanni Chiaramonte, Thomas Florschuetz, John Gossage, Guido Guidi, Gordon Matta-Clark (donated by Jane(...)
Location:
Hall cases
Hall cases
Date:
24 January 2008 to 23 March 2008
24 January 2008 to 23 March 2008
Title:
Arrivals
Actions:
Description:
Arrivals features gifts to the collection received in honour of Phyllis Lambert’s eightieth birthday. It includes original prints by acclaimed photographers and artists experimenting with the language of photography: Dieter Appelt, Robert Burley, Edward Burtynsky, Giovanni Chiaramonte, Thomas Florschuetz, John Gossage, Guido Guidi, Gordon Matta-Clark (donated by Jane(...)
Arrivals
Actions:
Description:
Arrivals features gifts to the collection received in honour of Phyllis Lambert’s eightieth birthday. It includes original prints by acclaimed photographers and artists experimenting with the language of photography: Dieter Appelt, Robert Burley, Edward Burtynsky, Giovanni Chiaramonte, Thomas Florschuetz, John Gossage, Guido Guidi, Gordon Matta-Clark (donated by Jane(...)
Form:
exhibitions
exhibitions
Date:
24 January 2008 to
23 March 2008
24 January 2008 to
23 March 2008
Location:
Hall cases
Hall cases
Form:
textual records
textual records
Reference number:
AP075.S3.SS2.150
Description:
This box contains professional correspondence, organized in chronological order, from 1994-2001. This correspondence contains chiefly letters related to participation to exhibitions and publishing in landscape architecture publications, correspondence related to nominations and awards received by Oberlander, requests to serve on juries, correspondence with schools of architecture and landscape architects associations, about membership or attendance to events. It also comprises correspondence related to research and involvement in sustainable development. It also contains correspondence with city planning committees or other governmental institutions related to projects or consultation in landscape design, and letters of reference or received job applications. This box also includes correspondence related to Oberlander's trip to Australia This correspondence also comprises a few letters related to Oberlander's projects, mainly letters of congratulations or comments for her design.
AP075.S3.SS2.150
Description:
This box contains professional correspondence, organized in chronological order, from 1994-2001. This correspondence contains chiefly letters related to participation to exhibitions and publishing in landscape architecture publications, correspondence related to nominations and awards received by Oberlander, requests to serve on juries, correspondence with schools of architecture and landscape architects associations, about membership or attendance to events. It also comprises correspondence related to research and involvement in sustainable development. It also contains correspondence with city planning committees or other governmental institutions related to projects or consultation in landscape design, and letters of reference or received job applications. This box also includes correspondence related to Oberlander's trip to Australia This correspondence also comprises a few letters related to Oberlander's projects, mainly letters of congratulations or comments for her design.
People:
Date:
1994-2001
1994-2001
Title:
Professional correspondence from 1994-2001
Actions:
AP075.S3.SS2.150
Description:
This box contains professional correspondence, organized in chronological order, from 1994-2001. This correspondence contains chiefly letters related to participation to exhibitions and publishing in landscape architecture publications, correspondence related to nominations and awards received by Oberlander, requests to serve on juries, correspondence with schools of architecture and landscape architects associations, about membership or attendance to events. It also comprises correspondence related to research and involvement in sustainable development. It also contains correspondence with city planning committees or other governmental institutions related to projects or consultation in landscape design, and letters of reference or received job applications. This box also includes correspondence related to Oberlander's trip to Australia This correspondence also comprises a few letters related to Oberlander's projects, mainly letters of congratulations or comments for her design.
Professional correspondence from 1994-2001
Actions:
AP075.S3.SS2.150
Description:
This box contains professional correspondence, organized in chronological order, from 1994-2001. This correspondence contains chiefly letters related to participation to exhibitions and publishing in landscape architecture publications, correspondence related to nominations and awards received by Oberlander, requests to serve on juries, correspondence with schools of architecture and landscape architects associations, about membership or attendance to events. It also comprises correspondence related to research and involvement in sustainable development. It also contains correspondence with city planning committees or other governmental institutions related to projects or consultation in landscape design, and letters of reference or received job applications. This box also includes correspondence related to Oberlander's trip to Australia This correspondence also comprises a few letters related to Oberlander's projects, mainly letters of congratulations or comments for her design.
Form:
textual records
textual records
Date:
1994-2001
1994-2001
People:
Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Title:
Myron Goldsmith fonds
Myron Goldsmith fonds
Reference number:
AP032
Synopsis:
The Myron Goldsmith fonds consists primarily of 30.4 metres of textual documents, including notebooks, research and reading notes, travel journals, documentation files, correspondence, sketchbooks and personal and office papers. There are also 2,800 original drawings and prints, 10,000 photographs and slides, and 5 architectural models. The material ranges in date from c.1933 to 1996. In shedding light on Goldsmith's student years and working career, the fonds' rich collection of documents also provides material on activities in the architectural profession, architectural education, and architectural and engineering theory and building techniques through the 1940s to the 1990s.
AP032
Synopsis:
The Myron Goldsmith fonds consists primarily of 30.4 metres of textual documents, including notebooks, research and reading notes, travel journals, documentation files, correspondence, sketchbooks and personal and office papers. There are also 2,800 original drawings and prints, 10,000 photographs and slides, and 5 architectural models. The material ranges in date from c.1933 to 1996. In shedding light on Goldsmith's student years and working career, the fonds' rich collection of documents also provides material on activities in the architectural profession, architectural education, and architectural and engineering theory and building techniques through the 1940s to the 1990s.
People:
Date:
1933-1996
1933-1996
Title:
Myron Goldsmith fonds
Actions:
AP032
Synopsis:
The Myron Goldsmith fonds consists primarily of 30.4 metres of textual documents, including notebooks, research and reading notes, travel journals, documentation files, correspondence, sketchbooks and personal and office papers. There are also 2,800 original drawings and prints, 10,000 photographs and slides, and 5 architectural models. The material ranges in date from c.1933 to 1996. In shedding light on Goldsmith's student years and working career, the fonds' rich collection of documents also provides material on activities in the architectural profession, architectural education, and architectural and engineering theory and building techniques through the 1940s to the 1990s.
Myron Goldsmith fonds
Actions:
AP032
Synopsis:
The Myron Goldsmith fonds consists primarily of 30.4 metres of textual documents, including notebooks, research and reading notes, travel journals, documentation files, correspondence, sketchbooks and personal and office papers. There are also 2,800 original drawings and prints, 10,000 photographs and slides, and 5 architectural models. The material ranges in date from c.1933 to 1996. In shedding light on Goldsmith's student years and working career, the fonds' rich collection of documents also provides material on activities in the architectural profession, architectural education, and architectural and engineering theory and building techniques through the 1940s to the 1990s.
Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Date:
1933-1996
1933-1996
People:
Level of archival description:
Project
Project
Reference number:
AP178.S1.1979.PR02
Description:
The project series documents the 1979 design entry for the Görlitzer Bad swimming pool. While the records were held in the office’s archives this project was assigned the number 48/70; in the past the office identified the project as number 159. 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. Siza would later submit proposals to the IBA for Block 70 and 89 (Fränkelufer residential complex), Block 121 (Bonjour Tristesse), Block 11-12 (Kottbusser Damm), Monument to Gestapo victims Prinz- Albrecht-Palais, and a proposal for the Kulturforum. The Görlitzer Bad swimming pool was Siza's first international project and first competition. Preceding the IBA competition, Siza attended the 1976 International Design Zentrum (IDZ) symposium in Berlin, "Stadtstruktur-Stadtgestalt". Brigitte Fleck, responsible for national and international architecture competitions for the Senate of Berlin (1971-1985), invited Siza to participate in the IBA competition to design the swimming pool for Kreuzberg. Fleck had heard of Siza’s participation in the IDZ symposium and became interested in Siza’s work with the Servicio Ambulatorio de Apio Lokal (SAAL). By this time Siza’s work with SAAL had been published in the December 1976 and March 1978 publications of the Lotus International Quarterly Architectural Review (numbers 13 and 18). Fleck felt that Siza's work with SAAL would be relevant to the IBA. In 1979, Siza entered his design for the Görlitzer Bad swimming pool to be built on a vacant area on the east side of Kreuzberg. The design for the pool was strongly opposed by the public because the dome over the main swimming pool was said to resemble a mosque. This area of Kreuzberg was largely populated by Turkish Muslims and there was hostility towards this immigrant community. Although Siza’s entry went through the first round of the IBA competition, it did not win the competition and was only awarded a special prize. The project series contains sketches and studies, as well as conceptual and design development drawings of elevations, site plans, and floor plans. Documentation for the competition includes site plans for the competition and a strata plan. The photographs, negatives, contact sheets, and slides mostly document the model and drawings for the project.
AP178.S1.1979.PR02
Description:
The project series documents the 1979 design entry for the Görlitzer Bad swimming pool. While the records were held in the office’s archives this project was assigned the number 48/70; in the past the office identified the project as number 159. 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. Siza would later submit proposals to the IBA for Block 70 and 89 (Fränkelufer residential complex), Block 121 (Bonjour Tristesse), Block 11-12 (Kottbusser Damm), Monument to Gestapo victims Prinz- Albrecht-Palais, and a proposal for the Kulturforum. The Görlitzer Bad swimming pool was Siza's first international project and first competition. Preceding the IBA competition, Siza attended the 1976 International Design Zentrum (IDZ) symposium in Berlin, "Stadtstruktur-Stadtgestalt". Brigitte Fleck, responsible for national and international architecture competitions for the Senate of Berlin (1971-1985), invited Siza to participate in the IBA competition to design the swimming pool for Kreuzberg. Fleck had heard of Siza’s participation in the IDZ symposium and became interested in Siza’s work with the Servicio Ambulatorio de Apio Lokal (SAAL). By this time Siza’s work with SAAL had been published in the December 1976 and March 1978 publications of the Lotus International Quarterly Architectural Review (numbers 13 and 18). Fleck felt that Siza's work with SAAL would be relevant to the IBA. In 1979, Siza entered his design for the Görlitzer Bad swimming pool to be built on a vacant area on the east side of Kreuzberg. The design for the pool was strongly opposed by the public because the dome over the main swimming pool was said to resemble a mosque. This area of Kreuzberg was largely populated by Turkish Muslims and there was hostility towards this immigrant community. Although Siza’s entry went through the first round of the IBA competition, it did not win the competition and was only awarded a special prize. The project series contains sketches and studies, as well as conceptual and design development drawings of elevations, site plans, and floor plans. Documentation for the competition includes site plans for the competition and a strata plan. The photographs, negatives, contact sheets, and slides mostly document the model and drawings for the project.
People:
Date:
1978-1979
1978-1979
Title:
Piscina de "Görlitzer Bad" Kreuzberg, Berlim Oeste [Görlitzer Bad swimming pool], Berlin, Germany (1978-1979)
Actions:
AP178.S1.1979.PR02
Description:
The project series documents the 1979 design entry for the Görlitzer Bad swimming pool. While the records were held in the office’s archives this project was assigned the number 48/70; in the past the office identified the project as number 159. 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. Siza would later submit proposals to the IBA for Block 70 and 89 (Fränkelufer residential complex), Block 121 (Bonjour Tristesse), Block 11-12 (Kottbusser Damm), Monument to Gestapo victims Prinz- Albrecht-Palais, and a proposal for the Kulturforum. The Görlitzer Bad swimming pool was Siza's first international project and first competition. Preceding the IBA competition, Siza attended the 1976 International Design Zentrum (IDZ) symposium in Berlin, "Stadtstruktur-Stadtgestalt". Brigitte Fleck, responsible for national and international architecture competitions for the Senate of Berlin (1971-1985), invited Siza to participate in the IBA competition to design the swimming pool for Kreuzberg. Fleck had heard of Siza’s participation in the IDZ symposium and became interested in Siza’s work with the Servicio Ambulatorio de Apio Lokal (SAAL). By this time Siza’s work with SAAL had been published in the December 1976 and March 1978 publications of the Lotus International Quarterly Architectural Review (numbers 13 and 18). Fleck felt that Siza's work with SAAL would be relevant to the IBA. In 1979, Siza entered his design for the Görlitzer Bad swimming pool to be built on a vacant area on the east side of Kreuzberg. The design for the pool was strongly opposed by the public because the dome over the main swimming pool was said to resemble a mosque. This area of Kreuzberg was largely populated by Turkish Muslims and there was hostility towards this immigrant community. Although Siza’s entry went through the first round of the IBA competition, it did not win the competition and was only awarded a special prize. The project series contains sketches and studies, as well as conceptual and design development drawings of elevations, site plans, and floor plans. Documentation for the competition includes site plans for the competition and a strata plan. The photographs, negatives, contact sheets, and slides mostly document the model and drawings for the project.
Piscina de "Görlitzer Bad" Kreuzberg, Berlim Oeste [Görlitzer Bad swimming pool], Berlin, Germany (1978-1979)
Actions:
AP178.S1.1979.PR02
Description:
The project series documents the 1979 design entry for the Görlitzer Bad swimming pool. While the records were held in the office’s archives this project was assigned the number 48/70; in the past the office identified the project as number 159. 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. Siza would later submit proposals to the IBA for Block 70 and 89 (Fränkelufer residential complex), Block 121 (Bonjour Tristesse), Block 11-12 (Kottbusser Damm), Monument to Gestapo victims Prinz- Albrecht-Palais, and a proposal for the Kulturforum. The Görlitzer Bad swimming pool was Siza's first international project and first competition. Preceding the IBA competition, Siza attended the 1976 International Design Zentrum (IDZ) symposium in Berlin, "Stadtstruktur-Stadtgestalt". Brigitte Fleck, responsible for national and international architecture competitions for the Senate of Berlin (1971-1985), invited Siza to participate in the IBA competition to design the swimming pool for Kreuzberg. Fleck had heard of Siza’s participation in the IDZ symposium and became interested in Siza’s work with the Servicio Ambulatorio de Apio Lokal (SAAL). By this time Siza’s work with SAAL had been published in the December 1976 and March 1978 publications of the Lotus International Quarterly Architectural Review (numbers 13 and 18). Fleck felt that Siza's work with SAAL would be relevant to the IBA. In 1979, Siza entered his design for the Görlitzer Bad swimming pool to be built on a vacant area on the east side of Kreuzberg. The design for the pool was strongly opposed by the public because the dome over the main swimming pool was said to resemble a mosque. This area of Kreuzberg was largely populated by Turkish Muslims and there was hostility towards this immigrant community. Although Siza’s entry went through the first round of the IBA competition, it did not win the competition and was only awarded a special prize. The project series contains sketches and studies, as well as conceptual and design development drawings of elevations, site plans, and floor plans. Documentation for the competition includes site plans for the competition and a strata plan. The photographs, negatives, contact sheets, and slides mostly document the model and drawings for the project.
Level of archival description:
Project
Project
Date:
1978-1979
1978-1979
People:
Level of archival description:
Project
Project
Title:
Applausi [Applause] (1968)
Applausi [Applause] (1968)
Actions:
Reference number:
AP207.S1.1968.PR05
Description:
This project series documents Pettena's design for "Applausi", a suitcase split in half to create two flashing signs with the word "Applausi". The signs were designed for the music performance by Vittorio Gelmetti, "La descrittione del gran paese" a post-pop opera for which Pettena was also in charge of the scene direction. The performance was presented at the 6th Festival of Avant-Garde Music at the Teatro Biondo, in Palermo, in December 1968. The signs were placed on each side of the stage, toward the audience. "The text, together with others that indicated the piano, the singer and the cello, reminded the audience of the habits of an illiterate public participating in a televised show." [1] The "Applausi" signs were also presented in the exhibition "The living currency" in Varsaw, at the Teatr Dramatyczny in 2010, and at the 6th Berlin Biennale at the Hau1, Die lebende Münze, in 2010. The project series contains photographs of the 'Applausi' signs, a drawing of the sign, and a draft poster showing the display of the stage for Vittorio Gelmetti performance at the 6th Festival of Avant-Garde Music. The project series also includes photographs of the music performance, a video of Pettena and the sign at the Berlin Biennale in 2010, and project descriptions in English and Italian. Source: [1] Marco Scotini, editor. Non-conscious architecture: Gianni Pettena, Sternberg Press, 2018, 235 pages. p. 102.
AP207.S1.1968.PR05
Description:
This project series documents Pettena's design for "Applausi", a suitcase split in half to create two flashing signs with the word "Applausi". The signs were designed for the music performance by Vittorio Gelmetti, "La descrittione del gran paese" a post-pop opera for which Pettena was also in charge of the scene direction. The performance was presented at the 6th Festival of Avant-Garde Music at the Teatro Biondo, in Palermo, in December 1968. The signs were placed on each side of the stage, toward the audience. "The text, together with others that indicated the piano, the singer and the cello, reminded the audience of the habits of an illiterate public participating in a televised show." [1] The "Applausi" signs were also presented in the exhibition "The living currency" in Varsaw, at the Teatr Dramatyczny in 2010, and at the 6th Berlin Biennale at the Hau1, Die lebende Münze, in 2010. The project series contains photographs of the 'Applausi' signs, a drawing of the sign, and a draft poster showing the display of the stage for Vittorio Gelmetti performance at the 6th Festival of Avant-Garde Music. The project series also includes photographs of the music performance, a video of Pettena and the sign at the Berlin Biennale in 2010, and project descriptions in English and Italian. Source: [1] Marco Scotini, editor. Non-conscious architecture: Gianni Pettena, Sternberg Press, 2018, 235 pages. p. 102.
People:
Date:
circa 1968-2015
circa 1968-2015
Title:
Applausi [Applause] (1968)
Actions:
AP207.S1.1968.PR05
Description:
This project series documents Pettena's design for "Applausi", a suitcase split in half to create two flashing signs with the word "Applausi". The signs were designed for the music performance by Vittorio Gelmetti, "La descrittione del gran paese" a post-pop opera for which Pettena was also in charge of the scene direction. The performance was presented at the 6th Festival of Avant-Garde Music at the Teatro Biondo, in Palermo, in December 1968. The signs were placed on each side of the stage, toward the audience. "The text, together with others that indicated the piano, the singer and the cello, reminded the audience of the habits of an illiterate public participating in a televised show." [1] The "Applausi" signs were also presented in the exhibition "The living currency" in Varsaw, at the Teatr Dramatyczny in 2010, and at the 6th Berlin Biennale at the Hau1, Die lebende Münze, in 2010. The project series contains photographs of the 'Applausi' signs, a drawing of the sign, and a draft poster showing the display of the stage for Vittorio Gelmetti performance at the 6th Festival of Avant-Garde Music. The project series also includes photographs of the music performance, a video of Pettena and the sign at the Berlin Biennale in 2010, and project descriptions in English and Italian. Source: [1] Marco Scotini, editor. Non-conscious architecture: Gianni Pettena, Sternberg Press, 2018, 235 pages. p. 102.
Applausi [Applause] (1968)
Actions:
AP207.S1.1968.PR05
Description:
This project series documents Pettena's design for "Applausi", a suitcase split in half to create two flashing signs with the word "Applausi". The signs were designed for the music performance by Vittorio Gelmetti, "La descrittione del gran paese" a post-pop opera for which Pettena was also in charge of the scene direction. The performance was presented at the 6th Festival of Avant-Garde Music at the Teatro Biondo, in Palermo, in December 1968. The signs were placed on each side of the stage, toward the audience. "The text, together with others that indicated the piano, the singer and the cello, reminded the audience of the habits of an illiterate public participating in a televised show." [1] The "Applausi" signs were also presented in the exhibition "The living currency" in Varsaw, at the Teatr Dramatyczny in 2010, and at the 6th Berlin Biennale at the Hau1, Die lebende Münze, in 2010. The project series contains photographs of the 'Applausi' signs, a drawing of the sign, and a draft poster showing the display of the stage for Vittorio Gelmetti performance at the 6th Festival of Avant-Garde Music. The project series also includes photographs of the music performance, a video of Pettena and the sign at the Berlin Biennale in 2010, and project descriptions in English and Italian. Source: [1] Marco Scotini, editor. Non-conscious architecture: Gianni Pettena, Sternberg Press, 2018, 235 pages. p. 102.
Level of archival description:
Project
Project
Date:
circa 1968-2015
circa 1968-2015
People:
