10427 Results
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Project
Project
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Reference number:
AP198.S1.1997.PR02
Description:
Project records document the design process for OCEAN North’s competition entry for the Jyväskylä Music and Arts Centre in 1997. The project was titled Terra Cultura by OCEAN North. The international competition called to create a multi-usage space that would include a venue for the symphonic orchestra, a music school, exhibition spaces, and the possibility to host a variety of small cultural events in the Finnish city of Jyväskylä. The proposed site is in the center of the town, across the street from the Jyväskylä city church and its park, and nearby buildings designed by Alvar Aalto. OCEAN North’s concept presents a topological surface as an extension of the surrounding urban scape with two masses that would host the formal functions of the building (concert hall, music school, exhibition halls). The two volumes, or raised blocks, are divided along a diagonal elevated space, which is the extension of the ground’s topological surface filled and dubbed “Liquid Flow Space” by the design team. In their interview with Greg Lynn, Johan Bettum and Kivi Sotamaa mentioned that the idea for Jyväskylä was that it was a cloud. Digital files, in particular, show the process to achieve the projected design. Drawings provide views of streamed particles and of resulting peels. They also include plans, elevations and axonometric views of the structure. Most files are raster or vector images, likely saved from CAD software. A few files are in CAD formats such as Microstation, 3D Studio and form*Z. Digital files also present sine wave analysis and resulting charts for each component of the program. The analysis and charts present the relationships between various components of the building’s program such as the Art Museum, the Concert Halls, the technical space, and the Common facilities. These files are raster images and spreadsheets. Photographs of the site in Jyväskylä and of models built by OCEAN North were digitized and are included with the digital working files. Physical drawings are chiefly floor plans for the building, but also include sections and sketches. Finally, project files include photographic prints of two built models. One of these models, a small model of the conceptual masses of the building structure, is itself in the archive. Photographs show the model in the context of a city scape model. The second model, not part of the archive at CCA, was built at a bigger scale and was an intricate cardboard and wooden stick structure. Sources: Softspace: from a representation of form to a simulation of space, Edited by Sean Lally and Jessica Young. London, New York: Routledge, 2007. Greg Lynn, ed. Archaeology of the Digital 17: OCEAN North, Jyväskylä Music and Arts Centre, Montréal: Canadian Centre for Architecture, 2017. ePub.
AP198.S1.1997.PR02
Description:
Project records document the design process for OCEAN North’s competition entry for the Jyväskylä Music and Arts Centre in 1997. The project was titled Terra Cultura by OCEAN North. The international competition called to create a multi-usage space that would include a venue for the symphonic orchestra, a music school, exhibition spaces, and the possibility to host a variety of small cultural events in the Finnish city of Jyväskylä. The proposed site is in the center of the town, across the street from the Jyväskylä city church and its park, and nearby buildings designed by Alvar Aalto. OCEAN North’s concept presents a topological surface as an extension of the surrounding urban scape with two masses that would host the formal functions of the building (concert hall, music school, exhibition halls). The two volumes, or raised blocks, are divided along a diagonal elevated space, which is the extension of the ground’s topological surface filled and dubbed “Liquid Flow Space” by the design team. In their interview with Greg Lynn, Johan Bettum and Kivi Sotamaa mentioned that the idea for Jyväskylä was that it was a cloud. Digital files, in particular, show the process to achieve the projected design. Drawings provide views of streamed particles and of resulting peels. They also include plans, elevations and axonometric views of the structure. Most files are raster or vector images, likely saved from CAD software. A few files are in CAD formats such as Microstation, 3D Studio and form*Z. Digital files also present sine wave analysis and resulting charts for each component of the program. The analysis and charts present the relationships between various components of the building’s program such as the Art Museum, the Concert Halls, the technical space, and the Common facilities. These files are raster images and spreadsheets. Photographs of the site in Jyväskylä and of models built by OCEAN North were digitized and are included with the digital working files. Physical drawings are chiefly floor plans for the building, but also include sections and sketches. Finally, project files include photographic prints of two built models. One of these models, a small model of the conceptual masses of the building structure, is itself in the archive. Photographs show the model in the context of a city scape model. The second model, not part of the archive at CCA, was built at a bigger scale and was an intricate cardboard and wooden stick structure. Sources: Softspace: from a representation of form to a simulation of space, Edited by Sean Lally and Jessica Young. London, New York: Routledge, 2007. Greg Lynn, ed. Archaeology of the Digital 17: OCEAN North, Jyväskylä Music and Arts Centre, Montréal: Canadian Centre for Architecture, 2017. ePub.
People:
Date:
1997
1997
Title:
Terra Cultura – Jyväskylä Music and Arts Centre, international competition entry
Actions:
AP198.S1.1997.PR02
Description:
Project records document the design process for OCEAN North’s competition entry for the Jyväskylä Music and Arts Centre in 1997. The project was titled Terra Cultura by OCEAN North. The international competition called to create a multi-usage space that would include a venue for the symphonic orchestra, a music school, exhibition spaces, and the possibility to host a variety of small cultural events in the Finnish city of Jyväskylä. The proposed site is in the center of the town, across the street from the Jyväskylä city church and its park, and nearby buildings designed by Alvar Aalto. OCEAN North’s concept presents a topological surface as an extension of the surrounding urban scape with two masses that would host the formal functions of the building (concert hall, music school, exhibition halls). The two volumes, or raised blocks, are divided along a diagonal elevated space, which is the extension of the ground’s topological surface filled and dubbed “Liquid Flow Space” by the design team. In their interview with Greg Lynn, Johan Bettum and Kivi Sotamaa mentioned that the idea for Jyväskylä was that it was a cloud. Digital files, in particular, show the process to achieve the projected design. Drawings provide views of streamed particles and of resulting peels. They also include plans, elevations and axonometric views of the structure. Most files are raster or vector images, likely saved from CAD software. A few files are in CAD formats such as Microstation, 3D Studio and form*Z. Digital files also present sine wave analysis and resulting charts for each component of the program. The analysis and charts present the relationships between various components of the building’s program such as the Art Museum, the Concert Halls, the technical space, and the Common facilities. These files are raster images and spreadsheets. Photographs of the site in Jyväskylä and of models built by OCEAN North were digitized and are included with the digital working files. Physical drawings are chiefly floor plans for the building, but also include sections and sketches. Finally, project files include photographic prints of two built models. One of these models, a small model of the conceptual masses of the building structure, is itself in the archive. Photographs show the model in the context of a city scape model. The second model, not part of the archive at CCA, was built at a bigger scale and was an intricate cardboard and wooden stick structure. Sources: Softspace: from a representation of form to a simulation of space, Edited by Sean Lally and Jessica Young. London, New York: Routledge, 2007. Greg Lynn, ed. Archaeology of the Digital 17: OCEAN North, Jyväskylä Music and Arts Centre, Montréal: Canadian Centre for Architecture, 2017. ePub.
Terra Cultura – Jyväskylä Music and Arts Centre, international competition entry
Actions:
AP198.S1.1997.PR02
Description:
Project records document the design process for OCEAN North’s competition entry for the Jyväskylä Music and Arts Centre in 1997. The project was titled Terra Cultura by OCEAN North. The international competition called to create a multi-usage space that would include a venue for the symphonic orchestra, a music school, exhibition spaces, and the possibility to host a variety of small cultural events in the Finnish city of Jyväskylä. The proposed site is in the center of the town, across the street from the Jyväskylä city church and its park, and nearby buildings designed by Alvar Aalto. OCEAN North’s concept presents a topological surface as an extension of the surrounding urban scape with two masses that would host the formal functions of the building (concert hall, music school, exhibition halls). The two volumes, or raised blocks, are divided along a diagonal elevated space, which is the extension of the ground’s topological surface filled and dubbed “Liquid Flow Space” by the design team. In their interview with Greg Lynn, Johan Bettum and Kivi Sotamaa mentioned that the idea for Jyväskylä was that it was a cloud. Digital files, in particular, show the process to achieve the projected design. Drawings provide views of streamed particles and of resulting peels. They also include plans, elevations and axonometric views of the structure. Most files are raster or vector images, likely saved from CAD software. A few files are in CAD formats such as Microstation, 3D Studio and form*Z. Digital files also present sine wave analysis and resulting charts for each component of the program. The analysis and charts present the relationships between various components of the building’s program such as the Art Museum, the Concert Halls, the technical space, and the Common facilities. These files are raster images and spreadsheets. Photographs of the site in Jyväskylä and of models built by OCEAN North were digitized and are included with the digital working files. Physical drawings are chiefly floor plans for the building, but also include sections and sketches. Finally, project files include photographic prints of two built models. One of these models, a small model of the conceptual masses of the building structure, is itself in the archive. Photographs show the model in the context of a city scape model. The second model, not part of the archive at CCA, was built at a bigger scale and was an intricate cardboard and wooden stick structure. Sources: Softspace: from a representation of form to a simulation of space, Edited by Sean Lally and Jessica Young. London, New York: Routledge, 2007. 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:
Project
Project
Date:
1997
1997
People:
Level of archival description:
Project
Project
Reference number:
AP180.S1.1989.PR01
Description:
This project series documents the Piazza San Nazaro, a public square in Milan, Italy. This project was realized. Riva worked on this project from 1989-1993 in collaboration with Giacomo Borella, Paolo Froncillo, Giovanni Drugman, and Franscesca Riva. Umberto Riva also designed the outdoor furnishings of the piazza, including the street lights and the base of a statue. The project was commissioned by the Metropolitana Milanese and was shown in the exhibition "Umberto Riva, sistemazioni urbane" in 1993, at the Pinacoteca civica Franscesco Podesti in Ancona. The project series contains studies and design development drawings, including a site plan, elevations, sections, plans, and details for the street lamps, as well as a small description for the project.
AP180.S1.1989.PR01
Description:
This project series documents the Piazza San Nazaro, a public square in Milan, Italy. This project was realized. Riva worked on this project from 1989-1993 in collaboration with Giacomo Borella, Paolo Froncillo, Giovanni Drugman, and Franscesca Riva. Umberto Riva also designed the outdoor furnishings of the piazza, including the street lights and the base of a statue. The project was commissioned by the Metropolitana Milanese and was shown in the exhibition "Umberto Riva, sistemazioni urbane" in 1993, at the Pinacoteca civica Franscesco Podesti in Ancona. The project series contains studies and design development drawings, including a site plan, elevations, sections, plans, and details for the street lamps, as well as a small description for the project.
People:
Date:
1991-1993
1991-1993
Title:
Piazza San Nazaro, Milan, Italy (1989-1993)
Actions:
AP180.S1.1989.PR01
Description:
This project series documents the Piazza San Nazaro, a public square in Milan, Italy. This project was realized. Riva worked on this project from 1989-1993 in collaboration with Giacomo Borella, Paolo Froncillo, Giovanni Drugman, and Franscesca Riva. Umberto Riva also designed the outdoor furnishings of the piazza, including the street lights and the base of a statue. The project was commissioned by the Metropolitana Milanese and was shown in the exhibition "Umberto Riva, sistemazioni urbane" in 1993, at the Pinacoteca civica Franscesco Podesti in Ancona. The project series contains studies and design development drawings, including a site plan, elevations, sections, plans, and details for the street lamps, as well as a small description for the project.
Piazza San Nazaro, Milan, Italy (1989-1993)
Actions:
AP180.S1.1989.PR01
Description:
This project series documents the Piazza San Nazaro, a public square in Milan, Italy. This project was realized. Riva worked on this project from 1989-1993 in collaboration with Giacomo Borella, Paolo Froncillo, Giovanni Drugman, and Franscesca Riva. Umberto Riva also designed the outdoor furnishings of the piazza, including the street lights and the base of a statue. The project was commissioned by the Metropolitana Milanese and was shown in the exhibition "Umberto Riva, sistemazioni urbane" in 1993, at the Pinacoteca civica Franscesco Podesti in Ancona. The project series contains studies and design development drawings, including a site plan, elevations, sections, plans, and details for the street lamps, as well as a small description for the project.
Level of archival description:
Project
Project
Date:
1991-1993
1991-1993
People:
Level of archival description:
Series
Series
Title:
OCEAN reference files
OCEAN reference files
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Reference number:
AP194.S2
Description:
Series consist of records associated with different projects devised by OCEAN and OCEAN North prior to 1999 and retained as reference material by Johan Bettum, who did not collaborate on every project. Records occasionally include some photographs, but for the most part are images from work done with CAD software. These include plans, diagrams, renderings and views (sections, perspectives) of buildings, landscapes, exhibition scenography, and exhibited items. The amount and type of materials varies largely between projects. Files were transferred to CCA on a CD and their timestamps suggests that materials were copied for reference purpose in the first few months of 1998. The CD cover bears the date of June 3rd 1999. Projects date from 1994 to 1998. Projects included in the reference files are: Barbican, London (OCEAN Helsinki): likely an exhibition design. Museum, Buenos Aires (OCEAN U.K., 1997): a building design for a competition. Finnish Embassy, Canberra (OCEAN Oslo & Helsinki, 1996): an international architectural competition entry. Helsinki Nightclub (OCEAN Helsinki): a building design. Jeil’s Hospital, Seoul (OCEAN U.K., 1996): a building design. Jyväskylä Music and Arts Center (OCEAN Oslo & Helsinki, 1997): an international architectural competition entry. See also Series 1 for more records on this project. Lasipalatsi Media Square (OCEAN U.K.): a landscape design. Synthetic Landscape I-II, Oslo (OCEAN Oslo, 1995-1996): a landscape design. See also Series 1 for more records on this research project. Surfscape, Helsinki (OCEAN Helsinki, 1997): sculpture for an exhibition. Töölö Football Stadium, Hels. (OCEAN Oslo & Helsinki, 1997): an international architectural competition entry. See also Series 1 for more records on this project. Urban Surfaces, Oslo (OCEAN, 1997-1998): photographs of an exhibition. Source: Ateljié Sotamaa. “Portfolio.” Accessed November 2017, http://portfolio.sotamaa.net/ OCEAN design Research Association, “Exhibitions.” Accessed November 2017, http://www.ocean-designresearch.net/index.php/exhibitions-mainmenu-120/list-of-exhibitions FRAC, “Catalog, OCEAN.” Accessed November 2017, http://www.archilab.org/public/2000/catalog/ocean/oceanen.htm OCEAN CN Consultancy Network, “Projects.” Accessed November 2017, http://ocean-cn.org/projects/
AP194.S2
Description:
Series consist of records associated with different projects devised by OCEAN and OCEAN North prior to 1999 and retained as reference material by Johan Bettum, who did not collaborate on every project. Records occasionally include some photographs, but for the most part are images from work done with CAD software. These include plans, diagrams, renderings and views (sections, perspectives) of buildings, landscapes, exhibition scenography, and exhibited items. The amount and type of materials varies largely between projects. Files were transferred to CCA on a CD and their timestamps suggests that materials were copied for reference purpose in the first few months of 1998. The CD cover bears the date of June 3rd 1999. Projects date from 1994 to 1998. Projects included in the reference files are: Barbican, London (OCEAN Helsinki): likely an exhibition design. Museum, Buenos Aires (OCEAN U.K., 1997): a building design for a competition. Finnish Embassy, Canberra (OCEAN Oslo & Helsinki, 1996): an international architectural competition entry. Helsinki Nightclub (OCEAN Helsinki): a building design. Jeil’s Hospital, Seoul (OCEAN U.K., 1996): a building design. Jyväskylä Music and Arts Center (OCEAN Oslo & Helsinki, 1997): an international architectural competition entry. See also Series 1 for more records on this project. Lasipalatsi Media Square (OCEAN U.K.): a landscape design. Synthetic Landscape I-II, Oslo (OCEAN Oslo, 1995-1996): a landscape design. See also Series 1 for more records on this research project. Surfscape, Helsinki (OCEAN Helsinki, 1997): sculpture for an exhibition. Töölö Football Stadium, Hels. (OCEAN Oslo & Helsinki, 1997): an international architectural competition entry. See also Series 1 for more records on this project. Urban Surfaces, Oslo (OCEAN, 1997-1998): photographs of an exhibition. Source: Ateljié Sotamaa. “Portfolio.” Accessed November 2017, http://portfolio.sotamaa.net/ OCEAN design Research Association, “Exhibitions.” Accessed November 2017, http://www.ocean-designresearch.net/index.php/exhibitions-mainmenu-120/list-of-exhibitions FRAC, “Catalog, OCEAN.” Accessed November 2017, http://www.archilab.org/public/2000/catalog/ocean/oceanen.htm OCEAN CN Consultancy Network, “Projects.” Accessed November 2017, http://ocean-cn.org/projects/
People:
Date:
1998
1998
Title:
OCEAN reference files
Actions:
AP194.S2
Description:
Series consist of records associated with different projects devised by OCEAN and OCEAN North prior to 1999 and retained as reference material by Johan Bettum, who did not collaborate on every project. Records occasionally include some photographs, but for the most part are images from work done with CAD software. These include plans, diagrams, renderings and views (sections, perspectives) of buildings, landscapes, exhibition scenography, and exhibited items. The amount and type of materials varies largely between projects. Files were transferred to CCA on a CD and their timestamps suggests that materials were copied for reference purpose in the first few months of 1998. The CD cover bears the date of June 3rd 1999. Projects date from 1994 to 1998. Projects included in the reference files are: Barbican, London (OCEAN Helsinki): likely an exhibition design. Museum, Buenos Aires (OCEAN U.K., 1997): a building design for a competition. Finnish Embassy, Canberra (OCEAN Oslo & Helsinki, 1996): an international architectural competition entry. Helsinki Nightclub (OCEAN Helsinki): a building design. Jeil’s Hospital, Seoul (OCEAN U.K., 1996): a building design. Jyväskylä Music and Arts Center (OCEAN Oslo & Helsinki, 1997): an international architectural competition entry. See also Series 1 for more records on this project. Lasipalatsi Media Square (OCEAN U.K.): a landscape design. Synthetic Landscape I-II, Oslo (OCEAN Oslo, 1995-1996): a landscape design. See also Series 1 for more records on this research project. Surfscape, Helsinki (OCEAN Helsinki, 1997): sculpture for an exhibition. Töölö Football Stadium, Hels. (OCEAN Oslo & Helsinki, 1997): an international architectural competition entry. See also Series 1 for more records on this project. Urban Surfaces, Oslo (OCEAN, 1997-1998): photographs of an exhibition. Source: Ateljié Sotamaa. “Portfolio.” Accessed November 2017, http://portfolio.sotamaa.net/ OCEAN design Research Association, “Exhibitions.” Accessed November 2017, http://www.ocean-designresearch.net/index.php/exhibitions-mainmenu-120/list-of-exhibitions FRAC, “Catalog, OCEAN.” Accessed November 2017, http://www.archilab.org/public/2000/catalog/ocean/oceanen.htm OCEAN CN Consultancy Network, “Projects.” Accessed November 2017, http://ocean-cn.org/projects/
OCEAN reference files
Actions:
AP194.S2
Description:
Series consist of records associated with different projects devised by OCEAN and OCEAN North prior to 1999 and retained as reference material by Johan Bettum, who did not collaborate on every project. Records occasionally include some photographs, but for the most part are images from work done with CAD software. These include plans, diagrams, renderings and views (sections, perspectives) of buildings, landscapes, exhibition scenography, and exhibited items. The amount and type of materials varies largely between projects. Files were transferred to CCA on a CD and their timestamps suggests that materials were copied for reference purpose in the first few months of 1998. The CD cover bears the date of June 3rd 1999. Projects date from 1994 to 1998. Projects included in the reference files are: Barbican, London (OCEAN Helsinki): likely an exhibition design. Museum, Buenos Aires (OCEAN U.K., 1997): a building design for a competition. Finnish Embassy, Canberra (OCEAN Oslo & Helsinki, 1996): an international architectural competition entry. Helsinki Nightclub (OCEAN Helsinki): a building design. Jeil’s Hospital, Seoul (OCEAN U.K., 1996): a building design. Jyväskylä Music and Arts Center (OCEAN Oslo & Helsinki, 1997): an international architectural competition entry. See also Series 1 for more records on this project. Lasipalatsi Media Square (OCEAN U.K.): a landscape design. Synthetic Landscape I-II, Oslo (OCEAN Oslo, 1995-1996): a landscape design. See also Series 1 for more records on this research project. Surfscape, Helsinki (OCEAN Helsinki, 1997): sculpture for an exhibition. Töölö Football Stadium, Hels. (OCEAN Oslo & Helsinki, 1997): an international architectural competition entry. See also Series 1 for more records on this project. Urban Surfaces, Oslo (OCEAN, 1997-1998): photographs of an exhibition. Source: Ateljié Sotamaa. “Portfolio.” Accessed November 2017, http://portfolio.sotamaa.net/ OCEAN design Research Association, “Exhibitions.” Accessed November 2017, http://www.ocean-designresearch.net/index.php/exhibitions-mainmenu-120/list-of-exhibitions FRAC, “Catalog, OCEAN.” Accessed November 2017, http://www.archilab.org/public/2000/catalog/ocean/oceanen.htm OCEAN CN Consultancy Network, “Projects.” Accessed November 2017, http://ocean-cn.org/projects/
Level of archival description:
Series
Series
Date:
1998
1998
People:
Form:
textual records
textual records
Actions:
Reference number:
AP075.S3.SS1.019
Description:
Contains typescript text for the following lectures by Cornelia Hahn Oberlander: - The Magic of Sand - Indoors and Out - Planning for Play Everywhere. Play in Hospitals, 1984. - Landscape Architecture in the 20th Century: The Relationship of Architecture and - Landscape Architecture. Museum of Modern Art October 21-22. - Lecture given at the Vancouver Art Gallery, 1954. - The TVA as creator of a Regional Landscape. - Greening the City. University of Texas. November 18, 1994. - The Garden in My Life and My Work. Western Washington University. June 14, 1988. - Nature in the City: or, the City in Nature. Architecture and Urban Studies Alliance, Calgary, Alberta. February 11, 1987. - Address to the Graduating Classes in Agrcultural Sciences, Applied Science, Architecture, Landscape Architecture, Community and Regional Planning, Forestry, - Interdisciplinary Studies. The University of British Columbia. May 29, 1991. - The Garden as Art. Van Dusen Botanical Garden. October 2, 1990. - Landscapes that Shaped Vancouver. The Society of Architectural Historians. October 13, 2000. - Breaking Ground. Smith College. March 26, 2001. - Green Spaces: Inspiring Landscapes by Women - Landscape Architecture in the Next Millenium. Hotel Vancouver. March 29, 1999. - Landscape Architecture: Bridge Between Buliding and Nature. Toronto, ON. November 26, 1999. - Limiting Footprints: An Ecological Approach to Landscape Architecture. Harvard University. March 27, 2001. - Leadership in Landscape: Sustainable Development Directions for the Future. Smith College. March 18, 1998. - Linking Places to Design: An Ecological Approach. Alaska Design Forum Lecture. April 1999. - Limiting Footprints: An Ecological Approach to Landscape Architecture. February 22, 2001. - The Meanings of Gardens… Transformed. University of Virginia. March 23, 2001. - Landscape Architecture North of the Arctic Circle. University of Massachusetts, Amherst. March 26, 2007. - Landscape Architecture Aesthetics and Sustainability. Palm Springs, CA. March 15, 2008. - Limiting Footprints: Low Impact Technologies. University of Arkansas. February 20, 2005. - Conservation of 20th Century Canadian Landscapes. ASLA CSLA Montreal. September 22, 2001. - Government Complex of the Province of British Columbia, Vancouver, BC: Changes of a City. October 11, 1979. - Heritage of Green Spaces: Robson Square. Vancouver Heritage Foundation. April 21, 2010. - Where Architecture Meets the Trees. Smith College. February 29, 1992. - Green Roofs and Sustainable Development: Ideas into Action. McGill University. October 21, 2005.
AP075.S3.SS1.019
Description:
Contains typescript text for the following lectures by Cornelia Hahn Oberlander: - The Magic of Sand - Indoors and Out - Planning for Play Everywhere. Play in Hospitals, 1984. - Landscape Architecture in the 20th Century: The Relationship of Architecture and - Landscape Architecture. Museum of Modern Art October 21-22. - Lecture given at the Vancouver Art Gallery, 1954. - The TVA as creator of a Regional Landscape. - Greening the City. University of Texas. November 18, 1994. - The Garden in My Life and My Work. Western Washington University. June 14, 1988. - Nature in the City: or, the City in Nature. Architecture and Urban Studies Alliance, Calgary, Alberta. February 11, 1987. - Address to the Graduating Classes in Agrcultural Sciences, Applied Science, Architecture, Landscape Architecture, Community and Regional Planning, Forestry, - Interdisciplinary Studies. The University of British Columbia. May 29, 1991. - The Garden as Art. Van Dusen Botanical Garden. October 2, 1990. - Landscapes that Shaped Vancouver. The Society of Architectural Historians. October 13, 2000. - Breaking Ground. Smith College. March 26, 2001. - Green Spaces: Inspiring Landscapes by Women - Landscape Architecture in the Next Millenium. Hotel Vancouver. March 29, 1999. - Landscape Architecture: Bridge Between Buliding and Nature. Toronto, ON. November 26, 1999. - Limiting Footprints: An Ecological Approach to Landscape Architecture. Harvard University. March 27, 2001. - Leadership in Landscape: Sustainable Development Directions for the Future. Smith College. March 18, 1998. - Linking Places to Design: An Ecological Approach. Alaska Design Forum Lecture. April 1999. - Limiting Footprints: An Ecological Approach to Landscape Architecture. February 22, 2001. - The Meanings of Gardens… Transformed. University of Virginia. March 23, 2001. - Landscape Architecture North of the Arctic Circle. University of Massachusetts, Amherst. March 26, 2007. - Landscape Architecture Aesthetics and Sustainability. Palm Springs, CA. March 15, 2008. - Limiting Footprints: Low Impact Technologies. University of Arkansas. February 20, 2005. - Conservation of 20th Century Canadian Landscapes. ASLA CSLA Montreal. September 22, 2001. - Government Complex of the Province of British Columbia, Vancouver, BC: Changes of a City. October 11, 1979. - Heritage of Green Spaces: Robson Square. Vancouver Heritage Foundation. April 21, 2010. - Where Architecture Meets the Trees. Smith College. February 29, 1992. - Green Roofs and Sustainable Development: Ideas into Action. McGill University. October 21, 2005.
People:
Date:
1954-2010
1954-2010
Title:
Texts of Cornelia Hahn Oberlander for various lectures
Actions:
AP075.S3.SS1.019
Description:
Contains typescript text for the following lectures by Cornelia Hahn Oberlander: - The Magic of Sand - Indoors and Out - Planning for Play Everywhere. Play in Hospitals, 1984. - Landscape Architecture in the 20th Century: The Relationship of Architecture and - Landscape Architecture. Museum of Modern Art October 21-22. - Lecture given at the Vancouver Art Gallery, 1954. - The TVA as creator of a Regional Landscape. - Greening the City. University of Texas. November 18, 1994. - The Garden in My Life and My Work. Western Washington University. June 14, 1988. - Nature in the City: or, the City in Nature. Architecture and Urban Studies Alliance, Calgary, Alberta. February 11, 1987. - Address to the Graduating Classes in Agrcultural Sciences, Applied Science, Architecture, Landscape Architecture, Community and Regional Planning, Forestry, - Interdisciplinary Studies. The University of British Columbia. May 29, 1991. - The Garden as Art. Van Dusen Botanical Garden. October 2, 1990. - Landscapes that Shaped Vancouver. The Society of Architectural Historians. October 13, 2000. - Breaking Ground. Smith College. March 26, 2001. - Green Spaces: Inspiring Landscapes by Women - Landscape Architecture in the Next Millenium. Hotel Vancouver. March 29, 1999. - Landscape Architecture: Bridge Between Buliding and Nature. Toronto, ON. November 26, 1999. - Limiting Footprints: An Ecological Approach to Landscape Architecture. Harvard University. March 27, 2001. - Leadership in Landscape: Sustainable Development Directions for the Future. Smith College. March 18, 1998. - Linking Places to Design: An Ecological Approach. Alaska Design Forum Lecture. April 1999. - Limiting Footprints: An Ecological Approach to Landscape Architecture. February 22, 2001. - The Meanings of Gardens… Transformed. University of Virginia. March 23, 2001. - Landscape Architecture North of the Arctic Circle. University of Massachusetts, Amherst. March 26, 2007. - Landscape Architecture Aesthetics and Sustainability. Palm Springs, CA. March 15, 2008. - Limiting Footprints: Low Impact Technologies. University of Arkansas. February 20, 2005. - Conservation of 20th Century Canadian Landscapes. ASLA CSLA Montreal. September 22, 2001. - Government Complex of the Province of British Columbia, Vancouver, BC: Changes of a City. October 11, 1979. - Heritage of Green Spaces: Robson Square. Vancouver Heritage Foundation. April 21, 2010. - Where Architecture Meets the Trees. Smith College. February 29, 1992. - Green Roofs and Sustainable Development: Ideas into Action. McGill University. October 21, 2005.
Texts of Cornelia Hahn Oberlander for various lectures
Actions:
AP075.S3.SS1.019
Description:
Contains typescript text for the following lectures by Cornelia Hahn Oberlander: - The Magic of Sand - Indoors and Out - Planning for Play Everywhere. Play in Hospitals, 1984. - Landscape Architecture in the 20th Century: The Relationship of Architecture and - Landscape Architecture. Museum of Modern Art October 21-22. - Lecture given at the Vancouver Art Gallery, 1954. - The TVA as creator of a Regional Landscape. - Greening the City. University of Texas. November 18, 1994. - The Garden in My Life and My Work. Western Washington University. June 14, 1988. - Nature in the City: or, the City in Nature. Architecture and Urban Studies Alliance, Calgary, Alberta. February 11, 1987. - Address to the Graduating Classes in Agrcultural Sciences, Applied Science, Architecture, Landscape Architecture, Community and Regional Planning, Forestry, - Interdisciplinary Studies. The University of British Columbia. May 29, 1991. - The Garden as Art. Van Dusen Botanical Garden. October 2, 1990. - Landscapes that Shaped Vancouver. The Society of Architectural Historians. October 13, 2000. - Breaking Ground. Smith College. March 26, 2001. - Green Spaces: Inspiring Landscapes by Women - Landscape Architecture in the Next Millenium. Hotel Vancouver. March 29, 1999. - Landscape Architecture: Bridge Between Buliding and Nature. Toronto, ON. November 26, 1999. - Limiting Footprints: An Ecological Approach to Landscape Architecture. Harvard University. March 27, 2001. - Leadership in Landscape: Sustainable Development Directions for the Future. Smith College. March 18, 1998. - Linking Places to Design: An Ecological Approach. Alaska Design Forum Lecture. April 1999. - Limiting Footprints: An Ecological Approach to Landscape Architecture. February 22, 2001. - The Meanings of Gardens… Transformed. University of Virginia. March 23, 2001. - Landscape Architecture North of the Arctic Circle. University of Massachusetts, Amherst. March 26, 2007. - Landscape Architecture Aesthetics and Sustainability. Palm Springs, CA. March 15, 2008. - Limiting Footprints: Low Impact Technologies. University of Arkansas. February 20, 2005. - Conservation of 20th Century Canadian Landscapes. ASLA CSLA Montreal. September 22, 2001. - Government Complex of the Province of British Columbia, Vancouver, BC: Changes of a City. October 11, 1979. - Heritage of Green Spaces: Robson Square. Vancouver Heritage Foundation. April 21, 2010. - Where Architecture Meets the Trees. Smith College. February 29, 1992. - Green Roofs and Sustainable Development: Ideas into Action. McGill University. October 21, 2005.
Form:
textual records
textual records
Date:
1954-2010
1954-2010
People:
Form:
events
events
Actions:
Description:
Evoking a provocation famously framed by Le Corbusier, “Architecture ou Révolution,” this conversation will situate the SAAL process in Portugal within international debates during the 1960s and 1970s on social housing and the architect’s social responsibility. Nuno Portas, Secretary of State for Housing and Urbanism of the government established after the 1974 Portuguese(...)
Evoking a provocation famously framed by Le Corbusier, “Architecture ou Révolution,” this conversation will situate the SAAL process in Portugal within international debates during the 1960s and 1970s on social housing and the architect’s social responsibility. Nuno Portas, Secretary of State for Housing and Urbanism of the government established after the 1974 Portuguese(...)
Location:
Paul-Desmarais Theatre
Paul-Desmarais Theatre
Date:
14 May 2015 , 6pm
14 May 2015 , 6pm
Title:
Architecture or Revolution? A Conversation with Nuno Portas and Nuno Grande
Actions:
Description:
Evoking a provocation famously framed by Le Corbusier, “Architecture ou Révolution,” this conversation will situate the SAAL process in Portugal within international debates during the 1960s and 1970s on social housing and the architect’s social responsibility. Nuno Portas, Secretary of State for Housing and Urbanism of the government established after the 1974 Portuguese(...)
Architecture or Revolution? A Conversation with Nuno Portas and Nuno Grande
Actions:
Description:
Evoking a provocation famously framed by Le Corbusier, “Architecture ou Révolution,” this conversation will situate the SAAL process in Portugal within international debates during the 1960s and 1970s on social housing and the architect’s social responsibility. Nuno Portas, Secretary of State for Housing and Urbanism of the government established after the 1974 Portuguese(...)
Form:
events
events
Date:
14 May 2015
6pm
14 May 2015
6pm
Location:
Paul-Desmarais Theatre
Paul-Desmarais Theatre
Level of archival description:
Project
Project
Actions:
Reference number:
AP194.S1.1995.PR01
Description:
Project records consist of records documenting the three phases of the Synthetic Landscape project (1995-2000) as worked on by Johan Bettum and OCEAN North. The project was initially developed and submitted in 1995 for the Membrane Design International Competition held in Japan by the Taiyo Kogyo Corporation. The entry showcases a children’s playscape in the setting of Oslo’s Tøyen Park, joining both its urban surroundings and its natural landscape into a synthetic space. Afterwards, the project was exhibited at the Architecture Association (AA) in London, where Johan Bettum and Kivi Sotamaa met. This eventually led to Bettum and Sotamaa collaborating on projects, along with their respective OCEAN teams in Oslo and Helsinki. The Synthetic Landscape project continued as a research project, with a second phase in 1996 and a third phase which ran from 1997 through 2000 and integrated design methods (particle streaming, Channelling Systems) from the work made on the Töölö and Jyväskylä projects. In the third phase, a pavilion was also added to the setting. Aside from one drawing, all records for this project are in a digital format. Drawings and models from phase 1 show parts or the whole of a shell-like structure. A color scheme seems to be associated to the different components of the structure. A report on phases 1 and 2 discusses the use of synthetic and composite materials for the structure, explaining the concept for the site. Phase 2 textual records include a working plan, site charts and program. Additional drawings and models show an evolution in the shape of the landscape. Most records are related to the third phase of Synthetic Landscape. They are largely drawings and models showing textures and coloured grafts used in the design process, section and surfaces studies, as well as site plans. Other files of the third phase consist of animated renderings of Channelling Systems studies within the Synthetic Landscape topology, saved as Quicktime MOV files. Additionally, the third phase of Synthetic Landscape has files related to the FEM (finite element method) analysis process utilized in the project’s engineering. This particular section includes raster images showing vectorial drawings and data appearing to be surface studies. These were likely created with the software Mathematica. The bulk of textual documentation on the project’s scope and outcomes may be found in AP194.S1.1995.PR01.001 for phases 1 and 2, and in AP194.S1.1995.PR01.005 for phase 3. The latter file also contains documentation related to a grant application to The Research Council of Norway; a proposal for a conference and exhibition at the AA; and administrative records such as budgets, correspondence, invoices, progress reports, meeting agendas and minutes. For all project phases, records related to the design process consist of CAD models saved in a variety of modelling formats (iges, fmz, dgn, 3dm, dxf) as well as raster or vector images (tiff, jpeg, png, eps, pict, etc.). In some cases, only these raster or vector images of the original CAD drawings are present in the archive.
AP194.S1.1995.PR01
Description:
Project records consist of records documenting the three phases of the Synthetic Landscape project (1995-2000) as worked on by Johan Bettum and OCEAN North. The project was initially developed and submitted in 1995 for the Membrane Design International Competition held in Japan by the Taiyo Kogyo Corporation. The entry showcases a children’s playscape in the setting of Oslo’s Tøyen Park, joining both its urban surroundings and its natural landscape into a synthetic space. Afterwards, the project was exhibited at the Architecture Association (AA) in London, where Johan Bettum and Kivi Sotamaa met. This eventually led to Bettum and Sotamaa collaborating on projects, along with their respective OCEAN teams in Oslo and Helsinki. The Synthetic Landscape project continued as a research project, with a second phase in 1996 and a third phase which ran from 1997 through 2000 and integrated design methods (particle streaming, Channelling Systems) from the work made on the Töölö and Jyväskylä projects. In the third phase, a pavilion was also added to the setting. Aside from one drawing, all records for this project are in a digital format. Drawings and models from phase 1 show parts or the whole of a shell-like structure. A color scheme seems to be associated to the different components of the structure. A report on phases 1 and 2 discusses the use of synthetic and composite materials for the structure, explaining the concept for the site. Phase 2 textual records include a working plan, site charts and program. Additional drawings and models show an evolution in the shape of the landscape. Most records are related to the third phase of Synthetic Landscape. They are largely drawings and models showing textures and coloured grafts used in the design process, section and surfaces studies, as well as site plans. Other files of the third phase consist of animated renderings of Channelling Systems studies within the Synthetic Landscape topology, saved as Quicktime MOV files. Additionally, the third phase of Synthetic Landscape has files related to the FEM (finite element method) analysis process utilized in the project’s engineering. This particular section includes raster images showing vectorial drawings and data appearing to be surface studies. These were likely created with the software Mathematica. The bulk of textual documentation on the project’s scope and outcomes may be found in AP194.S1.1995.PR01.001 for phases 1 and 2, and in AP194.S1.1995.PR01.005 for phase 3. The latter file also contains documentation related to a grant application to The Research Council of Norway; a proposal for a conference and exhibition at the AA; and administrative records such as budgets, correspondence, invoices, progress reports, meeting agendas and minutes. For all project phases, records related to the design process consist of CAD models saved in a variety of modelling formats (iges, fmz, dgn, 3dm, dxf) as well as raster or vector images (tiff, jpeg, png, eps, pict, etc.). In some cases, only these raster or vector images of the original CAD drawings are present in the archive.
People:
Date:
1995-2000
1995-2000
Title:
Synthetic Landscape research project, Oslo, Norway (1995-2000)
Actions:
AP194.S1.1995.PR01
Description:
Project records consist of records documenting the three phases of the Synthetic Landscape project (1995-2000) as worked on by Johan Bettum and OCEAN North. The project was initially developed and submitted in 1995 for the Membrane Design International Competition held in Japan by the Taiyo Kogyo Corporation. The entry showcases a children’s playscape in the setting of Oslo’s Tøyen Park, joining both its urban surroundings and its natural landscape into a synthetic space. Afterwards, the project was exhibited at the Architecture Association (AA) in London, where Johan Bettum and Kivi Sotamaa met. This eventually led to Bettum and Sotamaa collaborating on projects, along with their respective OCEAN teams in Oslo and Helsinki. The Synthetic Landscape project continued as a research project, with a second phase in 1996 and a third phase which ran from 1997 through 2000 and integrated design methods (particle streaming, Channelling Systems) from the work made on the Töölö and Jyväskylä projects. In the third phase, a pavilion was also added to the setting. Aside from one drawing, all records for this project are in a digital format. Drawings and models from phase 1 show parts or the whole of a shell-like structure. A color scheme seems to be associated to the different components of the structure. A report on phases 1 and 2 discusses the use of synthetic and composite materials for the structure, explaining the concept for the site. Phase 2 textual records include a working plan, site charts and program. Additional drawings and models show an evolution in the shape of the landscape. Most records are related to the third phase of Synthetic Landscape. They are largely drawings and models showing textures and coloured grafts used in the design process, section and surfaces studies, as well as site plans. Other files of the third phase consist of animated renderings of Channelling Systems studies within the Synthetic Landscape topology, saved as Quicktime MOV files. Additionally, the third phase of Synthetic Landscape has files related to the FEM (finite element method) analysis process utilized in the project’s engineering. This particular section includes raster images showing vectorial drawings and data appearing to be surface studies. These were likely created with the software Mathematica. The bulk of textual documentation on the project’s scope and outcomes may be found in AP194.S1.1995.PR01.001 for phases 1 and 2, and in AP194.S1.1995.PR01.005 for phase 3. The latter file also contains documentation related to a grant application to The Research Council of Norway; a proposal for a conference and exhibition at the AA; and administrative records such as budgets, correspondence, invoices, progress reports, meeting agendas and minutes. For all project phases, records related to the design process consist of CAD models saved in a variety of modelling formats (iges, fmz, dgn, 3dm, dxf) as well as raster or vector images (tiff, jpeg, png, eps, pict, etc.). In some cases, only these raster or vector images of the original CAD drawings are present in the archive.
Synthetic Landscape research project, Oslo, Norway (1995-2000)
Actions:
AP194.S1.1995.PR01
Description:
Project records consist of records documenting the three phases of the Synthetic Landscape project (1995-2000) as worked on by Johan Bettum and OCEAN North. The project was initially developed and submitted in 1995 for the Membrane Design International Competition held in Japan by the Taiyo Kogyo Corporation. The entry showcases a children’s playscape in the setting of Oslo’s Tøyen Park, joining both its urban surroundings and its natural landscape into a synthetic space. Afterwards, the project was exhibited at the Architecture Association (AA) in London, where Johan Bettum and Kivi Sotamaa met. This eventually led to Bettum and Sotamaa collaborating on projects, along with their respective OCEAN teams in Oslo and Helsinki. The Synthetic Landscape project continued as a research project, with a second phase in 1996 and a third phase which ran from 1997 through 2000 and integrated design methods (particle streaming, Channelling Systems) from the work made on the Töölö and Jyväskylä projects. In the third phase, a pavilion was also added to the setting. Aside from one drawing, all records for this project are in a digital format. Drawings and models from phase 1 show parts or the whole of a shell-like structure. A color scheme seems to be associated to the different components of the structure. A report on phases 1 and 2 discusses the use of synthetic and composite materials for the structure, explaining the concept for the site. Phase 2 textual records include a working plan, site charts and program. Additional drawings and models show an evolution in the shape of the landscape. Most records are related to the third phase of Synthetic Landscape. They are largely drawings and models showing textures and coloured grafts used in the design process, section and surfaces studies, as well as site plans. Other files of the third phase consist of animated renderings of Channelling Systems studies within the Synthetic Landscape topology, saved as Quicktime MOV files. Additionally, the third phase of Synthetic Landscape has files related to the FEM (finite element method) analysis process utilized in the project’s engineering. This particular section includes raster images showing vectorial drawings and data appearing to be surface studies. These were likely created with the software Mathematica. The bulk of textual documentation on the project’s scope and outcomes may be found in AP194.S1.1995.PR01.001 for phases 1 and 2, and in AP194.S1.1995.PR01.005 for phase 3. The latter file also contains documentation related to a grant application to The Research Council of Norway; a proposal for a conference and exhibition at the AA; and administrative records such as budgets, correspondence, invoices, progress reports, meeting agendas and minutes. For all project phases, records related to the design process consist of CAD models saved in a variety of modelling formats (iges, fmz, dgn, 3dm, dxf) as well as raster or vector images (tiff, jpeg, png, eps, pict, etc.). In some cases, only these raster or vector images of the original CAD drawings are present in the archive.
Level of archival description:
Project
Project
Date:
1995-2000
1995-2000
People:
Form:
events
events
Title:
Learning from... Ordos
Learning from... Ordos
Actions:
Description:
The coal- and gas-rich city of Ordos in northern China boasts a new central district devoid of people. The contemporary city centre was built from scratch on the arid Mongolian steppe at a cost of over $161 billion, and was projected to house over 1 million people. Currently, the government claims that 28,000 reside in the new area. Despite the lack of residents, property(...)
The coal- and gas-rich city of Ordos in northern China boasts a new central district devoid of people. The contemporary city centre was built from scratch on the arid Mongolian steppe at a cost of over $161 billion, and was projected to house over 1 million people. Currently, the government claims that 28,000 reside in the new area. Despite the lack of residents, property(...)
Location:
Paul-Desmarais Theatre
Paul-Desmarais Theatre
Date:
8 November 2012 , 7pm
8 November 2012 , 7pm
Title:
Learning from... Ordos
Actions:
Description:
The coal- and gas-rich city of Ordos in northern China boasts a new central district devoid of people. The contemporary city centre was built from scratch on the arid Mongolian steppe at a cost of over $161 billion, and was projected to house over 1 million people. Currently, the government claims that 28,000 reside in the new area. Despite the lack of residents, property(...)
Learning from... Ordos
Actions:
Description:
The coal- and gas-rich city of Ordos in northern China boasts a new central district devoid of people. The contemporary city centre was built from scratch on the arid Mongolian steppe at a cost of over $161 billion, and was projected to house over 1 million people. Currently, the government claims that 28,000 reside in the new area. Despite the lack of residents, property(...)
Form:
events
events
Date:
8 November 2012
7pm
8 November 2012
7pm
Location:
Paul-Desmarais Theatre
Paul-Desmarais Theatre
Level of archival description:
Series
Series
Title:
Architectural projects
Architectural projects
Reference number:
AP178.S1
Description:
Series AP178.S1 is the largest series of the Álvaro Siza fonds and documents over 200 of Siza’s built and unbuilt architectural projects. The series is divided into project series which are arranged chronologically by project year. Presently, materials in this series range from 1958-2012. The CCA will also receive materials documenting Siza’s more recent work in future additions. Documenting the projects are conceptual, design, presentation, and working drawings, as well as photographic materials, textual documentation, and models. Although the drawings for each project have been identified, Siza often sketches or doodles on textual documentation, such as minutes of meetings or notes. When possible, folders that include textual documents with sketches or doodles have been identified. Amounts and types of materials vary from project to project. Project documentation is usually in Portuguese, with some exceptions including French, English, German, and Dutch. Most project series include sketches, studies, and working drawings. Other drawings included are site plans, floor plans, topographic surveys, elevations, sections, as well as technical and mechanical details. Also documenting the projects are photographic materials and textual documentation, such as correspondence, building programs, contracts, notes, and other working details. Photographic materials found within this archive are slides, negatives, photomontages and photographs of project sites and models.The photomontages were often used to study the function of the project site. To fully understand Siza’s methodology, sketchbooks (Series AP178.S2) should be viewed alongside the project drawings, when possible. Each project series description highlights sketchbooks in series AP178.S2 which contain related sketches. It is important to note that not all projects are represented in the sketchbooks in Series AP178.S2. Moreover, project series descriptions only list related sketchbooks when sketches have been positively identified as related to the corresponding project. The Siza fonds will be processed in four phases. The materials processed in the first, second, and third phases are architectural projects from the 1950’s, 1960’s, and 1970’s; urban planning projects; Reconstrução do Chiado; Berlin projects submitted to the IBA competition; cultural institutions; individual houses; and the Plano de urbanização Deelgebied 5 Schilderswijk-West in The Hague. Among The Hague and the Berlin projects are the Punt en Komma social housing, Bonjour Tristesse, and the Residential settlement in Schilderswijk. This series is better understood in the context of how the records for architectural projects were arranged by Siza’s office. Earlier projects were initially numbered by Siza’s office and then received new project numbers by the office archivist, who joined the office in the 1990s. Project files have been kept in the order in which they were received by the CCA, which is how they were arranged by the office archivist. The project numbers and dates assigned by Siza’s office archivist are included in the descriptions for each project and form the basis for the arrangement of this series. The office archivist numbered projects consecutively by decade, for instance, 58/80 was the 58th project during the 1980s. Numbers which were included in square brackets, ex. [14]/75, show that the project was not a ‘full’ project and contains a small amount of documentation. When projects are followed by a letter (A, B, C) this signifies a project is connected to the first. When the project number is followed by a number (1, 2, 3) this signifies a separate building within a larger project. For the purposes of arrangement, project numbers that were assigned a letter or number are arranged as sub-series of the related project series. Exceptions to this numbering convention are projects 23/60, 25/60, 28/60, 33/60, 34/60 and 35/60. These projects were not in the office’s original project list and were not officially considered projects. The office archivist assembled documentation related to these projects and assigned them numbers. In the early 2000s a large number of photographic materials were gathered together by the office archivist from various correspondence files for a digitization project initiated by the office. These materials remained housed together as a photograph collection in the office. Not all of these materials were digitized by the office. Those that were digitized were assigned numbers which have been identified in the file descriptions. It is important to note that several photographic materials were left with the textual documentation or drawings. When this is the case they are identified in the file description. There are also several panoramic photomontages which were created by either gluing or taping several photographs together to make panoramas of project sites.
AP178.S1
Description:
Series AP178.S1 is the largest series of the Álvaro Siza fonds and documents over 200 of Siza’s built and unbuilt architectural projects. The series is divided into project series which are arranged chronologically by project year. Presently, materials in this series range from 1958-2012. The CCA will also receive materials documenting Siza’s more recent work in future additions. Documenting the projects are conceptual, design, presentation, and working drawings, as well as photographic materials, textual documentation, and models. Although the drawings for each project have been identified, Siza often sketches or doodles on textual documentation, such as minutes of meetings or notes. When possible, folders that include textual documents with sketches or doodles have been identified. Amounts and types of materials vary from project to project. Project documentation is usually in Portuguese, with some exceptions including French, English, German, and Dutch. Most project series include sketches, studies, and working drawings. Other drawings included are site plans, floor plans, topographic surveys, elevations, sections, as well as technical and mechanical details. Also documenting the projects are photographic materials and textual documentation, such as correspondence, building programs, contracts, notes, and other working details. Photographic materials found within this archive are slides, negatives, photomontages and photographs of project sites and models.The photomontages were often used to study the function of the project site. To fully understand Siza’s methodology, sketchbooks (Series AP178.S2) should be viewed alongside the project drawings, when possible. Each project series description highlights sketchbooks in series AP178.S2 which contain related sketches. It is important to note that not all projects are represented in the sketchbooks in Series AP178.S2. Moreover, project series descriptions only list related sketchbooks when sketches have been positively identified as related to the corresponding project. The Siza fonds will be processed in four phases. The materials processed in the first, second, and third phases are architectural projects from the 1950’s, 1960’s, and 1970’s; urban planning projects; Reconstrução do Chiado; Berlin projects submitted to the IBA competition; cultural institutions; individual houses; and the Plano de urbanização Deelgebied 5 Schilderswijk-West in The Hague. Among The Hague and the Berlin projects are the Punt en Komma social housing, Bonjour Tristesse, and the Residential settlement in Schilderswijk. This series is better understood in the context of how the records for architectural projects were arranged by Siza’s office. Earlier projects were initially numbered by Siza’s office and then received new project numbers by the office archivist, who joined the office in the 1990s. Project files have been kept in the order in which they were received by the CCA, which is how they were arranged by the office archivist. The project numbers and dates assigned by Siza’s office archivist are included in the descriptions for each project and form the basis for the arrangement of this series. The office archivist numbered projects consecutively by decade, for instance, 58/80 was the 58th project during the 1980s. Numbers which were included in square brackets, ex. [14]/75, show that the project was not a ‘full’ project and contains a small amount of documentation. When projects are followed by a letter (A, B, C) this signifies a project is connected to the first. When the project number is followed by a number (1, 2, 3) this signifies a separate building within a larger project. For the purposes of arrangement, project numbers that were assigned a letter or number are arranged as sub-series of the related project series. Exceptions to this numbering convention are projects 23/60, 25/60, 28/60, 33/60, 34/60 and 35/60. These projects were not in the office’s original project list and were not officially considered projects. The office archivist assembled documentation related to these projects and assigned them numbers. In the early 2000s a large number of photographic materials were gathered together by the office archivist from various correspondence files for a digitization project initiated by the office. These materials remained housed together as a photograph collection in the office. Not all of these materials were digitized by the office. Those that were digitized were assigned numbers which have been identified in the file descriptions. It is important to note that several photographic materials were left with the textual documentation or drawings. When this is the case they are identified in the file description. There are also several panoramic photomontages which were created by either gluing or taping several photographs together to make panoramas of project sites.
People:
Date:
1948-2012
1948-2012
Title:
Architectural projects
Actions:
AP178.S1
Description:
Series AP178.S1 is the largest series of the Álvaro Siza fonds and documents over 200 of Siza’s built and unbuilt architectural projects. The series is divided into project series which are arranged chronologically by project year. Presently, materials in this series range from 1958-2012. The CCA will also receive materials documenting Siza’s more recent work in future additions. Documenting the projects are conceptual, design, presentation, and working drawings, as well as photographic materials, textual documentation, and models. Although the drawings for each project have been identified, Siza often sketches or doodles on textual documentation, such as minutes of meetings or notes. When possible, folders that include textual documents with sketches or doodles have been identified. Amounts and types of materials vary from project to project. Project documentation is usually in Portuguese, with some exceptions including French, English, German, and Dutch. Most project series include sketches, studies, and working drawings. Other drawings included are site plans, floor plans, topographic surveys, elevations, sections, as well as technical and mechanical details. Also documenting the projects are photographic materials and textual documentation, such as correspondence, building programs, contracts, notes, and other working details. Photographic materials found within this archive are slides, negatives, photomontages and photographs of project sites and models.The photomontages were often used to study the function of the project site. To fully understand Siza’s methodology, sketchbooks (Series AP178.S2) should be viewed alongside the project drawings, when possible. Each project series description highlights sketchbooks in series AP178.S2 which contain related sketches. It is important to note that not all projects are represented in the sketchbooks in Series AP178.S2. Moreover, project series descriptions only list related sketchbooks when sketches have been positively identified as related to the corresponding project. The Siza fonds will be processed in four phases. The materials processed in the first, second, and third phases are architectural projects from the 1950’s, 1960’s, and 1970’s; urban planning projects; Reconstrução do Chiado; Berlin projects submitted to the IBA competition; cultural institutions; individual houses; and the Plano de urbanização Deelgebied 5 Schilderswijk-West in The Hague. Among The Hague and the Berlin projects are the Punt en Komma social housing, Bonjour Tristesse, and the Residential settlement in Schilderswijk. This series is better understood in the context of how the records for architectural projects were arranged by Siza’s office. Earlier projects were initially numbered by Siza’s office and then received new project numbers by the office archivist, who joined the office in the 1990s. Project files have been kept in the order in which they were received by the CCA, which is how they were arranged by the office archivist. The project numbers and dates assigned by Siza’s office archivist are included in the descriptions for each project and form the basis for the arrangement of this series. The office archivist numbered projects consecutively by decade, for instance, 58/80 was the 58th project during the 1980s. Numbers which were included in square brackets, ex. [14]/75, show that the project was not a ‘full’ project and contains a small amount of documentation. When projects are followed by a letter (A, B, C) this signifies a project is connected to the first. When the project number is followed by a number (1, 2, 3) this signifies a separate building within a larger project. For the purposes of arrangement, project numbers that were assigned a letter or number are arranged as sub-series of the related project series. Exceptions to this numbering convention are projects 23/60, 25/60, 28/60, 33/60, 34/60 and 35/60. These projects were not in the office’s original project list and were not officially considered projects. The office archivist assembled documentation related to these projects and assigned them numbers. In the early 2000s a large number of photographic materials were gathered together by the office archivist from various correspondence files for a digitization project initiated by the office. These materials remained housed together as a photograph collection in the office. Not all of these materials were digitized by the office. Those that were digitized were assigned numbers which have been identified in the file descriptions. It is important to note that several photographic materials were left with the textual documentation or drawings. When this is the case they are identified in the file description. There are also several panoramic photomontages which were created by either gluing or taping several photographs together to make panoramas of project sites.
Architectural projects
Actions:
AP178.S1
Description:
Series AP178.S1 is the largest series of the Álvaro Siza fonds and documents over 200 of Siza’s built and unbuilt architectural projects. The series is divided into project series which are arranged chronologically by project year. Presently, materials in this series range from 1958-2012. The CCA will also receive materials documenting Siza’s more recent work in future additions. Documenting the projects are conceptual, design, presentation, and working drawings, as well as photographic materials, textual documentation, and models. Although the drawings for each project have been identified, Siza often sketches or doodles on textual documentation, such as minutes of meetings or notes. When possible, folders that include textual documents with sketches or doodles have been identified. Amounts and types of materials vary from project to project. Project documentation is usually in Portuguese, with some exceptions including French, English, German, and Dutch. Most project series include sketches, studies, and working drawings. Other drawings included are site plans, floor plans, topographic surveys, elevations, sections, as well as technical and mechanical details. Also documenting the projects are photographic materials and textual documentation, such as correspondence, building programs, contracts, notes, and other working details. Photographic materials found within this archive are slides, negatives, photomontages and photographs of project sites and models.The photomontages were often used to study the function of the project site. To fully understand Siza’s methodology, sketchbooks (Series AP178.S2) should be viewed alongside the project drawings, when possible. Each project series description highlights sketchbooks in series AP178.S2 which contain related sketches. It is important to note that not all projects are represented in the sketchbooks in Series AP178.S2. Moreover, project series descriptions only list related sketchbooks when sketches have been positively identified as related to the corresponding project. The Siza fonds will be processed in four phases. The materials processed in the first, second, and third phases are architectural projects from the 1950’s, 1960’s, and 1970’s; urban planning projects; Reconstrução do Chiado; Berlin projects submitted to the IBA competition; cultural institutions; individual houses; and the Plano de urbanização Deelgebied 5 Schilderswijk-West in The Hague. Among The Hague and the Berlin projects are the Punt en Komma social housing, Bonjour Tristesse, and the Residential settlement in Schilderswijk. This series is better understood in the context of how the records for architectural projects were arranged by Siza’s office. Earlier projects were initially numbered by Siza’s office and then received new project numbers by the office archivist, who joined the office in the 1990s. Project files have been kept in the order in which they were received by the CCA, which is how they were arranged by the office archivist. The project numbers and dates assigned by Siza’s office archivist are included in the descriptions for each project and form the basis for the arrangement of this series. The office archivist numbered projects consecutively by decade, for instance, 58/80 was the 58th project during the 1980s. Numbers which were included in square brackets, ex. [14]/75, show that the project was not a ‘full’ project and contains a small amount of documentation. When projects are followed by a letter (A, B, C) this signifies a project is connected to the first. When the project number is followed by a number (1, 2, 3) this signifies a separate building within a larger project. For the purposes of arrangement, project numbers that were assigned a letter or number are arranged as sub-series of the related project series. Exceptions to this numbering convention are projects 23/60, 25/60, 28/60, 33/60, 34/60 and 35/60. These projects were not in the office’s original project list and were not officially considered projects. The office archivist assembled documentation related to these projects and assigned them numbers. In the early 2000s a large number of photographic materials were gathered together by the office archivist from various correspondence files for a digitization project initiated by the office. These materials remained housed together as a photograph collection in the office. Not all of these materials were digitized by the office. Those that were digitized were assigned numbers which have been identified in the file descriptions. It is important to note that several photographic materials were left with the textual documentation or drawings. When this is the case they are identified in the file description. There are also several panoramic photomontages which were created by either gluing or taping several photographs together to make panoramas of project sites.
Level of archival description:
Series
Series
Date:
1948-2012
1948-2012
People:
Form:
photographs
photographs
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Reference number:
AP140.S2.SS1.D33.P23
Description:
views of schematic, design development, presentation, and publication drawings; many of the views of schematic, design development, and presentation drawings show drawings that are not otherwise present in the project documents; the views of schematic, design development, and presentation drawings show different schemes for site layouts, and for types and juxtaposition of dwellings; some of these drawings were possibly redrawn for presentation or publication purposes; there are views of an incomplete set of numbered presentation drawings for floor plans and a section, inscribed with the date 1969, which are not otherwise present in the project documents; there are views of drawings for a reurbanisation project for the Southgate Housing project by Rodrigo Perez de Arce, which was exhibited and published in the early 1980s; some of these views were also used to illustrate Stirling's published Southgate project; there are also views of the building site and of the exterior of the completed buildings; there is one colour negative with an exterior view of the completed buildings; there are also views of freehand site plans of urban architecture, including the Royal Crescent in Bath, England
AP140.S2.SS1.D33.P23
Description:
views of schematic, design development, presentation, and publication drawings; many of the views of schematic, design development, and presentation drawings show drawings that are not otherwise present in the project documents; the views of schematic, design development, and presentation drawings show different schemes for site layouts, and for types and juxtaposition of dwellings; some of these drawings were possibly redrawn for presentation or publication purposes; there are views of an incomplete set of numbered presentation drawings for floor plans and a section, inscribed with the date 1969, which are not otherwise present in the project documents; there are views of drawings for a reurbanisation project for the Southgate Housing project by Rodrigo Perez de Arce, which was exhibited and published in the early 1980s; some of these views were also used to illustrate Stirling's published Southgate project; there are also views of the building site and of the exterior of the completed buildings; there is one colour negative with an exterior view of the completed buildings; there are also views of freehand site plans of urban architecture, including the Royal Crescent in Bath, England
People:
Title:
Views of schematic, design development, presentation
Actions:
AP140.S2.SS1.D33.P23
Description:
views of schematic, design development, presentation, and publication drawings; many of the views of schematic, design development, and presentation drawings show drawings that are not otherwise present in the project documents; the views of schematic, design development, and presentation drawings show different schemes for site layouts, and for types and juxtaposition of dwellings; some of these drawings were possibly redrawn for presentation or publication purposes; there are views of an incomplete set of numbered presentation drawings for floor plans and a section, inscribed with the date 1969, which are not otherwise present in the project documents; there are views of drawings for a reurbanisation project for the Southgate Housing project by Rodrigo Perez de Arce, which was exhibited and published in the early 1980s; some of these views were also used to illustrate Stirling's published Southgate project; there are also views of the building site and of the exterior of the completed buildings; there is one colour negative with an exterior view of the completed buildings; there are also views of freehand site plans of urban architecture, including the Royal Crescent in Bath, England
Views of schematic, design development, presentation
Actions:
AP140.S2.SS1.D33.P23
Description:
views of schematic, design development, presentation, and publication drawings; many of the views of schematic, design development, and presentation drawings show drawings that are not otherwise present in the project documents; the views of schematic, design development, and presentation drawings show different schemes for site layouts, and for types and juxtaposition of dwellings; some of these drawings were possibly redrawn for presentation or publication purposes; there are views of an incomplete set of numbered presentation drawings for floor plans and a section, inscribed with the date 1969, which are not otherwise present in the project documents; there are views of drawings for a reurbanisation project for the Southgate Housing project by Rodrigo Perez de Arce, which was exhibited and published in the early 1980s; some of these views were also used to illustrate Stirling's published Southgate project; there are also views of the building site and of the exterior of the completed buildings; there is one colour negative with an exterior view of the completed buildings; there are also views of freehand site plans of urban architecture, including the Royal Crescent in Bath, England
Form:
photographs
photographs
People:
Level of archival description:
Project
Project
Actions:
Reference number:
AP194.S1.1997.PR02
Description:
Project records document the design process for OCEAN North’s competition entry for the Jyväskylä Music and Arts Centre in 1997. The project was titled Terra Cultura by OCEAN North. The competition was to create a multi-usage space that would include a venue for the symphonic orchestra, a music school, exhibition spaces and the possibility to host a variety of small cultural events in the Finnish city of Jyväskylä. The proposed site is in the center of the town, across the street from the Jyväskylä city church and its park, and nearby buildings designed by Alvar Aalto. OCEAN North’s concept presents a topological surface as an extension of the surrounding urban scape with two masses that would host the formal functions of the building (concert hall, music school, exhibition halls). The two volumes, or raised blocks, are divided along a diagonal elevated space, which is the extension of the ground’s topological surface filled and dubbed “Liquid Flow Space” by the design team. In their interview with Greg Lynn, Johan Bettum and Kivi Sotamaa mentioned that the idea for Jyväskylä was that it was a cloud. To reach this goal, the team used CAD software to trace streams of particles as a modelling approach. The masses of linear elements that were generated were further deconstructed and turned into “peels” and rearranged to create the masses of the building. Physical models were also used to test and further what had emerged from the digital design process, with results being fed back into the digital drawings. During the process, Bettum also brought in the idea of the internalisation of the outside, taking inspiration from the Centre Georges Pompidou. Digital records document the creative process with raster and vector images, CAD drawings and models, and few digital textual records describing the project and the program charts. Drawings and models show site and building plans, perspectives and sections; particles streaming and resulting linear masses; peels and sections identified per color; and renderings of aerials, perspectives and elevation views. OCEAN North seems to have mostly used Microstation for modelling, although there are a few files created with form*Z and 3D Studio. Some of the raster images might have been created with these software as well, showing a given stage of the design process and including renderings. There are also screen captures showing the top, front, left and perspective views of 3D models. Adobe Photoshop and Illustrator were also used to create and modify drawings and diagrams. Program charts were created in Microsoft Excel. Sources: Softspace: from a representation of form to a simulation of space, Edited by Sean Lally and Jessica Young. London, New York: Routledge, 2007. Greg Lynn, ed. Archaeology of the Digital 17: OCEAN North, Jyväskylä Music and Arts Centre, Montréal: Canadian Centre for Architecture, 2017. ePub.
AP194.S1.1997.PR02
Description:
Project records document the design process for OCEAN North’s competition entry for the Jyväskylä Music and Arts Centre in 1997. The project was titled Terra Cultura by OCEAN North. The competition was to create a multi-usage space that would include a venue for the symphonic orchestra, a music school, exhibition spaces and the possibility to host a variety of small cultural events in the Finnish city of Jyväskylä. The proposed site is in the center of the town, across the street from the Jyväskylä city church and its park, and nearby buildings designed by Alvar Aalto. OCEAN North’s concept presents a topological surface as an extension of the surrounding urban scape with two masses that would host the formal functions of the building (concert hall, music school, exhibition halls). The two volumes, or raised blocks, are divided along a diagonal elevated space, which is the extension of the ground’s topological surface filled and dubbed “Liquid Flow Space” by the design team. In their interview with Greg Lynn, Johan Bettum and Kivi Sotamaa mentioned that the idea for Jyväskylä was that it was a cloud. To reach this goal, the team used CAD software to trace streams of particles as a modelling approach. The masses of linear elements that were generated were further deconstructed and turned into “peels” and rearranged to create the masses of the building. Physical models were also used to test and further what had emerged from the digital design process, with results being fed back into the digital drawings. During the process, Bettum also brought in the idea of the internalisation of the outside, taking inspiration from the Centre Georges Pompidou. Digital records document the creative process with raster and vector images, CAD drawings and models, and few digital textual records describing the project and the program charts. Drawings and models show site and building plans, perspectives and sections; particles streaming and resulting linear masses; peels and sections identified per color; and renderings of aerials, perspectives and elevation views. OCEAN North seems to have mostly used Microstation for modelling, although there are a few files created with form*Z and 3D Studio. Some of the raster images might have been created with these software as well, showing a given stage of the design process and including renderings. There are also screen captures showing the top, front, left and perspective views of 3D models. Adobe Photoshop and Illustrator were also used to create and modify drawings and diagrams. Program charts were created in Microsoft Excel. Sources: Softspace: from a representation of form to a simulation of space, Edited by Sean Lally and Jessica Young. London, New York: Routledge, 2007. Greg Lynn, ed. Archaeology of the Digital 17: OCEAN North, Jyväskylä Music and Arts Centre, Montréal: Canadian Centre for Architecture, 2017. ePub.
People:
Date:
1997-1998
1997-1998
Title:
Terra Cultura – Jyväskylä Music and Arts Centre, international competition entry, Jyväskylä, Finland (1997)
Actions:
AP194.S1.1997.PR02
Description:
Project records document the design process for OCEAN North’s competition entry for the Jyväskylä Music and Arts Centre in 1997. The project was titled Terra Cultura by OCEAN North. The competition was to create a multi-usage space that would include a venue for the symphonic orchestra, a music school, exhibition spaces and the possibility to host a variety of small cultural events in the Finnish city of Jyväskylä. The proposed site is in the center of the town, across the street from the Jyväskylä city church and its park, and nearby buildings designed by Alvar Aalto. OCEAN North’s concept presents a topological surface as an extension of the surrounding urban scape with two masses that would host the formal functions of the building (concert hall, music school, exhibition halls). The two volumes, or raised blocks, are divided along a diagonal elevated space, which is the extension of the ground’s topological surface filled and dubbed “Liquid Flow Space” by the design team. In their interview with Greg Lynn, Johan Bettum and Kivi Sotamaa mentioned that the idea for Jyväskylä was that it was a cloud. To reach this goal, the team used CAD software to trace streams of particles as a modelling approach. The masses of linear elements that were generated were further deconstructed and turned into “peels” and rearranged to create the masses of the building. Physical models were also used to test and further what had emerged from the digital design process, with results being fed back into the digital drawings. During the process, Bettum also brought in the idea of the internalisation of the outside, taking inspiration from the Centre Georges Pompidou. Digital records document the creative process with raster and vector images, CAD drawings and models, and few digital textual records describing the project and the program charts. Drawings and models show site and building plans, perspectives and sections; particles streaming and resulting linear masses; peels and sections identified per color; and renderings of aerials, perspectives and elevation views. OCEAN North seems to have mostly used Microstation for modelling, although there are a few files created with form*Z and 3D Studio. Some of the raster images might have been created with these software as well, showing a given stage of the design process and including renderings. There are also screen captures showing the top, front, left and perspective views of 3D models. Adobe Photoshop and Illustrator were also used to create and modify drawings and diagrams. Program charts were created in Microsoft Excel. Sources: Softspace: from a representation of form to a simulation of space, Edited by Sean Lally and Jessica Young. London, New York: Routledge, 2007. Greg Lynn, ed. Archaeology of the Digital 17: OCEAN North, Jyväskylä Music and Arts Centre, Montréal: Canadian Centre for Architecture, 2017. ePub.
Terra Cultura – Jyväskylä Music and Arts Centre, international competition entry, Jyväskylä, Finland (1997)
Actions:
AP194.S1.1997.PR02
Description:
Project records document the design process for OCEAN North’s competition entry for the Jyväskylä Music and Arts Centre in 1997. The project was titled Terra Cultura by OCEAN North. The competition was to create a multi-usage space that would include a venue for the symphonic orchestra, a music school, exhibition spaces and the possibility to host a variety of small cultural events in the Finnish city of Jyväskylä. The proposed site is in the center of the town, across the street from the Jyväskylä city church and its park, and nearby buildings designed by Alvar Aalto. OCEAN North’s concept presents a topological surface as an extension of the surrounding urban scape with two masses that would host the formal functions of the building (concert hall, music school, exhibition halls). The two volumes, or raised blocks, are divided along a diagonal elevated space, which is the extension of the ground’s topological surface filled and dubbed “Liquid Flow Space” by the design team. In their interview with Greg Lynn, Johan Bettum and Kivi Sotamaa mentioned that the idea for Jyväskylä was that it was a cloud. To reach this goal, the team used CAD software to trace streams of particles as a modelling approach. The masses of linear elements that were generated were further deconstructed and turned into “peels” and rearranged to create the masses of the building. Physical models were also used to test and further what had emerged from the digital design process, with results being fed back into the digital drawings. During the process, Bettum also brought in the idea of the internalisation of the outside, taking inspiration from the Centre Georges Pompidou. Digital records document the creative process with raster and vector images, CAD drawings and models, and few digital textual records describing the project and the program charts. Drawings and models show site and building plans, perspectives and sections; particles streaming and resulting linear masses; peels and sections identified per color; and renderings of aerials, perspectives and elevation views. OCEAN North seems to have mostly used Microstation for modelling, although there are a few files created with form*Z and 3D Studio. Some of the raster images might have been created with these software as well, showing a given stage of the design process and including renderings. There are also screen captures showing the top, front, left and perspective views of 3D models. Adobe Photoshop and Illustrator were also used to create and modify drawings and diagrams. Program charts were created in Microsoft Excel. Sources: Softspace: from a representation of form to a simulation of space, Edited by Sean Lally and Jessica Young. London, New York: Routledge, 2007. 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:
Project
Project
Date:
1997-1998
1997-1998
People:
