2259 Results
Form:
events
events
Title:
Learning from… Toronto
Learning from… Toronto
Actions:
Description:
Ian Chodikoff, architect, urban designer, and editor of Canadian Architect magazine, presents his research on the contemporary suburb and how the influences of ethnic diversity and multiculturalism affect architecture and urban design within the suburban landscape across the Greater Toronto Area (GTA). Today’s suburbs are more ethnically diverse, globally connected and(...)
Ian Chodikoff, architect, urban designer, and editor of Canadian Architect magazine, presents his research on the contemporary suburb and how the influences of ethnic diversity and multiculturalism affect architecture and urban design within the suburban landscape across the Greater Toronto Area (GTA). Today’s suburbs are more ethnically diverse, globally connected and(...)
Location:
Paul Desmarais Theatre
Paul Desmarais Theatre
Date:
4 March 2010 , 7pm
4 March 2010 , 7pm
Title:
Learning from… Toronto
Actions:
Description:
Ian Chodikoff, architect, urban designer, and editor of Canadian Architect magazine, presents his research on the contemporary suburb and how the influences of ethnic diversity and multiculturalism affect architecture and urban design within the suburban landscape across the Greater Toronto Area (GTA). Today’s suburbs are more ethnically diverse, globally connected and(...)
Learning from… Toronto
Actions:
Description:
Ian Chodikoff, architect, urban designer, and editor of Canadian Architect magazine, presents his research on the contemporary suburb and how the influences of ethnic diversity and multiculturalism affect architecture and urban design within the suburban landscape across the Greater Toronto Area (GTA). Today’s suburbs are more ethnically diverse, globally connected and(...)
Form:
events
events
Date:
4 March 2010
7pm
4 March 2010
7pm
Location:
Paul Desmarais Theatre
Paul Desmarais Theatre
Quantity:
28 file
28 file
Reference number:
ARCH242637
Description:
Set 1 - 14 tapes (ANY) Body - 7 tapes Body - Panel 1 Body - ending Panel 1, beginning Panel 2 Body - Panel 3 Discussion Body - Panel 3 (2nd part) & Discussion Body - Panel 4 Body - Panel 5 (2ND part) Discussion Body - Panel 5 (2ND part) & Discussion Set 2 - 14 tapes (2 copies of each) Cass. 1 - 6/6/96 - Panel 1, Discussion Cass. 2 - 6/6/96 - Panel 2, Discussion (2nd part) Cass. 3 - 7/6/96 - Panel 2 Discussion, Panel 3 (1st part) Cass. 4 - 7/6/96 - Panel 3 (2nd part), Discussion Cass. 5 - 8/6/96 - Panel 4 Cass. 6 - 8/6/96 - Panel 4 Discussion, Panel 5 (1st part) Cass. 7 - 8/6/96 - Panel 5 (2nd part), Discussion
ARCH242637
Description:
Set 1 - 14 tapes (ANY) Body - 7 tapes Body - Panel 1 Body - ending Panel 1, beginning Panel 2 Body - Panel 3 Discussion Body - Panel 3 (2nd part) & Discussion Body - Panel 4 Body - Panel 5 (2ND part) Discussion Body - Panel 5 (2ND part) & Discussion Set 2 - 14 tapes (2 copies of each) Cass. 1 - 6/6/96 - Panel 1, Discussion Cass. 2 - 6/6/96 - Panel 2, Discussion (2nd part) Cass. 3 - 7/6/96 - Panel 2 Discussion, Panel 3 (1st part) Cass. 4 - 7/6/96 - Panel 3 (2nd part), Discussion Cass. 5 - 8/6/96 - Panel 4 Cass. 6 - 8/6/96 - Panel 4 Discussion, Panel 5 (1st part) Cass. 7 - 8/6/96 - Panel 5 (2nd part), Discussion
People:
Date:
1996-06-06
1996-06-06
Title:
Video recordings of Anybody Conference, 1996
Actions:
ARCH242637
Description:
Set 1 - 14 tapes (ANY) Body - 7 tapes Body - Panel 1 Body - ending Panel 1, beginning Panel 2 Body - Panel 3 Discussion Body - Panel 3 (2nd part) & Discussion Body - Panel 4 Body - Panel 5 (2ND part) Discussion Body - Panel 5 (2ND part) & Discussion Set 2 - 14 tapes (2 copies of each) Cass. 1 - 6/6/96 - Panel 1, Discussion Cass. 2 - 6/6/96 - Panel 2, Discussion (2nd part) Cass. 3 - 7/6/96 - Panel 2 Discussion, Panel 3 (1st part) Cass. 4 - 7/6/96 - Panel 3 (2nd part), Discussion Cass. 5 - 8/6/96 - Panel 4 Cass. 6 - 8/6/96 - Panel 4 Discussion, Panel 5 (1st part) Cass. 7 - 8/6/96 - Panel 5 (2nd part), Discussion
Video recordings of Anybody Conference, 1996
Actions:
ARCH242637
Description:
Set 1 - 14 tapes (ANY) Body - 7 tapes Body - Panel 1 Body - ending Panel 1, beginning Panel 2 Body - Panel 3 Discussion Body - Panel 3 (2nd part) & Discussion Body - Panel 4 Body - Panel 5 (2ND part) Discussion Body - Panel 5 (2ND part) & Discussion Set 2 - 14 tapes (2 copies of each) Cass. 1 - 6/6/96 - Panel 1, Discussion Cass. 2 - 6/6/96 - Panel 2, Discussion (2nd part) Cass. 3 - 7/6/96 - Panel 2 Discussion, Panel 3 (1st part) Cass. 4 - 7/6/96 - Panel 3 (2nd part), Discussion Cass. 5 - 8/6/96 - Panel 4 Cass. 6 - 8/6/96 - Panel 4 Discussion, Panel 5 (1st part) Cass. 7 - 8/6/96 - Panel 5 (2nd part), Discussion
Quantity:
28 file
28 file
Date:
1996-06-06
1996-06-06
People:
Level of archival description:
Series
Series
Reference number:
AP189.S2
Description:
Series 2, Software for producing the projection and narration, 2007-2008, is composed of ten different versions of the module that generates the projection and narration in the open gallery. Seven of the versions were among the files saved to a compact disc following the CCA exhibition and have been kept together as group ARCH275207. Three of the versions were on a hard drive that was used in Rovereto and comprise group ARCH275212. The core elements of each module are two application files. One of these, whose name begins with "VE1" uses parameters contained in a file called "config.txt". The other application file, called "VECalibration" displays the entire volume of the projected architectural space. The geometric parameters for a room are recorded in a separate image file called "ecan-angles.jpg". A readme file in each module explains how the different files interact with one another. It also identifies the version of the "VE1" application files and any issues that may be related to the version. Each module includes hundreds of Shockwave Flash files (.swf), each containing an animated or still image of a person or persons and/or one or more pieces of furniture. Some of the .swf files contain an image of one or more furnished rooms inhabited by one or more persons. In most versions, the config.txt file contains a URL that accesses the database containing the sensor data. The URL references the file "captorsxml.aspx". As mentioned earlier, the config.txt file also contains parameters for the projected image, including scene geometry, colors and space occupation, and lists of the .swf files for persons and objects. Most versions of the module also include twenty-one .mp3 files, one of which is "empty". The other twenty each contain an audio recording of a female voice that states values for temperature, illumination and relative humidity and narrates a scenario written by Alain Robbe-Grillet. There is a French- and English-language version of each scenario
AP189.S2
Description:
Series 2, Software for producing the projection and narration, 2007-2008, is composed of ten different versions of the module that generates the projection and narration in the open gallery. Seven of the versions were among the files saved to a compact disc following the CCA exhibition and have been kept together as group ARCH275207. Three of the versions were on a hard drive that was used in Rovereto and comprise group ARCH275212. The core elements of each module are two application files. One of these, whose name begins with "VE1" uses parameters contained in a file called "config.txt". The other application file, called "VECalibration" displays the entire volume of the projected architectural space. The geometric parameters for a room are recorded in a separate image file called "ecan-angles.jpg". A readme file in each module explains how the different files interact with one another. It also identifies the version of the "VE1" application files and any issues that may be related to the version. Each module includes hundreds of Shockwave Flash files (.swf), each containing an animated or still image of a person or persons and/or one or more pieces of furniture. Some of the .swf files contain an image of one or more furnished rooms inhabited by one or more persons. In most versions, the config.txt file contains a URL that accesses the database containing the sensor data. The URL references the file "captorsxml.aspx". As mentioned earlier, the config.txt file also contains parameters for the projected image, including scene geometry, colors and space occupation, and lists of the .swf files for persons and objects. Most versions of the module also include twenty-one .mp3 files, one of which is "empty". The other twenty each contain an audio recording of a female voice that states values for temperature, illumination and relative humidity and narrates a scenario written by Alain Robbe-Grillet. There is a French- and English-language version of each scenario
People:
Date:
2007-2008
2007-2008
Title:
Software for producing the projection and narration
Actions:
AP189.S2
Description:
Series 2, Software for producing the projection and narration, 2007-2008, is composed of ten different versions of the module that generates the projection and narration in the open gallery. Seven of the versions were among the files saved to a compact disc following the CCA exhibition and have been kept together as group ARCH275207. Three of the versions were on a hard drive that was used in Rovereto and comprise group ARCH275212. The core elements of each module are two application files. One of these, whose name begins with "VE1" uses parameters contained in a file called "config.txt". The other application file, called "VECalibration" displays the entire volume of the projected architectural space. The geometric parameters for a room are recorded in a separate image file called "ecan-angles.jpg". A readme file in each module explains how the different files interact with one another. It also identifies the version of the "VE1" application files and any issues that may be related to the version. Each module includes hundreds of Shockwave Flash files (.swf), each containing an animated or still image of a person or persons and/or one or more pieces of furniture. Some of the .swf files contain an image of one or more furnished rooms inhabited by one or more persons. In most versions, the config.txt file contains a URL that accesses the database containing the sensor data. The URL references the file "captorsxml.aspx". As mentioned earlier, the config.txt file also contains parameters for the projected image, including scene geometry, colors and space occupation, and lists of the .swf files for persons and objects. Most versions of the module also include twenty-one .mp3 files, one of which is "empty". The other twenty each contain an audio recording of a female voice that states values for temperature, illumination and relative humidity and narrates a scenario written by Alain Robbe-Grillet. There is a French- and English-language version of each scenario
Software for producing the projection and narration
Actions:
AP189.S2
Description:
Series 2, Software for producing the projection and narration, 2007-2008, is composed of ten different versions of the module that generates the projection and narration in the open gallery. Seven of the versions were among the files saved to a compact disc following the CCA exhibition and have been kept together as group ARCH275207. Three of the versions were on a hard drive that was used in Rovereto and comprise group ARCH275212. The core elements of each module are two application files. One of these, whose name begins with "VE1" uses parameters contained in a file called "config.txt". The other application file, called "VECalibration" displays the entire volume of the projected architectural space. The geometric parameters for a room are recorded in a separate image file called "ecan-angles.jpg". A readme file in each module explains how the different files interact with one another. It also identifies the version of the "VE1" application files and any issues that may be related to the version. Each module includes hundreds of Shockwave Flash files (.swf), each containing an animated or still image of a person or persons and/or one or more pieces of furniture. Some of the .swf files contain an image of one or more furnished rooms inhabited by one or more persons. In most versions, the config.txt file contains a URL that accesses the database containing the sensor data. The URL references the file "captorsxml.aspx". As mentioned earlier, the config.txt file also contains parameters for the projected image, including scene geometry, colors and space occupation, and lists of the .swf files for persons and objects. Most versions of the module also include twenty-one .mp3 files, one of which is "empty". The other twenty each contain an audio recording of a female voice that states values for temperature, illumination and relative humidity and narrates a scenario written by Alain Robbe-Grillet. There is a French- and English-language version of each scenario
Level of archival description:
Series 2
Series 2
Date:
2007-2008
2007-2008
People:
Title:
Panorama of the Hudson
Panorama of the Hudson
Actions:
Reference number:
PH1979:0549
Description:
This album titled 'Panorama of the Hudson' shows views of the east bank of the river printed upside down under corresponding views of the west bank. The full title reads: "Panorama of the Hudson showing both sides of the River from New York to Albany. First photo-panorama of any river ever published. One hundred and fifty miles of continuous scenery accurately represented from eight hundred consecutive photographs. From the metropolis to the capital the Hudson varies in width from a half mile to four miles and a half; but the river remains uniform in these pages as most convenient for a book of reference or tourist guide". Sites of interest are noted in typeface on both east and west sides of the river. On verso of title page : Copyright 1888 by Bryant Literary Union. Photographed by G. Willard Shear. Engraved by Moss Engraving Company. Printed by A.V. Haight. Published by Bryant Literary Union. Evening Post Building.
PH1979:0549
Description:
This album titled 'Panorama of the Hudson' shows views of the east bank of the river printed upside down under corresponding views of the west bank. The full title reads: "Panorama of the Hudson showing both sides of the River from New York to Albany. First photo-panorama of any river ever published. One hundred and fifty miles of continuous scenery accurately represented from eight hundred consecutive photographs. From the metropolis to the capital the Hudson varies in width from a half mile to four miles and a half; but the river remains uniform in these pages as most convenient for a book of reference or tourist guide". Sites of interest are noted in typeface on both east and west sides of the river. On verso of title page : Copyright 1888 by Bryant Literary Union. Photographed by G. Willard Shear. Engraved by Moss Engraving Company. Printed by A.V. Haight. Published by Bryant Literary Union. Evening Post Building.
People:
Subject:
architecture, topographic
architecture, topographic
Date:
1888
1888
Title:
Panorama of the Hudson
Actions:
PH1979:0549
Description:
This album titled 'Panorama of the Hudson' shows views of the east bank of the river printed upside down under corresponding views of the west bank. The full title reads: "Panorama of the Hudson showing both sides of the River from New York to Albany. First photo-panorama of any river ever published. One hundred and fifty miles of continuous scenery accurately represented from eight hundred consecutive photographs. From the metropolis to the capital the Hudson varies in width from a half mile to four miles and a half; but the river remains uniform in these pages as most convenient for a book of reference or tourist guide". Sites of interest are noted in typeface on both east and west sides of the river. On verso of title page : Copyright 1888 by Bryant Literary Union. Photographed by G. Willard Shear. Engraved by Moss Engraving Company. Printed by A.V. Haight. Published by Bryant Literary Union. Evening Post Building.
Panorama of the Hudson
Actions:
PH1979:0549
Description:
This album titled 'Panorama of the Hudson' shows views of the east bank of the river printed upside down under corresponding views of the west bank. The full title reads: "Panorama of the Hudson showing both sides of the River from New York to Albany. First photo-panorama of any river ever published. One hundred and fifty miles of continuous scenery accurately represented from eight hundred consecutive photographs. From the metropolis to the capital the Hudson varies in width from a half mile to four miles and a half; but the river remains uniform in these pages as most convenient for a book of reference or tourist guide". Sites of interest are noted in typeface on both east and west sides of the river. On verso of title page : Copyright 1888 by Bryant Literary Union. Photographed by G. Willard Shear. Engraved by Moss Engraving Company. Printed by A.V. Haight. Published by Bryant Literary Union. Evening Post Building.
Date:
1888
1888
People:
Subject:
architecture, topographic
architecture, topographic
Form:
drawings, textual records
drawings, textual records
Actions:
Reference number:
DR1974:0002:034:001-082
Description:
- This album consists primarily of preliminary and design development drawings - mostly plans and elevations, as well as some sections and site plans - for ten projects for a country house for comte Treilhard, probably alternative proposals for the same site. Each project typically includes a sheet of notes and area calculations for the house, a principal elevation, and plans for each of the floors. In most cases the drawings for a project are grouped with the sheet of notes and calculations. The proposed location is not indicated, and it has not been determined if any of the projects in this album were constructed. All of the houses are classically-inspired, but vary widely in their size, form, and in the articulation and ornamentation of their façades. Two finished drawings - elevations coloured with wash - are included for project no. 7 (DR1974:0002:034:039 and DR1974:0002:034:040). Also included are a preliminary drawing for a building, possibly a house, on rue Saint-Honoré in Paris for comte Treilhard, and four drawings for a combination stable/granary, possibly for the same client.
DR1974:0002:034:001-082
Description:
- This album consists primarily of preliminary and design development drawings - mostly plans and elevations, as well as some sections and site plans - for ten projects for a country house for comte Treilhard, probably alternative proposals for the same site. Each project typically includes a sheet of notes and area calculations for the house, a principal elevation, and plans for each of the floors. In most cases the drawings for a project are grouped with the sheet of notes and calculations. The proposed location is not indicated, and it has not been determined if any of the projects in this album were constructed. All of the houses are classically-inspired, but vary widely in their size, form, and in the articulation and ornamentation of their façades. Two finished drawings - elevations coloured with wash - are included for project no. 7 (DR1974:0002:034:039 and DR1974:0002:034:040). Also included are a preliminary drawing for a building, possibly a house, on rue Saint-Honoré in Paris for comte Treilhard, and four drawings for a combination stable/granary, possibly for the same client.
People:
Subject:
architecture
architecture
Date:
1829-1840
1829-1840
Title:
Album of drawings and manuscripts, mostly for ten projects for country houses for comte Treilhard, France
Actions:
DR1974:0002:034:001-082
Description:
- This album consists primarily of preliminary and design development drawings - mostly plans and elevations, as well as some sections and site plans - for ten projects for a country house for comte Treilhard, probably alternative proposals for the same site. Each project typically includes a sheet of notes and area calculations for the house, a principal elevation, and plans for each of the floors. In most cases the drawings for a project are grouped with the sheet of notes and calculations. The proposed location is not indicated, and it has not been determined if any of the projects in this album were constructed. All of the houses are classically-inspired, but vary widely in their size, form, and in the articulation and ornamentation of their façades. Two finished drawings - elevations coloured with wash - are included for project no. 7 (DR1974:0002:034:039 and DR1974:0002:034:040). Also included are a preliminary drawing for a building, possibly a house, on rue Saint-Honoré in Paris for comte Treilhard, and four drawings for a combination stable/granary, possibly for the same client.
Album of drawings and manuscripts, mostly for ten projects for country houses for comte Treilhard, France
Actions:
DR1974:0002:034:001-082
Description:
- This album consists primarily of preliminary and design development drawings - mostly plans and elevations, as well as some sections and site plans - for ten projects for a country house for comte Treilhard, probably alternative proposals for the same site. Each project typically includes a sheet of notes and area calculations for the house, a principal elevation, and plans for each of the floors. In most cases the drawings for a project are grouped with the sheet of notes and calculations. The proposed location is not indicated, and it has not been determined if any of the projects in this album were constructed. All of the houses are classically-inspired, but vary widely in their size, form, and in the articulation and ornamentation of their façades. Two finished drawings - elevations coloured with wash - are included for project no. 7 (DR1974:0002:034:039 and DR1974:0002:034:040). Also included are a preliminary drawing for a building, possibly a house, on rue Saint-Honoré in Paris for comte Treilhard, and four drawings for a combination stable/granary, possibly for the same client.
Form:
drawings, textual records
drawings, textual records
Date:
1829-1840
1829-1840
People:
Subject:
architecture
architecture
Level of archival description:
Project
Project
Reference number:
CD034.S1.1974.PR01
Description:
This project series contains four reproductions of drawings displayed in the exhibit to document the neighbourhood Quinta do Bacalhau-Monte Coxo, in Lisbon, Portugal. The exhibit text explained the following: The project architect Manuel Vicente was already working on a design for the intervention in the Quintas de Bacalhau and Monte Coxo when he was co-opted by SAAL. The proposed typology referred to another ambitious urban project of 615 housing units, Quinta das Fonsecas - Quinta da Calçada neighbourhood by the architect Raúl Hestnes Ferreira. The intention was to bring the city to the outlying shanty town areas. None of these projects was carried out in full, and they are now fragmented and besieged by the traffic system without having produced any of the essential community and socialising facilities. In Bacalhau-Monte Coxo the structure of the internal patios reveals the ways in which the public space and community was organised. The architecture assigned importance to the facades, although access to the community courtyards was also a central design concept. In a 1976 interview, the architect himself argued that the release of bourgeois guilt allowed for spatial beauty, adopting the slogan 'Facades First' in defence of architectural design. In a way, this proposal anticipated the post-modern, although in a form that did not deny architecture's social engagement. The design emphasizes a strong idea of architectural autonomy, unfortunately only a part of the project was actually built. (The SAAL Process, Housing in Portugal 1974–76) Manuel Vicente worked for SAAL/Lisbon and Central South with the following collaborators: Afonso José Baptista, Agostinho Xavier de Andrade, António Albano Leitão, Cristina Catela Martins Pereira, Eduardo Serrano de Sousa, Gentil Noras, José Manuel Diniz Cabral Caldeira, Manuel Augusto Lopes de Sousa, Nuno Matos Silva, Rita Cabral and the resident association Cooperativa de Habitação Económica Portugal Novo, that was founded on September 6th, 1974. The team built 384 dwellings. The operation began in September 1974, with a construction date in January 1977. This project series contains reproductions of design development drawings and a cadastral plan. The original drawings were produced in 1974 or after and were reproduced in 2015 for the exhibit.
CD034.S1.1974.PR01
Description:
This project series contains four reproductions of drawings displayed in the exhibit to document the neighbourhood Quinta do Bacalhau-Monte Coxo, in Lisbon, Portugal. The exhibit text explained the following: The project architect Manuel Vicente was already working on a design for the intervention in the Quintas de Bacalhau and Monte Coxo when he was co-opted by SAAL. The proposed typology referred to another ambitious urban project of 615 housing units, Quinta das Fonsecas - Quinta da Calçada neighbourhood by the architect Raúl Hestnes Ferreira. The intention was to bring the city to the outlying shanty town areas. None of these projects was carried out in full, and they are now fragmented and besieged by the traffic system without having produced any of the essential community and socialising facilities. In Bacalhau-Monte Coxo the structure of the internal patios reveals the ways in which the public space and community was organised. The architecture assigned importance to the facades, although access to the community courtyards was also a central design concept. In a 1976 interview, the architect himself argued that the release of bourgeois guilt allowed for spatial beauty, adopting the slogan 'Facades First' in defence of architectural design. In a way, this proposal anticipated the post-modern, although in a form that did not deny architecture's social engagement. The design emphasizes a strong idea of architectural autonomy, unfortunately only a part of the project was actually built. (The SAAL Process, Housing in Portugal 1974–76) Manuel Vicente worked for SAAL/Lisbon and Central South with the following collaborators: Afonso José Baptista, Agostinho Xavier de Andrade, António Albano Leitão, Cristina Catela Martins Pereira, Eduardo Serrano de Sousa, Gentil Noras, José Manuel Diniz Cabral Caldeira, Manuel Augusto Lopes de Sousa, Nuno Matos Silva, Rita Cabral and the resident association Cooperativa de Habitação Económica Portugal Novo, that was founded on September 6th, 1974. The team built 384 dwellings. The operation began in September 1974, with a construction date in January 1977. This project series contains reproductions of design development drawings and a cadastral plan. The original drawings were produced in 1974 or after and were reproduced in 2015 for the exhibit.
People:
Date:
circa 1974
circa 1974
Title:
Bairro Quinta do Bacalhau–Monte Coxo, Lisbon
Actions:
CD034.S1.1974.PR01
Description:
This project series contains four reproductions of drawings displayed in the exhibit to document the neighbourhood Quinta do Bacalhau-Monte Coxo, in Lisbon, Portugal. The exhibit text explained the following: The project architect Manuel Vicente was already working on a design for the intervention in the Quintas de Bacalhau and Monte Coxo when he was co-opted by SAAL. The proposed typology referred to another ambitious urban project of 615 housing units, Quinta das Fonsecas - Quinta da Calçada neighbourhood by the architect Raúl Hestnes Ferreira. The intention was to bring the city to the outlying shanty town areas. None of these projects was carried out in full, and they are now fragmented and besieged by the traffic system without having produced any of the essential community and socialising facilities. In Bacalhau-Monte Coxo the structure of the internal patios reveals the ways in which the public space and community was organised. The architecture assigned importance to the facades, although access to the community courtyards was also a central design concept. In a 1976 interview, the architect himself argued that the release of bourgeois guilt allowed for spatial beauty, adopting the slogan 'Facades First' in defence of architectural design. In a way, this proposal anticipated the post-modern, although in a form that did not deny architecture's social engagement. The design emphasizes a strong idea of architectural autonomy, unfortunately only a part of the project was actually built. (The SAAL Process, Housing in Portugal 1974–76) Manuel Vicente worked for SAAL/Lisbon and Central South with the following collaborators: Afonso José Baptista, Agostinho Xavier de Andrade, António Albano Leitão, Cristina Catela Martins Pereira, Eduardo Serrano de Sousa, Gentil Noras, José Manuel Diniz Cabral Caldeira, Manuel Augusto Lopes de Sousa, Nuno Matos Silva, Rita Cabral and the resident association Cooperativa de Habitação Económica Portugal Novo, that was founded on September 6th, 1974. The team built 384 dwellings. The operation began in September 1974, with a construction date in January 1977. This project series contains reproductions of design development drawings and a cadastral plan. The original drawings were produced in 1974 or after and were reproduced in 2015 for the exhibit.
Bairro Quinta do Bacalhau–Monte Coxo, Lisbon
Actions:
CD034.S1.1974.PR01
Description:
This project series contains four reproductions of drawings displayed in the exhibit to document the neighbourhood Quinta do Bacalhau-Monte Coxo, in Lisbon, Portugal. The exhibit text explained the following: The project architect Manuel Vicente was already working on a design for the intervention in the Quintas de Bacalhau and Monte Coxo when he was co-opted by SAAL. The proposed typology referred to another ambitious urban project of 615 housing units, Quinta das Fonsecas - Quinta da Calçada neighbourhood by the architect Raúl Hestnes Ferreira. The intention was to bring the city to the outlying shanty town areas. None of these projects was carried out in full, and they are now fragmented and besieged by the traffic system without having produced any of the essential community and socialising facilities. In Bacalhau-Monte Coxo the structure of the internal patios reveals the ways in which the public space and community was organised. The architecture assigned importance to the facades, although access to the community courtyards was also a central design concept. In a 1976 interview, the architect himself argued that the release of bourgeois guilt allowed for spatial beauty, adopting the slogan 'Facades First' in defence of architectural design. In a way, this proposal anticipated the post-modern, although in a form that did not deny architecture's social engagement. The design emphasizes a strong idea of architectural autonomy, unfortunately only a part of the project was actually built. (The SAAL Process, Housing in Portugal 1974–76) Manuel Vicente worked for SAAL/Lisbon and Central South with the following collaborators: Afonso José Baptista, Agostinho Xavier de Andrade, António Albano Leitão, Cristina Catela Martins Pereira, Eduardo Serrano de Sousa, Gentil Noras, José Manuel Diniz Cabral Caldeira, Manuel Augusto Lopes de Sousa, Nuno Matos Silva, Rita Cabral and the resident association Cooperativa de Habitação Económica Portugal Novo, that was founded on September 6th, 1974. The team built 384 dwellings. The operation began in September 1974, with a construction date in January 1977. This project series contains reproductions of design development drawings and a cadastral plan. The original drawings were produced in 1974 or after and were reproduced in 2015 for the exhibit.
Level of archival description:
Project
Project
Date:
circa 1974
circa 1974
People:
Level of archival description:
Project
Project
Reference number:
AP206.S1.1975.PR01
Description:
This project series documents Aditya Prakash's proposal for an alternative plan for Chandigarh, India, which came to be known as the Linear City. Prakash began developing and advocating for this idea around the early 1970s. The Linear City had two fundamental ideas at its core. The first was to raise the roadways in Chandigarh (or any future city) 10-12 feet from ground level. This, he proposed, would separate vehicular traffic from pedestrians, eliminating all the hazardous impacts of traffic on daily life. The large part of the drawings for this project show sector plans and city blocks with evenly dispersed roundabout roadways as major transit hubs, wrapping around but high above centres of pedestrian activity that included shops, markets and green spaces. The sale of the land below the roadways would pay for the upheaval. He also recommended building this city only a few sectors deep, but endlessly expanding it length-wise, with a raised canal along one side to provide an additional transpiration network and irrigation. The second fundamental idea of this city was the creation of self-sustaining sectors in the city plan, advocating that each neighbourhood should have the infrastructure to provide food and recycling for its residents. He fervently argued for the reimagination of modernist Chandigarh by incorporating sustainable, local traditions - the rural should exist in harmony with the urban. In opposition to Le Corbusier and Pierre Jeanneret, he believed areas for recycling, animal husbandry, and growing food should be incorporated into the fabric of the city.[1] This project is recorded largely through original drawings of city plans, perspectives and axonometric views detailing Prakash's new vision for the city. It seems that many of the perspectives were drawn by family friend Sandeep Virmani, after listening to Prakash's ideas.[2] The project is also recorded through photographs, negatives and slides showing plans and the project model. A small amount of notes and an article on the project are also included. [1]Vikramaditya Prakash, One Continuous Line: Art, Architecture and Urbanism of Aditya Prakash (Ahmedabad, India: Mapin Publishing Pvt. Ltd., 2019), 164-181. [2]Prakash, One Continuous Line, 169.
AP206.S1.1975.PR01
Description:
This project series documents Aditya Prakash's proposal for an alternative plan for Chandigarh, India, which came to be known as the Linear City. Prakash began developing and advocating for this idea around the early 1970s. The Linear City had two fundamental ideas at its core. The first was to raise the roadways in Chandigarh (or any future city) 10-12 feet from ground level. This, he proposed, would separate vehicular traffic from pedestrians, eliminating all the hazardous impacts of traffic on daily life. The large part of the drawings for this project show sector plans and city blocks with evenly dispersed roundabout roadways as major transit hubs, wrapping around but high above centres of pedestrian activity that included shops, markets and green spaces. The sale of the land below the roadways would pay for the upheaval. He also recommended building this city only a few sectors deep, but endlessly expanding it length-wise, with a raised canal along one side to provide an additional transpiration network and irrigation. The second fundamental idea of this city was the creation of self-sustaining sectors in the city plan, advocating that each neighbourhood should have the infrastructure to provide food and recycling for its residents. He fervently argued for the reimagination of modernist Chandigarh by incorporating sustainable, local traditions - the rural should exist in harmony with the urban. In opposition to Le Corbusier and Pierre Jeanneret, he believed areas for recycling, animal husbandry, and growing food should be incorporated into the fabric of the city.[1] This project is recorded largely through original drawings of city plans, perspectives and axonometric views detailing Prakash's new vision for the city. It seems that many of the perspectives were drawn by family friend Sandeep Virmani, after listening to Prakash's ideas.[2] The project is also recorded through photographs, negatives and slides showing plans and the project model. A small amount of notes and an article on the project are also included. [1]Vikramaditya Prakash, One Continuous Line: Art, Architecture and Urbanism of Aditya Prakash (Ahmedabad, India: Mapin Publishing Pvt. Ltd., 2019), 164-181. [2]Prakash, One Continuous Line, 169.
People:
Date:
circa 1975-2003
circa 1975-2003
Title:
Linear city, Chandigarh, India (circa 1975-1987)
Actions:
AP206.S1.1975.PR01
Description:
This project series documents Aditya Prakash's proposal for an alternative plan for Chandigarh, India, which came to be known as the Linear City. Prakash began developing and advocating for this idea around the early 1970s. The Linear City had two fundamental ideas at its core. The first was to raise the roadways in Chandigarh (or any future city) 10-12 feet from ground level. This, he proposed, would separate vehicular traffic from pedestrians, eliminating all the hazardous impacts of traffic on daily life. The large part of the drawings for this project show sector plans and city blocks with evenly dispersed roundabout roadways as major transit hubs, wrapping around but high above centres of pedestrian activity that included shops, markets and green spaces. The sale of the land below the roadways would pay for the upheaval. He also recommended building this city only a few sectors deep, but endlessly expanding it length-wise, with a raised canal along one side to provide an additional transpiration network and irrigation. The second fundamental idea of this city was the creation of self-sustaining sectors in the city plan, advocating that each neighbourhood should have the infrastructure to provide food and recycling for its residents. He fervently argued for the reimagination of modernist Chandigarh by incorporating sustainable, local traditions - the rural should exist in harmony with the urban. In opposition to Le Corbusier and Pierre Jeanneret, he believed areas for recycling, animal husbandry, and growing food should be incorporated into the fabric of the city.[1] This project is recorded largely through original drawings of city plans, perspectives and axonometric views detailing Prakash's new vision for the city. It seems that many of the perspectives were drawn by family friend Sandeep Virmani, after listening to Prakash's ideas.[2] The project is also recorded through photographs, negatives and slides showing plans and the project model. A small amount of notes and an article on the project are also included. [1]Vikramaditya Prakash, One Continuous Line: Art, Architecture and Urbanism of Aditya Prakash (Ahmedabad, India: Mapin Publishing Pvt. Ltd., 2019), 164-181. [2]Prakash, One Continuous Line, 169.
Linear city, Chandigarh, India (circa 1975-1987)
Actions:
AP206.S1.1975.PR01
Description:
This project series documents Aditya Prakash's proposal for an alternative plan for Chandigarh, India, which came to be known as the Linear City. Prakash began developing and advocating for this idea around the early 1970s. The Linear City had two fundamental ideas at its core. The first was to raise the roadways in Chandigarh (or any future city) 10-12 feet from ground level. This, he proposed, would separate vehicular traffic from pedestrians, eliminating all the hazardous impacts of traffic on daily life. The large part of the drawings for this project show sector plans and city blocks with evenly dispersed roundabout roadways as major transit hubs, wrapping around but high above centres of pedestrian activity that included shops, markets and green spaces. The sale of the land below the roadways would pay for the upheaval. He also recommended building this city only a few sectors deep, but endlessly expanding it length-wise, with a raised canal along one side to provide an additional transpiration network and irrigation. The second fundamental idea of this city was the creation of self-sustaining sectors in the city plan, advocating that each neighbourhood should have the infrastructure to provide food and recycling for its residents. He fervently argued for the reimagination of modernist Chandigarh by incorporating sustainable, local traditions - the rural should exist in harmony with the urban. In opposition to Le Corbusier and Pierre Jeanneret, he believed areas for recycling, animal husbandry, and growing food should be incorporated into the fabric of the city.[1] This project is recorded largely through original drawings of city plans, perspectives and axonometric views detailing Prakash's new vision for the city. It seems that many of the perspectives were drawn by family friend Sandeep Virmani, after listening to Prakash's ideas.[2] The project is also recorded through photographs, negatives and slides showing plans and the project model. A small amount of notes and an article on the project are also included. [1]Vikramaditya Prakash, One Continuous Line: Art, Architecture and Urbanism of Aditya Prakash (Ahmedabad, India: Mapin Publishing Pvt. Ltd., 2019), 164-181. [2]Prakash, One Continuous Line, 169.
Level of archival description:
Project
Project
Date:
circa 1975-2003
circa 1975-2003
People:
Level of archival description:
Series
Series
Actions:
Reference number:
AP170.S2
Description:
Series 2, Software and related documentation, 1990 – 2014, contains unique iterations of the ACDC, Aegis, and HypoSurface software, and contains roughly 45,000 digital files. The bulk of the files date from approximately 2000 – 2001. This series chiefly consists of the materials received from Xavier Robitaille. This includes a virtual machine and DOS emulator for Aegis HypoSurface, as well as ACDC and Aegis Simulator software for Microsoft DOS and Win32 for Hyposurface installations. There is also a small amount of email correspondence in MBOX format between Robitaille, Mark Goulthorpe, and other project members documenting their work on the project. Additionally, there are two computer backups in this series. One is for Goulthorpe’s computer. The files from the disk image were carved out and only unique files were kept. It includes his files for the Aegis HypoSurface project and reflects his working environment. The second backup is a disk image of Paul Steenhuisen’s Mac G5 computer. The Mac G5 computer is a clone of an earlier G4, and is included with the archive to allow demonstration of the interactive logic that was developed through CeBIT, the International Manufacturers Technology Show (IMTS), and the Biotechnology Industry Organization (BIO) conference at the Boston Convention Centre, including an interactive soundscape piece executed by artist Paul Steenhuisen. The G5 has a copy of FIELD, the user interface software developed for HypoSurface 2 and HypoSurface 3. The files from this computer were processed and made available in Series 3: Projects and events, and Series 4: Promotional materials. The disk image of the internal hard drive was retained in case future emulation is necessary. Because much of this series is software, roughly 42,000 files are or relate to executable programs. Formats for these materials are largely Java source code and Java object code, but also include HTML, plain text files, Aegis pattern files, and some unidentified formats. The remaining files in this series are chiefly vector and raster images referenced in the software. Notably, the Steenhuisen disk image is approximately 250 GB, and represents the largest part of this series. This series overlaps significantly with Series 3: Projects and events. This series contains software generally, while Series 3 contains any software related to a specific project or event.
AP170.S2
Description:
Series 2, Software and related documentation, 1990 – 2014, contains unique iterations of the ACDC, Aegis, and HypoSurface software, and contains roughly 45,000 digital files. The bulk of the files date from approximately 2000 – 2001. This series chiefly consists of the materials received from Xavier Robitaille. This includes a virtual machine and DOS emulator for Aegis HypoSurface, as well as ACDC and Aegis Simulator software for Microsoft DOS and Win32 for Hyposurface installations. There is also a small amount of email correspondence in MBOX format between Robitaille, Mark Goulthorpe, and other project members documenting their work on the project. Additionally, there are two computer backups in this series. One is for Goulthorpe’s computer. The files from the disk image were carved out and only unique files were kept. It includes his files for the Aegis HypoSurface project and reflects his working environment. The second backup is a disk image of Paul Steenhuisen’s Mac G5 computer. The Mac G5 computer is a clone of an earlier G4, and is included with the archive to allow demonstration of the interactive logic that was developed through CeBIT, the International Manufacturers Technology Show (IMTS), and the Biotechnology Industry Organization (BIO) conference at the Boston Convention Centre, including an interactive soundscape piece executed by artist Paul Steenhuisen. The G5 has a copy of FIELD, the user interface software developed for HypoSurface 2 and HypoSurface 3. The files from this computer were processed and made available in Series 3: Projects and events, and Series 4: Promotional materials. The disk image of the internal hard drive was retained in case future emulation is necessary. Because much of this series is software, roughly 42,000 files are or relate to executable programs. Formats for these materials are largely Java source code and Java object code, but also include HTML, plain text files, Aegis pattern files, and some unidentified formats. The remaining files in this series are chiefly vector and raster images referenced in the software. Notably, the Steenhuisen disk image is approximately 250 GB, and represents the largest part of this series. This series overlaps significantly with Series 3: Projects and events. This series contains software generally, while Series 3 contains any software related to a specific project or event.
People:
Date:
1990 - 2014
1990 - 2014
Title:
Software and related documentation
Actions:
AP170.S2
Description:
Series 2, Software and related documentation, 1990 – 2014, contains unique iterations of the ACDC, Aegis, and HypoSurface software, and contains roughly 45,000 digital files. The bulk of the files date from approximately 2000 – 2001. This series chiefly consists of the materials received from Xavier Robitaille. This includes a virtual machine and DOS emulator for Aegis HypoSurface, as well as ACDC and Aegis Simulator software for Microsoft DOS and Win32 for Hyposurface installations. There is also a small amount of email correspondence in MBOX format between Robitaille, Mark Goulthorpe, and other project members documenting their work on the project. Additionally, there are two computer backups in this series. One is for Goulthorpe’s computer. The files from the disk image were carved out and only unique files were kept. It includes his files for the Aegis HypoSurface project and reflects his working environment. The second backup is a disk image of Paul Steenhuisen’s Mac G5 computer. The Mac G5 computer is a clone of an earlier G4, and is included with the archive to allow demonstration of the interactive logic that was developed through CeBIT, the International Manufacturers Technology Show (IMTS), and the Biotechnology Industry Organization (BIO) conference at the Boston Convention Centre, including an interactive soundscape piece executed by artist Paul Steenhuisen. The G5 has a copy of FIELD, the user interface software developed for HypoSurface 2 and HypoSurface 3. The files from this computer were processed and made available in Series 3: Projects and events, and Series 4: Promotional materials. The disk image of the internal hard drive was retained in case future emulation is necessary. Because much of this series is software, roughly 42,000 files are or relate to executable programs. Formats for these materials are largely Java source code and Java object code, but also include HTML, plain text files, Aegis pattern files, and some unidentified formats. The remaining files in this series are chiefly vector and raster images referenced in the software. Notably, the Steenhuisen disk image is approximately 250 GB, and represents the largest part of this series. This series overlaps significantly with Series 3: Projects and events. This series contains software generally, while Series 3 contains any software related to a specific project or event.
Software and related documentation
Actions:
AP170.S2
Description:
Series 2, Software and related documentation, 1990 – 2014, contains unique iterations of the ACDC, Aegis, and HypoSurface software, and contains roughly 45,000 digital files. The bulk of the files date from approximately 2000 – 2001. This series chiefly consists of the materials received from Xavier Robitaille. This includes a virtual machine and DOS emulator for Aegis HypoSurface, as well as ACDC and Aegis Simulator software for Microsoft DOS and Win32 for Hyposurface installations. There is also a small amount of email correspondence in MBOX format between Robitaille, Mark Goulthorpe, and other project members documenting their work on the project. Additionally, there are two computer backups in this series. One is for Goulthorpe’s computer. The files from the disk image were carved out and only unique files were kept. It includes his files for the Aegis HypoSurface project and reflects his working environment. The second backup is a disk image of Paul Steenhuisen’s Mac G5 computer. The Mac G5 computer is a clone of an earlier G4, and is included with the archive to allow demonstration of the interactive logic that was developed through CeBIT, the International Manufacturers Technology Show (IMTS), and the Biotechnology Industry Organization (BIO) conference at the Boston Convention Centre, including an interactive soundscape piece executed by artist Paul Steenhuisen. The G5 has a copy of FIELD, the user interface software developed for HypoSurface 2 and HypoSurface 3. The files from this computer were processed and made available in Series 3: Projects and events, and Series 4: Promotional materials. The disk image of the internal hard drive was retained in case future emulation is necessary. Because much of this series is software, roughly 42,000 files are or relate to executable programs. Formats for these materials are largely Java source code and Java object code, but also include HTML, plain text files, Aegis pattern files, and some unidentified formats. The remaining files in this series are chiefly vector and raster images referenced in the software. Notably, the Steenhuisen disk image is approximately 250 GB, and represents the largest part of this series. This series overlaps significantly with Series 3: Projects and events. This series contains software generally, while Series 3 contains any software related to a specific project or event.
Level of archival description:
Series
Series
Date:
1990 - 2014
1990 - 2014
People:
Level of archival description:
Project
Project
Title:
Fun Palace Project
Fun Palace Project
Reference number:
AP144.S2.D46
Description:
File documents the various unexecuted proposals for the Fun Palace Project, an interactive and adaptable, educational and cultural complex to be located in London, England. The project was commissioned by Joan Littlewood, to be erected on disused public land slated for redevelopment and intended to be dismantled after 10 years. Conceptual and design development drawings were created for a typical Fun Palace that could be erected on any suitable site, and several sites were considered, some belonging to the Civic Trust. Presentation drawings were elaborated for a Fun Palace in the Lea Valley at Mill Meads and for a later modified Pilot Project in Camden Town. Publication drawings were also created for an article in Price, Cedric. "Fun Palace Project." 'Architectural Review'. (January 1965), 74-75. The Fun Palace Trust was created to oversee the project and the file contains material from related activities of the Trust which was active until the 1970's. Existing conditions drawings begin in 1961 and include regional, zoning, and transportation maps of Greater London and a photocollage of the site. Conceptual and diagrammatic drawings include: perspectives for the structural system; plans for site access; charts for modular systems; axonometrics for modules; preliminary drawings for escalators and service towers; and studies for activity areas. A "Table of Kindred and Affinity" separates modular components physically and visually by means of activity types, circulation, and individual/group accommodations. Design development drawings for the Fun Palace Project include: plans for activity areas, site plans, typical plans, site movement/circulation plans, theatre seating plans, diagrammatic sections, volumetric structural diagrams, perspectives, charts for services for mass activities, typical mass activity enclosure types, charts for required equipment for activities, and "clamp" structural systems and studies for three dimensional versatility and modular feasibility. Design development drawings for the 1963 Camden Town Pilot Project include: site plans; diagrammatic plans showing circulation patterns; drawings showing basic cubes with components and structural panel types; details for component connections; charts for individual activity module requirements; and network analysis charts. Presentation material includes: aerial photographs mounted on board; enlargements of clippings; reprographic copies of photographs of the design models. Material in this file was created between 1961 and 1985 but predominantly between 1961 and 1974. File contains conceptual drawings, design development drawings, presentation drawings and panels, publication drawings, reference drawings, an artefact, a film reel, models, photographic material, and textual records.
AP144.S2.D46
Description:
File documents the various unexecuted proposals for the Fun Palace Project, an interactive and adaptable, educational and cultural complex to be located in London, England. The project was commissioned by Joan Littlewood, to be erected on disused public land slated for redevelopment and intended to be dismantled after 10 years. Conceptual and design development drawings were created for a typical Fun Palace that could be erected on any suitable site, and several sites were considered, some belonging to the Civic Trust. Presentation drawings were elaborated for a Fun Palace in the Lea Valley at Mill Meads and for a later modified Pilot Project in Camden Town. Publication drawings were also created for an article in Price, Cedric. "Fun Palace Project." 'Architectural Review'. (January 1965), 74-75. The Fun Palace Trust was created to oversee the project and the file contains material from related activities of the Trust which was active until the 1970's. Existing conditions drawings begin in 1961 and include regional, zoning, and transportation maps of Greater London and a photocollage of the site. Conceptual and diagrammatic drawings include: perspectives for the structural system; plans for site access; charts for modular systems; axonometrics for modules; preliminary drawings for escalators and service towers; and studies for activity areas. A "Table of Kindred and Affinity" separates modular components physically and visually by means of activity types, circulation, and individual/group accommodations. Design development drawings for the Fun Palace Project include: plans for activity areas, site plans, typical plans, site movement/circulation plans, theatre seating plans, diagrammatic sections, volumetric structural diagrams, perspectives, charts for services for mass activities, typical mass activity enclosure types, charts for required equipment for activities, and "clamp" structural systems and studies for three dimensional versatility and modular feasibility. Design development drawings for the 1963 Camden Town Pilot Project include: site plans; diagrammatic plans showing circulation patterns; drawings showing basic cubes with components and structural panel types; details for component connections; charts for individual activity module requirements; and network analysis charts. Presentation material includes: aerial photographs mounted on board; enlargements of clippings; reprographic copies of photographs of the design models. Material in this file was created between 1961 and 1985 but predominantly between 1961 and 1974. File contains conceptual drawings, design development drawings, presentation drawings and panels, publication drawings, reference drawings, an artefact, a film reel, models, photographic material, and textual records.
People:
Date:
1961-1985, predominant 1961-1974
1961-1985, predominant 1961-1974
Title:
Fun Palace Project
Actions:
AP144.S2.D46
Description:
File documents the various unexecuted proposals for the Fun Palace Project, an interactive and adaptable, educational and cultural complex to be located in London, England. The project was commissioned by Joan Littlewood, to be erected on disused public land slated for redevelopment and intended to be dismantled after 10 years. Conceptual and design development drawings were created for a typical Fun Palace that could be erected on any suitable site, and several sites were considered, some belonging to the Civic Trust. Presentation drawings were elaborated for a Fun Palace in the Lea Valley at Mill Meads and for a later modified Pilot Project in Camden Town. Publication drawings were also created for an article in Price, Cedric. "Fun Palace Project." 'Architectural Review'. (January 1965), 74-75. The Fun Palace Trust was created to oversee the project and the file contains material from related activities of the Trust which was active until the 1970's. Existing conditions drawings begin in 1961 and include regional, zoning, and transportation maps of Greater London and a photocollage of the site. Conceptual and diagrammatic drawings include: perspectives for the structural system; plans for site access; charts for modular systems; axonometrics for modules; preliminary drawings for escalators and service towers; and studies for activity areas. A "Table of Kindred and Affinity" separates modular components physically and visually by means of activity types, circulation, and individual/group accommodations. Design development drawings for the Fun Palace Project include: plans for activity areas, site plans, typical plans, site movement/circulation plans, theatre seating plans, diagrammatic sections, volumetric structural diagrams, perspectives, charts for services for mass activities, typical mass activity enclosure types, charts for required equipment for activities, and "clamp" structural systems and studies for three dimensional versatility and modular feasibility. Design development drawings for the 1963 Camden Town Pilot Project include: site plans; diagrammatic plans showing circulation patterns; drawings showing basic cubes with components and structural panel types; details for component connections; charts for individual activity module requirements; and network analysis charts. Presentation material includes: aerial photographs mounted on board; enlargements of clippings; reprographic copies of photographs of the design models. Material in this file was created between 1961 and 1985 but predominantly between 1961 and 1974. File contains conceptual drawings, design development drawings, presentation drawings and panels, publication drawings, reference drawings, an artefact, a film reel, models, photographic material, and textual records.
Fun Palace Project
Actions:
AP144.S2.D46
Description:
File documents the various unexecuted proposals for the Fun Palace Project, an interactive and adaptable, educational and cultural complex to be located in London, England. The project was commissioned by Joan Littlewood, to be erected on disused public land slated for redevelopment and intended to be dismantled after 10 years. Conceptual and design development drawings were created for a typical Fun Palace that could be erected on any suitable site, and several sites were considered, some belonging to the Civic Trust. Presentation drawings were elaborated for a Fun Palace in the Lea Valley at Mill Meads and for a later modified Pilot Project in Camden Town. Publication drawings were also created for an article in Price, Cedric. "Fun Palace Project." 'Architectural Review'. (January 1965), 74-75. The Fun Palace Trust was created to oversee the project and the file contains material from related activities of the Trust which was active until the 1970's. Existing conditions drawings begin in 1961 and include regional, zoning, and transportation maps of Greater London and a photocollage of the site. Conceptual and diagrammatic drawings include: perspectives for the structural system; plans for site access; charts for modular systems; axonometrics for modules; preliminary drawings for escalators and service towers; and studies for activity areas. A "Table of Kindred and Affinity" separates modular components physically and visually by means of activity types, circulation, and individual/group accommodations. Design development drawings for the Fun Palace Project include: plans for activity areas, site plans, typical plans, site movement/circulation plans, theatre seating plans, diagrammatic sections, volumetric structural diagrams, perspectives, charts for services for mass activities, typical mass activity enclosure types, charts for required equipment for activities, and "clamp" structural systems and studies for three dimensional versatility and modular feasibility. Design development drawings for the 1963 Camden Town Pilot Project include: site plans; diagrammatic plans showing circulation patterns; drawings showing basic cubes with components and structural panel types; details for component connections; charts for individual activity module requirements; and network analysis charts. Presentation material includes: aerial photographs mounted on board; enlargements of clippings; reprographic copies of photographs of the design models. Material in this file was created between 1961 and 1985 but predominantly between 1961 and 1974. File contains conceptual drawings, design development drawings, presentation drawings and panels, publication drawings, reference drawings, an artefact, a film reel, models, photographic material, and textual records.
Level of archival description:
File 46
File 46
Date:
1961-1985, predominant 1961-1974
1961-1985, predominant 1961-1974
People:
Level of archival description:
Series
Series
Actions:
Reference number:
AP193.S2
Description:
Series 2, I’ve heard about and Hypnosis chamber, 2004-2006, relates to the conception of the urban structure “I’ve heard about”. The records contain algorithmically-generated images, renderings, pictures of models and exhibitions. There are also photographs of the contour crafting process, 3D models and animated renderings illustrating the construction process of the structure. The project is a conceptual, unbuilt project that is meant to be a habitable organism, an adaptive landscape in a constant state of evolution. By means of transitory scenarios in which the operational mode is entropy and uncertainty, it develops open algorithms based on growth scripts permeable not only to human expressions, but also to the most discrete data such as the chemical emissions (for example due to stress or anxiety) of those who inhabit it. The chemical information is harvested through nanoreceptors feeding the VIAB machine with information. This biostructure becomes the visible part of human contingencies and their negotiation in real time. The structure is conceptualized to be in constant construction through the VIAB machine which is also a constituent of the structure itself. It secretes fiber cement, shaping the landscape where it is located and through which it moves. It generates the reticular structure using a process modelled on contour crafting. The VIAB machine was developed with Robotics Research Lab of the University of Southern California and takes its name from the terms viability and variability. R&Sie(n) considers that due to its mode of emergence “I’ve heard about” fabrication is not subjugated to any political power. Hypnosis chamber is a component of “I’ve heard about”. It consists of an indoor chamber, which was realized as a full-scale sample constructed through automated machinery. The chamber is situated as a part of the whole urban structure presented by “I’ve heard about,” and its goal is to immerse the audience into the project, into a fictional environment only reachable by hypnosis. In this context, hypnosis is a way to help citizens escape from their social condition and experience the new condition of citizenship imagined in “I’ve heard about”, where democracy is re-evaluated as a process of self-determination. Both parts of the projects were shown in contemporary art museums. First at Musée d’art de la ville de Paris in Paris (2005), the Hypnotic chamber is permanently on view at Towada Art Center in Towanda, Japan. AP193.S4 contains a video orienting the project into François Roche theoretical stance, research as speculation, that can be summarize as the use of technological tools to take a critical and political position through esthetic in order to open new lines of thoughts. AP193.S4 contains an updated version of the VIAB machine
AP193.S2
Description:
Series 2, I’ve heard about and Hypnosis chamber, 2004-2006, relates to the conception of the urban structure “I’ve heard about”. The records contain algorithmically-generated images, renderings, pictures of models and exhibitions. There are also photographs of the contour crafting process, 3D models and animated renderings illustrating the construction process of the structure. The project is a conceptual, unbuilt project that is meant to be a habitable organism, an adaptive landscape in a constant state of evolution. By means of transitory scenarios in which the operational mode is entropy and uncertainty, it develops open algorithms based on growth scripts permeable not only to human expressions, but also to the most discrete data such as the chemical emissions (for example due to stress or anxiety) of those who inhabit it. The chemical information is harvested through nanoreceptors feeding the VIAB machine with information. This biostructure becomes the visible part of human contingencies and their negotiation in real time. The structure is conceptualized to be in constant construction through the VIAB machine which is also a constituent of the structure itself. It secretes fiber cement, shaping the landscape where it is located and through which it moves. It generates the reticular structure using a process modelled on contour crafting. The VIAB machine was developed with Robotics Research Lab of the University of Southern California and takes its name from the terms viability and variability. R&Sie(n) considers that due to its mode of emergence “I’ve heard about” fabrication is not subjugated to any political power. Hypnosis chamber is a component of “I’ve heard about”. It consists of an indoor chamber, which was realized as a full-scale sample constructed through automated machinery. The chamber is situated as a part of the whole urban structure presented by “I’ve heard about,” and its goal is to immerse the audience into the project, into a fictional environment only reachable by hypnosis. In this context, hypnosis is a way to help citizens escape from their social condition and experience the new condition of citizenship imagined in “I’ve heard about”, where democracy is re-evaluated as a process of self-determination. Both parts of the projects were shown in contemporary art museums. First at Musée d’art de la ville de Paris in Paris (2005), the Hypnotic chamber is permanently on view at Towada Art Center in Towanda, Japan. AP193.S4 contains a video orienting the project into François Roche theoretical stance, research as speculation, that can be summarize as the use of technological tools to take a critical and political position through esthetic in order to open new lines of thoughts. AP193.S4 contains an updated version of the VIAB machine
People:
Date:
2004-2006
2004-2006
Title:
I’ve heard about and Hypnosis chamber
Actions:
AP193.S2
Description:
Series 2, I’ve heard about and Hypnosis chamber, 2004-2006, relates to the conception of the urban structure “I’ve heard about”. The records contain algorithmically-generated images, renderings, pictures of models and exhibitions. There are also photographs of the contour crafting process, 3D models and animated renderings illustrating the construction process of the structure. The project is a conceptual, unbuilt project that is meant to be a habitable organism, an adaptive landscape in a constant state of evolution. By means of transitory scenarios in which the operational mode is entropy and uncertainty, it develops open algorithms based on growth scripts permeable not only to human expressions, but also to the most discrete data such as the chemical emissions (for example due to stress or anxiety) of those who inhabit it. The chemical information is harvested through nanoreceptors feeding the VIAB machine with information. This biostructure becomes the visible part of human contingencies and their negotiation in real time. The structure is conceptualized to be in constant construction through the VIAB machine which is also a constituent of the structure itself. It secretes fiber cement, shaping the landscape where it is located and through which it moves. It generates the reticular structure using a process modelled on contour crafting. The VIAB machine was developed with Robotics Research Lab of the University of Southern California and takes its name from the terms viability and variability. R&Sie(n) considers that due to its mode of emergence “I’ve heard about” fabrication is not subjugated to any political power. Hypnosis chamber is a component of “I’ve heard about”. It consists of an indoor chamber, which was realized as a full-scale sample constructed through automated machinery. The chamber is situated as a part of the whole urban structure presented by “I’ve heard about,” and its goal is to immerse the audience into the project, into a fictional environment only reachable by hypnosis. In this context, hypnosis is a way to help citizens escape from their social condition and experience the new condition of citizenship imagined in “I’ve heard about”, where democracy is re-evaluated as a process of self-determination. Both parts of the projects were shown in contemporary art museums. First at Musée d’art de la ville de Paris in Paris (2005), the Hypnotic chamber is permanently on view at Towada Art Center in Towanda, Japan. AP193.S4 contains a video orienting the project into François Roche theoretical stance, research as speculation, that can be summarize as the use of technological tools to take a critical and political position through esthetic in order to open new lines of thoughts. AP193.S4 contains an updated version of the VIAB machine
I’ve heard about and Hypnosis chamber
Actions:
AP193.S2
Description:
Series 2, I’ve heard about and Hypnosis chamber, 2004-2006, relates to the conception of the urban structure “I’ve heard about”. The records contain algorithmically-generated images, renderings, pictures of models and exhibitions. There are also photographs of the contour crafting process, 3D models and animated renderings illustrating the construction process of the structure. The project is a conceptual, unbuilt project that is meant to be a habitable organism, an adaptive landscape in a constant state of evolution. By means of transitory scenarios in which the operational mode is entropy and uncertainty, it develops open algorithms based on growth scripts permeable not only to human expressions, but also to the most discrete data such as the chemical emissions (for example due to stress or anxiety) of those who inhabit it. The chemical information is harvested through nanoreceptors feeding the VIAB machine with information. This biostructure becomes the visible part of human contingencies and their negotiation in real time. The structure is conceptualized to be in constant construction through the VIAB machine which is also a constituent of the structure itself. It secretes fiber cement, shaping the landscape where it is located and through which it moves. It generates the reticular structure using a process modelled on contour crafting. The VIAB machine was developed with Robotics Research Lab of the University of Southern California and takes its name from the terms viability and variability. R&Sie(n) considers that due to its mode of emergence “I’ve heard about” fabrication is not subjugated to any political power. Hypnosis chamber is a component of “I’ve heard about”. It consists of an indoor chamber, which was realized as a full-scale sample constructed through automated machinery. The chamber is situated as a part of the whole urban structure presented by “I’ve heard about,” and its goal is to immerse the audience into the project, into a fictional environment only reachable by hypnosis. In this context, hypnosis is a way to help citizens escape from their social condition and experience the new condition of citizenship imagined in “I’ve heard about”, where democracy is re-evaluated as a process of self-determination. Both parts of the projects were shown in contemporary art museums. First at Musée d’art de la ville de Paris in Paris (2005), the Hypnotic chamber is permanently on view at Towada Art Center in Towanda, Japan. AP193.S4 contains a video orienting the project into François Roche theoretical stance, research as speculation, that can be summarize as the use of technological tools to take a critical and political position through esthetic in order to open new lines of thoughts. AP193.S4 contains an updated version of the VIAB machine
Level of archival description:
Series
Series
Date:
2004-2006
2004-2006
People:
