24946 Results
Level of archival description:
Series
Series
Title:
Research files
Research files
Reference number:
AP197.S2
Description:
This series consists of research materials, 1958-2016, that Frampton was either interested in or may have used to develop his works and teachings. Materials consist of articles, student essays, biographies, chronologies of architectural movements, maps, curriculum vitaes, and journal, newspaper and magazine clippings. Reprographic copies of architectural drawings as well as prints, photographs, negatives, and slides that depict the built projects of various architects are also included in this series. Research materials consist of writings by or about various architects and theorists such as: Mario Botta; Charles Correa; Alan Colquhoun; Marco Frascari;Ignacio de Sola-Morales; O.M. Ungers; James Stirling; Fumihiko Maki; Le Corbusier; Tadao Ando; Alvaro Siza; Peter Eisenman; Frank Lloyd Wright; Alvar Aalto; Hannah Arendt; Walter Benjamin; H.P. Berlage; Mario Botta; Louis Kahn; Mies dan ver Rohe; Jørn Utzon; August Perret; and Louis Sullivan. The subjects explored in these texts are diverse and include: various architectural styles; architecture education; meaning in architecture, philosophy; film; art; music; mathematics; ecology; landscapes/gardens; and housing and urbanism.
AP197.S2
Description:
This series consists of research materials, 1958-2016, that Frampton was either interested in or may have used to develop his works and teachings. Materials consist of articles, student essays, biographies, chronologies of architectural movements, maps, curriculum vitaes, and journal, newspaper and magazine clippings. Reprographic copies of architectural drawings as well as prints, photographs, negatives, and slides that depict the built projects of various architects are also included in this series. Research materials consist of writings by or about various architects and theorists such as: Mario Botta; Charles Correa; Alan Colquhoun; Marco Frascari;Ignacio de Sola-Morales; O.M. Ungers; James Stirling; Fumihiko Maki; Le Corbusier; Tadao Ando; Alvaro Siza; Peter Eisenman; Frank Lloyd Wright; Alvar Aalto; Hannah Arendt; Walter Benjamin; H.P. Berlage; Mario Botta; Louis Kahn; Mies dan ver Rohe; Jørn Utzon; August Perret; and Louis Sullivan. The subjects explored in these texts are diverse and include: various architectural styles; architecture education; meaning in architecture, philosophy; film; art; music; mathematics; ecology; landscapes/gardens; and housing and urbanism.
People:
Date:
1958-2016
1958-2016
Title:
Research files
Actions:
AP197.S2
Description:
This series consists of research materials, 1958-2016, that Frampton was either interested in or may have used to develop his works and teachings. Materials consist of articles, student essays, biographies, chronologies of architectural movements, maps, curriculum vitaes, and journal, newspaper and magazine clippings. Reprographic copies of architectural drawings as well as prints, photographs, negatives, and slides that depict the built projects of various architects are also included in this series. Research materials consist of writings by or about various architects and theorists such as: Mario Botta; Charles Correa; Alan Colquhoun; Marco Frascari;Ignacio de Sola-Morales; O.M. Ungers; James Stirling; Fumihiko Maki; Le Corbusier; Tadao Ando; Alvaro Siza; Peter Eisenman; Frank Lloyd Wright; Alvar Aalto; Hannah Arendt; Walter Benjamin; H.P. Berlage; Mario Botta; Louis Kahn; Mies dan ver Rohe; Jørn Utzon; August Perret; and Louis Sullivan. The subjects explored in these texts are diverse and include: various architectural styles; architecture education; meaning in architecture, philosophy; film; art; music; mathematics; ecology; landscapes/gardens; and housing and urbanism.
Research files
Actions:
AP197.S2
Description:
This series consists of research materials, 1958-2016, that Frampton was either interested in or may have used to develop his works and teachings. Materials consist of articles, student essays, biographies, chronologies of architectural movements, maps, curriculum vitaes, and journal, newspaper and magazine clippings. Reprographic copies of architectural drawings as well as prints, photographs, negatives, and slides that depict the built projects of various architects are also included in this series. Research materials consist of writings by or about various architects and theorists such as: Mario Botta; Charles Correa; Alan Colquhoun; Marco Frascari;Ignacio de Sola-Morales; O.M. Ungers; James Stirling; Fumihiko Maki; Le Corbusier; Tadao Ando; Alvaro Siza; Peter Eisenman; Frank Lloyd Wright; Alvar Aalto; Hannah Arendt; Walter Benjamin; H.P. Berlage; Mario Botta; Louis Kahn; Mies dan ver Rohe; Jørn Utzon; August Perret; and Louis Sullivan. The subjects explored in these texts are diverse and include: various architectural styles; architecture education; meaning in architecture, philosophy; film; art; music; mathematics; ecology; landscapes/gardens; and housing and urbanism.
Level of archival description:
Series
Series
Date:
1958-2016
1958-2016
People:
Level of archival description:
Series
Series
Title:
James Stirling papers
James Stirling papers
Reference number:
AP140.S1
Description:
Series documents James Stirling student years and military service throughout his student projects, some personal documents and collected artworks and photographic materials. The bulk of the material in this series relates to James Stirling's student work at the Liverpool School of Architecture in Liverpool, England, and at the Association for Planning and Regional Reconstruction in London, England, between 1948 and 1952. Also included in this series are a few personal documents relating to his military service in the Second World War and its relation to his university education. Series also consists of drawings executed by Stirling as a student, other drawings collected by Stirling as gifts from friends and colleagues, and photographs and negatives taken by Stirling of architectural subject matters. Material in this series was produced between probably 1939 and 1990. Series contains architectural drawings, textual records, photographic materials and a presentation model, as well as other drawings, including several portraits and caricatures of James Stirling.
AP140.S1
Description:
Series documents James Stirling student years and military service throughout his student projects, some personal documents and collected artworks and photographic materials. The bulk of the material in this series relates to James Stirling's student work at the Liverpool School of Architecture in Liverpool, England, and at the Association for Planning and Regional Reconstruction in London, England, between 1948 and 1952. Also included in this series are a few personal documents relating to his military service in the Second World War and its relation to his university education. Series also consists of drawings executed by Stirling as a student, other drawings collected by Stirling as gifts from friends and colleagues, and photographs and negatives taken by Stirling of architectural subject matters. Material in this series was produced between probably 1939 and 1990. Series contains architectural drawings, textual records, photographic materials and a presentation model, as well as other drawings, including several portraits and caricatures of James Stirling.
People:
Date:
circa 1939-1990
circa 1939-1990
Title:
James Stirling papers
Actions:
AP140.S1
Description:
Series documents James Stirling student years and military service throughout his student projects, some personal documents and collected artworks and photographic materials. The bulk of the material in this series relates to James Stirling's student work at the Liverpool School of Architecture in Liverpool, England, and at the Association for Planning and Regional Reconstruction in London, England, between 1948 and 1952. Also included in this series are a few personal documents relating to his military service in the Second World War and its relation to his university education. Series also consists of drawings executed by Stirling as a student, other drawings collected by Stirling as gifts from friends and colleagues, and photographs and negatives taken by Stirling of architectural subject matters. Material in this series was produced between probably 1939 and 1990. Series contains architectural drawings, textual records, photographic materials and a presentation model, as well as other drawings, including several portraits and caricatures of James Stirling.
James Stirling papers
Actions:
AP140.S1
Description:
Series documents James Stirling student years and military service throughout his student projects, some personal documents and collected artworks and photographic materials. The bulk of the material in this series relates to James Stirling's student work at the Liverpool School of Architecture in Liverpool, England, and at the Association for Planning and Regional Reconstruction in London, England, between 1948 and 1952. Also included in this series are a few personal documents relating to his military service in the Second World War and its relation to his university education. Series also consists of drawings executed by Stirling as a student, other drawings collected by Stirling as gifts from friends and colleagues, and photographs and negatives taken by Stirling of architectural subject matters. Material in this series was produced between probably 1939 and 1990. Series contains architectural drawings, textual records, photographic materials and a presentation model, as well as other drawings, including several portraits and caricatures of James Stirling.
Level of archival description:
Series 1
Series 1
Date:
circa 1939-1990
circa 1939-1990
People:
Level of archival description:
Series
Series
Title:
Architectural projects
Architectural projects
Actions:
Reference number:
AP004.S1
Description:
The Architectural projects series documents 33 projects that reflect A.D. Thacker's work as an architect. The series primarily consist of drawings depicting structures that Thacker designed after beginning his own practice in 1926 until his death in 1938, but also includes some work from 1913. However, many of the drawings and documentation within the series are not dated. The drawings include elevation, perspective and plan proposals and occasionally occaisionally studies. In addition to the drawings, the series also contains documentation of the drawings - including reprographic copies, photographs, and some textual material. The projects are largely situated in Quebec and include locations such as Hampstead, Westmount, Kanawá:ke, Dundee, Valois, Morin Heights, Chambly, and Halifax, Nova Scotia. *CONTENT WARNING* The united church project in Kanawá:ke (AP004.S1.D4) was associated with the Federal Indian Day School system established by the Canadian government with the aid of various religious organizations. See the project series for additional information. Please take care in consulting these records and seek help when needed.
AP004.S1
Description:
The Architectural projects series documents 33 projects that reflect A.D. Thacker's work as an architect. The series primarily consist of drawings depicting structures that Thacker designed after beginning his own practice in 1926 until his death in 1938, but also includes some work from 1913. However, many of the drawings and documentation within the series are not dated. The drawings include elevation, perspective and plan proposals and occasionally occaisionally studies. In addition to the drawings, the series also contains documentation of the drawings - including reprographic copies, photographs, and some textual material. The projects are largely situated in Quebec and include locations such as Hampstead, Westmount, Kanawá:ke, Dundee, Valois, Morin Heights, Chambly, and Halifax, Nova Scotia. *CONTENT WARNING* The united church project in Kanawá:ke (AP004.S1.D4) was associated with the Federal Indian Day School system established by the Canadian government with the aid of various religious organizations. See the project series for additional information. Please take care in consulting these records and seek help when needed.
People:
Date:
1913-1944
1913-1944
Title:
Architectural projects
Actions:
AP004.S1
Description:
The Architectural projects series documents 33 projects that reflect A.D. Thacker's work as an architect. The series primarily consist of drawings depicting structures that Thacker designed after beginning his own practice in 1926 until his death in 1938, but also includes some work from 1913. However, many of the drawings and documentation within the series are not dated. The drawings include elevation, perspective and plan proposals and occasionally occaisionally studies. In addition to the drawings, the series also contains documentation of the drawings - including reprographic copies, photographs, and some textual material. The projects are largely situated in Quebec and include locations such as Hampstead, Westmount, Kanawá:ke, Dundee, Valois, Morin Heights, Chambly, and Halifax, Nova Scotia. *CONTENT WARNING* The united church project in Kanawá:ke (AP004.S1.D4) was associated with the Federal Indian Day School system established by the Canadian government with the aid of various religious organizations. See the project series for additional information. Please take care in consulting these records and seek help when needed.
Architectural projects
Actions:
AP004.S1
Description:
The Architectural projects series documents 33 projects that reflect A.D. Thacker's work as an architect. The series primarily consist of drawings depicting structures that Thacker designed after beginning his own practice in 1926 until his death in 1938, but also includes some work from 1913. However, many of the drawings and documentation within the series are not dated. The drawings include elevation, perspective and plan proposals and occasionally occaisionally studies. In addition to the drawings, the series also contains documentation of the drawings - including reprographic copies, photographs, and some textual material. The projects are largely situated in Quebec and include locations such as Hampstead, Westmount, Kanawá:ke, Dundee, Valois, Morin Heights, Chambly, and Halifax, Nova Scotia. *CONTENT WARNING* The united church project in Kanawá:ke (AP004.S1.D4) was associated with the Federal Indian Day School system established by the Canadian government with the aid of various religious organizations. See the project series for additional information. Please take care in consulting these records and seek help when needed.
Level of archival description:
Series
Series
Date:
1913-1944
1913-1944
People:
Level of archival description:
Project
Project
Reference number:
CI005.S1.1917.PR2
Description:
Villa Allegonda was originally built by architect, H.J. Jesse, in the early 20th century before being remodelled by Menso Kamerlingh in 1916-1917. The villa was further renovated in 1927. The villa was one of three summer houses that Jesse built in the dunes of Katwijk aan Zee: Oud assisted with drafting and providing technical advice for the third villa, Villa Sigrid, in 1916-17. Oud worked in partnership with Menso Kamerlingh Onnes. Oud also coordinated the contribution of artist friends and chose the colours. In the second phase of design, Oud contributed to remodelling the villa windows and pillars and designing furniture. Exhaustion caused him to resign in 1928 (Taverne et al. 2001, 127-132). The project series features drawings for different phases of the project, including drawings of the 1917 design and 1931 furniture designs. The series also includes photographs of exterior and interior views of Villa Allegonda and furniture items.
CI005.S1.1917.PR2
Description:
Villa Allegonda was originally built by architect, H.J. Jesse, in the early 20th century before being remodelled by Menso Kamerlingh in 1916-1917. The villa was further renovated in 1927. The villa was one of three summer houses that Jesse built in the dunes of Katwijk aan Zee: Oud assisted with drafting and providing technical advice for the third villa, Villa Sigrid, in 1916-17. Oud worked in partnership with Menso Kamerlingh Onnes. Oud also coordinated the contribution of artist friends and chose the colours. In the second phase of design, Oud contributed to remodelling the villa windows and pillars and designing furniture. Exhaustion caused him to resign in 1928 (Taverne et al. 2001, 127-132). The project series features drawings for different phases of the project, including drawings of the 1917 design and 1931 furniture designs. The series also includes photographs of exterior and interior views of Villa Allegonda and furniture items.
People:
Date:
1901-1931 (1917 and 1931 predominant)
1901-1931 (1917 and 1931 predominant)
Title:
Villa Allegonda, Katwijk aan Zee, Netherlands (1917-1928)
Actions:
CI005.S1.1917.PR2
Description:
Villa Allegonda was originally built by architect, H.J. Jesse, in the early 20th century before being remodelled by Menso Kamerlingh in 1916-1917. The villa was further renovated in 1927. The villa was one of three summer houses that Jesse built in the dunes of Katwijk aan Zee: Oud assisted with drafting and providing technical advice for the third villa, Villa Sigrid, in 1916-17. Oud worked in partnership with Menso Kamerlingh Onnes. Oud also coordinated the contribution of artist friends and chose the colours. In the second phase of design, Oud contributed to remodelling the villa windows and pillars and designing furniture. Exhaustion caused him to resign in 1928 (Taverne et al. 2001, 127-132). The project series features drawings for different phases of the project, including drawings of the 1917 design and 1931 furniture designs. The series also includes photographs of exterior and interior views of Villa Allegonda and furniture items.
Villa Allegonda, Katwijk aan Zee, Netherlands (1917-1928)
Actions:
CI005.S1.1917.PR2
Description:
Villa Allegonda was originally built by architect, H.J. Jesse, in the early 20th century before being remodelled by Menso Kamerlingh in 1916-1917. The villa was further renovated in 1927. The villa was one of three summer houses that Jesse built in the dunes of Katwijk aan Zee: Oud assisted with drafting and providing technical advice for the third villa, Villa Sigrid, in 1916-17. Oud worked in partnership with Menso Kamerlingh Onnes. Oud also coordinated the contribution of artist friends and chose the colours. In the second phase of design, Oud contributed to remodelling the villa windows and pillars and designing furniture. Exhaustion caused him to resign in 1928 (Taverne et al. 2001, 127-132). The project series features drawings for different phases of the project, including drawings of the 1917 design and 1931 furniture designs. The series also includes photographs of exterior and interior views of Villa Allegonda and furniture items.
Level of archival description:
project
project
Date:
1901-1931 (1917 and 1931 predominant)
1901-1931 (1917 and 1931 predominant)
People:
Level of archival description:
Project
Project
Actions:
Reference number:
AP066.S3.D8
Description:
Le dossier documente la soumission pour le concours international de la Place Jacques-Cartier, à Montreal, Québec, tenu pendant l'été 1990. Jacques Rousseau s'est mérité le premier rang ex-aequo. Le dossier contient des dessins, des documents textuels, des reprographies et des photographies. Objectifs du concours: "The competition objectives and evaluation criteria in the Place Jacques-Cartier competition neither separated programmatic issues from specific architectural ones nor did they establish a hierarchy for these issues. The competitors were asked to generate general attitudes towards development in the area at the same time as they were asked to design street furniture, lighting, and decorative ironwork (mentioned at least 8 times in the competition document.)" Gary Gilbert, "Ceci n'est pas un concours", Arcade, juin-juillet 1991, vol. 11, nº 1, p. 12. Description du projet par l'architecte: "Alors que partout les signes et les messages se sont multipliés et superposés, que la parole est devenue inintelligible et le sens dilué, le silence apparaît comme le seuil d'appréciation d'une mémoire en devenir. Le projet que nos déposons cherche à comprendre la complexité contemporaine qui touche le site mais se refuse à la surcharge. Aussi cherche-t-il à accueillir une mémoire construire de silences mais soutient que le silence n'est pas se taire." Jacques Rousseau, ARQ: Architecture-Québec, nº 59, février 1991, p. 17.
AP066.S3.D8
Description:
Le dossier documente la soumission pour le concours international de la Place Jacques-Cartier, à Montreal, Québec, tenu pendant l'été 1990. Jacques Rousseau s'est mérité le premier rang ex-aequo. Le dossier contient des dessins, des documents textuels, des reprographies et des photographies. Objectifs du concours: "The competition objectives and evaluation criteria in the Place Jacques-Cartier competition neither separated programmatic issues from specific architectural ones nor did they establish a hierarchy for these issues. The competitors were asked to generate general attitudes towards development in the area at the same time as they were asked to design street furniture, lighting, and decorative ironwork (mentioned at least 8 times in the competition document.)" Gary Gilbert, "Ceci n'est pas un concours", Arcade, juin-juillet 1991, vol. 11, nº 1, p. 12. Description du projet par l'architecte: "Alors que partout les signes et les messages se sont multipliés et superposés, que la parole est devenue inintelligible et le sens dilué, le silence apparaît comme le seuil d'appréciation d'une mémoire en devenir. Le projet que nos déposons cherche à comprendre la complexité contemporaine qui touche le site mais se refuse à la surcharge. Aussi cherche-t-il à accueillir une mémoire construire de silences mais soutient que le silence n'est pas se taire." Jacques Rousseau, ARQ: Architecture-Québec, nº 59, février 1991, p. 17.
People:
Date:
1990
1990
Title:
Concours international de la Place Jacques-Cartier
Actions:
AP066.S3.D8
Description:
Le dossier documente la soumission pour le concours international de la Place Jacques-Cartier, à Montreal, Québec, tenu pendant l'été 1990. Jacques Rousseau s'est mérité le premier rang ex-aequo. Le dossier contient des dessins, des documents textuels, des reprographies et des photographies. Objectifs du concours: "The competition objectives and evaluation criteria in the Place Jacques-Cartier competition neither separated programmatic issues from specific architectural ones nor did they establish a hierarchy for these issues. The competitors were asked to generate general attitudes towards development in the area at the same time as they were asked to design street furniture, lighting, and decorative ironwork (mentioned at least 8 times in the competition document.)" Gary Gilbert, "Ceci n'est pas un concours", Arcade, juin-juillet 1991, vol. 11, nº 1, p. 12. Description du projet par l'architecte: "Alors que partout les signes et les messages se sont multipliés et superposés, que la parole est devenue inintelligible et le sens dilué, le silence apparaît comme le seuil d'appréciation d'une mémoire en devenir. Le projet que nos déposons cherche à comprendre la complexité contemporaine qui touche le site mais se refuse à la surcharge. Aussi cherche-t-il à accueillir une mémoire construire de silences mais soutient que le silence n'est pas se taire." Jacques Rousseau, ARQ: Architecture-Québec, nº 59, février 1991, p. 17.
Concours international de la Place Jacques-Cartier
Actions:
AP066.S3.D8
Description:
Le dossier documente la soumission pour le concours international de la Place Jacques-Cartier, à Montreal, Québec, tenu pendant l'été 1990. Jacques Rousseau s'est mérité le premier rang ex-aequo. Le dossier contient des dessins, des documents textuels, des reprographies et des photographies. Objectifs du concours: "The competition objectives and evaluation criteria in the Place Jacques-Cartier competition neither separated programmatic issues from specific architectural ones nor did they establish a hierarchy for these issues. The competitors were asked to generate general attitudes towards development in the area at the same time as they were asked to design street furniture, lighting, and decorative ironwork (mentioned at least 8 times in the competition document.)" Gary Gilbert, "Ceci n'est pas un concours", Arcade, juin-juillet 1991, vol. 11, nº 1, p. 12. Description du projet par l'architecte: "Alors que partout les signes et les messages se sont multipliés et superposés, que la parole est devenue inintelligible et le sens dilué, le silence apparaît comme le seuil d'appréciation d'une mémoire en devenir. Le projet que nos déposons cherche à comprendre la complexité contemporaine qui touche le site mais se refuse à la surcharge. Aussi cherche-t-il à accueillir une mémoire construire de silences mais soutient que le silence n'est pas se taire." Jacques Rousseau, ARQ: Architecture-Québec, nº 59, février 1991, p. 17.
Level of archival description:
Dossier 8
Dossier 8
Date:
1990
1990
People:
Level of archival description:
Project
Project
Reference number:
AP207.S1.1968.PR01
Description:
This project series documents Diaologo Pettena-Arnolfo, an installation conceived by Pettena in 1968 for the "Premio Masaccio" (the "Masaccio Prize") exhibition in San Giovanni Valdarno. The exhibition was presented at the Palazzo Comunale, attributed to the Renaissance architect Arnolfo di Cambio. The installation closed off all open spaces in the portico of the Palazzo Comunale to create a new exhibition space. The "Premio Masaccio" exhibition was displayed in this new temporary gallery. Pettena "used the color black inside to create an abstract environment for the exhibition works while, on the outside, he drew large, diagonal black and silvers stripes on panels, as a deliberate contrast to the old city monument". [1] The project series contains a project description in Italian, photographs of the installation seen both from the outside and inside, and a perspective drawing showing the front facade of the Palazzo Comunale. Source: [1] Marco Scotini, editor. Non-conscious architecture: Gianni Pettena, Sternberg Press, 2018, 235 pages. p. 106.
AP207.S1.1968.PR01
Description:
This project series documents Diaologo Pettena-Arnolfo, an installation conceived by Pettena in 1968 for the "Premio Masaccio" (the "Masaccio Prize") exhibition in San Giovanni Valdarno. The exhibition was presented at the Palazzo Comunale, attributed to the Renaissance architect Arnolfo di Cambio. The installation closed off all open spaces in the portico of the Palazzo Comunale to create a new exhibition space. The "Premio Masaccio" exhibition was displayed in this new temporary gallery. Pettena "used the color black inside to create an abstract environment for the exhibition works while, on the outside, he drew large, diagonal black and silvers stripes on panels, as a deliberate contrast to the old city monument". [1] The project series contains a project description in Italian, photographs of the installation seen both from the outside and inside, and a perspective drawing showing the front facade of the Palazzo Comunale. Source: [1] Marco Scotini, editor. Non-conscious architecture: Gianni Pettena, Sternberg Press, 2018, 235 pages. p. 106.
People:
Date:
circa 1968-2015
circa 1968-2015
Title:
Dialogo Pettena-Arnolfo [Pettena-Arnolfo Dialogue] (1968)
Actions:
AP207.S1.1968.PR01
Description:
This project series documents Diaologo Pettena-Arnolfo, an installation conceived by Pettena in 1968 for the "Premio Masaccio" (the "Masaccio Prize") exhibition in San Giovanni Valdarno. The exhibition was presented at the Palazzo Comunale, attributed to the Renaissance architect Arnolfo di Cambio. The installation closed off all open spaces in the portico of the Palazzo Comunale to create a new exhibition space. The "Premio Masaccio" exhibition was displayed in this new temporary gallery. Pettena "used the color black inside to create an abstract environment for the exhibition works while, on the outside, he drew large, diagonal black and silvers stripes on panels, as a deliberate contrast to the old city monument". [1] The project series contains a project description in Italian, photographs of the installation seen both from the outside and inside, and a perspective drawing showing the front facade of the Palazzo Comunale. Source: [1] Marco Scotini, editor. Non-conscious architecture: Gianni Pettena, Sternberg Press, 2018, 235 pages. p. 106.
Dialogo Pettena-Arnolfo [Pettena-Arnolfo Dialogue] (1968)
Actions:
AP207.S1.1968.PR01
Description:
This project series documents Diaologo Pettena-Arnolfo, an installation conceived by Pettena in 1968 for the "Premio Masaccio" (the "Masaccio Prize") exhibition in San Giovanni Valdarno. The exhibition was presented at the Palazzo Comunale, attributed to the Renaissance architect Arnolfo di Cambio. The installation closed off all open spaces in the portico of the Palazzo Comunale to create a new exhibition space. The "Premio Masaccio" exhibition was displayed in this new temporary gallery. Pettena "used the color black inside to create an abstract environment for the exhibition works while, on the outside, he drew large, diagonal black and silvers stripes on panels, as a deliberate contrast to the old city monument". [1] The project series contains a project description in Italian, photographs of the installation seen both from the outside and inside, and a perspective drawing showing the front facade of the Palazzo Comunale. Source: [1] Marco Scotini, editor. Non-conscious architecture: Gianni Pettena, Sternberg Press, 2018, 235 pages. p. 106.
Level of archival description:
Project
Project
Date:
circa 1968-2015
circa 1968-2015
People:
Level of archival description:
Project
Project
Title:
Laundry (1969)
Laundry (1969)
Actions:
Reference number:
AP207.S1.1969.PR02
Description:
This project series documents Pettena's installation "Laundry" realized in the context of the Campo Urbano, a series of artistic events staged during a day at the Piazza del Duomo, in the historic centre of Como, in Italy, on the 21st of September 1969. Pettena was one of the forty artists, musicians, architects and art critics invited to the event [2]. For his installation, "Pettena chose to hang out washing on clothes lines, with the aim of underlining the difference between the appearance of a city and the experience of living in it." [2]. The project series contains photographs of the installation at the Piazza del Duomo, in Como, sketches of the installation, and a project description in English and Italian. Sources: [1] Radical Pedagogies, https://radical-pedagogies.com/search-cases/i05-campo-urbano/ (last accessed 4 November 2019) [2] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/inst-laundry-1969-1/ (last accessed 4 November 2019)
AP207.S1.1969.PR02
Description:
This project series documents Pettena's installation "Laundry" realized in the context of the Campo Urbano, a series of artistic events staged during a day at the Piazza del Duomo, in the historic centre of Como, in Italy, on the 21st of September 1969. Pettena was one of the forty artists, musicians, architects and art critics invited to the event [2]. For his installation, "Pettena chose to hang out washing on clothes lines, with the aim of underlining the difference between the appearance of a city and the experience of living in it." [2]. The project series contains photographs of the installation at the Piazza del Duomo, in Como, sketches of the installation, and a project description in English and Italian. Sources: [1] Radical Pedagogies, https://radical-pedagogies.com/search-cases/i05-campo-urbano/ (last accessed 4 November 2019) [2] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/inst-laundry-1969-1/ (last accessed 4 November 2019)
People:
Date:
circa 1969-2017
circa 1969-2017
Title:
Laundry (1969)
Actions:
AP207.S1.1969.PR02
Description:
This project series documents Pettena's installation "Laundry" realized in the context of the Campo Urbano, a series of artistic events staged during a day at the Piazza del Duomo, in the historic centre of Como, in Italy, on the 21st of September 1969. Pettena was one of the forty artists, musicians, architects and art critics invited to the event [2]. For his installation, "Pettena chose to hang out washing on clothes lines, with the aim of underlining the difference between the appearance of a city and the experience of living in it." [2]. The project series contains photographs of the installation at the Piazza del Duomo, in Como, sketches of the installation, and a project description in English and Italian. Sources: [1] Radical Pedagogies, https://radical-pedagogies.com/search-cases/i05-campo-urbano/ (last accessed 4 November 2019) [2] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/inst-laundry-1969-1/ (last accessed 4 November 2019)
Laundry (1969)
Actions:
AP207.S1.1969.PR02
Description:
This project series documents Pettena's installation "Laundry" realized in the context of the Campo Urbano, a series of artistic events staged during a day at the Piazza del Duomo, in the historic centre of Como, in Italy, on the 21st of September 1969. Pettena was one of the forty artists, musicians, architects and art critics invited to the event [2]. For his installation, "Pettena chose to hang out washing on clothes lines, with the aim of underlining the difference between the appearance of a city and the experience of living in it." [2]. The project series contains photographs of the installation at the Piazza del Duomo, in Como, sketches of the installation, and a project description in English and Italian. Sources: [1] Radical Pedagogies, https://radical-pedagogies.com/search-cases/i05-campo-urbano/ (last accessed 4 November 2019) [2] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/inst-laundry-1969-1/ (last accessed 4 November 2019)
Level of archival description:
Project
Project
Date:
circa 1969-2017
circa 1969-2017
People:
Level of archival description:
Project
Project
Title:
Tumbleweeds Catcher (1972)
Tumbleweeds Catcher (1972)
Reference number:
AP207.S1.1972.PR03
Description:
The project series documents "Tumbleweeds Catcher", an installation by Pettena and a group of his students from the University of Utah, in Salt Lake City, in 1972. The installation consisted of a tower-scaffold built on a vacant lot near the city centre and covered with mesh so it could capture the tumbleweeds blown by the wind. Through this installation Pettena's intention was to "highlight the 'work of the land', the tumbleweeds moved by the wind and intercepted by the mesh of the tower, 'naturalize' it, contaminate it, thereby embodying the revenge of nature over urbanized space." [1] A second edition was later presented at the Utah Museum of Contemporary Art in Salt Lake City in 2013. The project series contains photographs of the installation in 1972 and 2013, and drawings and sketches of the tower. Source: [1] Marco Scotini, editor. Non-conscious architecture: Gianni Pettena, Sternberg Press, 2018, 235 pages. p. 162.
AP207.S1.1972.PR03
Description:
The project series documents "Tumbleweeds Catcher", an installation by Pettena and a group of his students from the University of Utah, in Salt Lake City, in 1972. The installation consisted of a tower-scaffold built on a vacant lot near the city centre and covered with mesh so it could capture the tumbleweeds blown by the wind. Through this installation Pettena's intention was to "highlight the 'work of the land', the tumbleweeds moved by the wind and intercepted by the mesh of the tower, 'naturalize' it, contaminate it, thereby embodying the revenge of nature over urbanized space." [1] A second edition was later presented at the Utah Museum of Contemporary Art in Salt Lake City in 2013. The project series contains photographs of the installation in 1972 and 2013, and drawings and sketches of the tower. Source: [1] Marco Scotini, editor. Non-conscious architecture: Gianni Pettena, Sternberg Press, 2018, 235 pages. p. 162.
People:
Date:
circa 1972-2017
circa 1972-2017
Title:
Tumbleweeds Catcher (1972)
Actions:
AP207.S1.1972.PR03
Description:
The project series documents "Tumbleweeds Catcher", an installation by Pettena and a group of his students from the University of Utah, in Salt Lake City, in 1972. The installation consisted of a tower-scaffold built on a vacant lot near the city centre and covered with mesh so it could capture the tumbleweeds blown by the wind. Through this installation Pettena's intention was to "highlight the 'work of the land', the tumbleweeds moved by the wind and intercepted by the mesh of the tower, 'naturalize' it, contaminate it, thereby embodying the revenge of nature over urbanized space." [1] A second edition was later presented at the Utah Museum of Contemporary Art in Salt Lake City in 2013. The project series contains photographs of the installation in 1972 and 2013, and drawings and sketches of the tower. Source: [1] Marco Scotini, editor. Non-conscious architecture: Gianni Pettena, Sternberg Press, 2018, 235 pages. p. 162.
Tumbleweeds Catcher (1972)
Actions:
AP207.S1.1972.PR03
Description:
The project series documents "Tumbleweeds Catcher", an installation by Pettena and a group of his students from the University of Utah, in Salt Lake City, in 1972. The installation consisted of a tower-scaffold built on a vacant lot near the city centre and covered with mesh so it could capture the tumbleweeds blown by the wind. Through this installation Pettena's intention was to "highlight the 'work of the land', the tumbleweeds moved by the wind and intercepted by the mesh of the tower, 'naturalize' it, contaminate it, thereby embodying the revenge of nature over urbanized space." [1] A second edition was later presented at the Utah Museum of Contemporary Art in Salt Lake City in 2013. The project series contains photographs of the installation in 1972 and 2013, and drawings and sketches of the tower. Source: [1] Marco Scotini, editor. Non-conscious architecture: Gianni Pettena, Sternberg Press, 2018, 235 pages. p. 162.
Level of archival description:
Project
Project
Date:
circa 1972-2017
circa 1972-2017
People:
Level of archival description:
Project
Project
Reference number:
AP207.S1.1977.PR01
Description:
The project series documents the performance "Performance Fotofosforescente" carried out at the Palazzo Grassi, in Venice, for the International Festival "The Art of Performance" in 1977. The performance consisted of a phosphorescent figure descending the grand staircase of the main entrance to the courtyard of the Palazzo Grassi, crossing the atrium through the audience, and heading down the steps towards the Grand Canal to finally disappear into the water. The performer is holding in his hands a three-dimensional phosphorescent Escher cube, the only source of light while the courtyard is in almost total darkness. "The evocative setting, the music, the darkness and this moving light produced an effect of “working” of the space, somewhere between the real and the imaginary [...]." [1] The project series contains a draft and a more final storyboard of the performance, Pettena's handwritten notes, and photographs of the performance at the Palazzo Grassi. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/perf-phorsphorescent-1977/ (last accessed 12 November 2019)
AP207.S1.1977.PR01
Description:
The project series documents the performance "Performance Fotofosforescente" carried out at the Palazzo Grassi, in Venice, for the International Festival "The Art of Performance" in 1977. The performance consisted of a phosphorescent figure descending the grand staircase of the main entrance to the courtyard of the Palazzo Grassi, crossing the atrium through the audience, and heading down the steps towards the Grand Canal to finally disappear into the water. The performer is holding in his hands a three-dimensional phosphorescent Escher cube, the only source of light while the courtyard is in almost total darkness. "The evocative setting, the music, the darkness and this moving light produced an effect of “working” of the space, somewhere between the real and the imaginary [...]." [1] The project series contains a draft and a more final storyboard of the performance, Pettena's handwritten notes, and photographs of the performance at the Palazzo Grassi. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/perf-phorsphorescent-1977/ (last accessed 12 November 2019)
People:
Date:
circa 1977-2015
circa 1977-2015
Title:
Performance Fotofosforescente [Performance Phosphorescent] (1977)
Actions:
AP207.S1.1977.PR01
Description:
The project series documents the performance "Performance Fotofosforescente" carried out at the Palazzo Grassi, in Venice, for the International Festival "The Art of Performance" in 1977. The performance consisted of a phosphorescent figure descending the grand staircase of the main entrance to the courtyard of the Palazzo Grassi, crossing the atrium through the audience, and heading down the steps towards the Grand Canal to finally disappear into the water. The performer is holding in his hands a three-dimensional phosphorescent Escher cube, the only source of light while the courtyard is in almost total darkness. "The evocative setting, the music, the darkness and this moving light produced an effect of “working” of the space, somewhere between the real and the imaginary [...]." [1] The project series contains a draft and a more final storyboard of the performance, Pettena's handwritten notes, and photographs of the performance at the Palazzo Grassi. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/perf-phorsphorescent-1977/ (last accessed 12 November 2019)
Performance Fotofosforescente [Performance Phosphorescent] (1977)
Actions:
AP207.S1.1977.PR01
Description:
The project series documents the performance "Performance Fotofosforescente" carried out at the Palazzo Grassi, in Venice, for the International Festival "The Art of Performance" in 1977. The performance consisted of a phosphorescent figure descending the grand staircase of the main entrance to the courtyard of the Palazzo Grassi, crossing the atrium through the audience, and heading down the steps towards the Grand Canal to finally disappear into the water. The performer is holding in his hands a three-dimensional phosphorescent Escher cube, the only source of light while the courtyard is in almost total darkness. "The evocative setting, the music, the darkness and this moving light produced an effect of “working” of the space, somewhere between the real and the imaginary [...]." [1] The project series contains a draft and a more final storyboard of the performance, Pettena's handwritten notes, and photographs of the performance at the Palazzo Grassi. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/perf-phorsphorescent-1977/ (last accessed 12 November 2019)
Level of archival description:
Project
Project
Date:
circa 1977-2015
circa 1977-2015
People:
Level of archival description:
Project
Project
Actions:
Reference number:
AP207.S1.1985.PR02
Description:
The project series documents "Poltramaca", an installation that consists of half an armchair carved into a tree trunk and half a hammock hanging from a tree. The installation was presented at the Salone del Mobile, Galleria Megapoli in Milan in 1985. "[...] the trunk, cut down and abandoned, is thereby reconquered by its context, “caught” by a net that connects it to a still living tree." [1] Two other editions of the installation were presented at the "Gianni Pettena one-man show" exhibition at the Museo Piaggio, in Pontedera, in 2003, and at the Galleria Enrico Fornello in Prato, in 2009. The project series contains sketches, three drawings showing the variations of the armchair-hammock design, notes, and photographs of the installation in 1985, 2003 and 2009, and a digital video of the 2009 installation. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/inst-armchair-hammock-1985/ (last accessed 11 December 2019).
AP207.S1.1985.PR02
Description:
The project series documents "Poltramaca", an installation that consists of half an armchair carved into a tree trunk and half a hammock hanging from a tree. The installation was presented at the Salone del Mobile, Galleria Megapoli in Milan in 1985. "[...] the trunk, cut down and abandoned, is thereby reconquered by its context, “caught” by a net that connects it to a still living tree." [1] Two other editions of the installation were presented at the "Gianni Pettena one-man show" exhibition at the Museo Piaggio, in Pontedera, in 2003, and at the Galleria Enrico Fornello in Prato, in 2009. The project series contains sketches, three drawings showing the variations of the armchair-hammock design, notes, and photographs of the installation in 1985, 2003 and 2009, and a digital video of the 2009 installation. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/inst-armchair-hammock-1985/ (last accessed 11 December 2019).
People:
Date:
circa 1985-2015
circa 1985-2015
Title:
Poltramaca [Armchair-Hammock] (1985)
Actions:
AP207.S1.1985.PR02
Description:
The project series documents "Poltramaca", an installation that consists of half an armchair carved into a tree trunk and half a hammock hanging from a tree. The installation was presented at the Salone del Mobile, Galleria Megapoli in Milan in 1985. "[...] the trunk, cut down and abandoned, is thereby reconquered by its context, “caught” by a net that connects it to a still living tree." [1] Two other editions of the installation were presented at the "Gianni Pettena one-man show" exhibition at the Museo Piaggio, in Pontedera, in 2003, and at the Galleria Enrico Fornello in Prato, in 2009. The project series contains sketches, three drawings showing the variations of the armchair-hammock design, notes, and photographs of the installation in 1985, 2003 and 2009, and a digital video of the 2009 installation. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/inst-armchair-hammock-1985/ (last accessed 11 December 2019).
Poltramaca [Armchair-Hammock] (1985)
Actions:
AP207.S1.1985.PR02
Description:
The project series documents "Poltramaca", an installation that consists of half an armchair carved into a tree trunk and half a hammock hanging from a tree. The installation was presented at the Salone del Mobile, Galleria Megapoli in Milan in 1985. "[...] the trunk, cut down and abandoned, is thereby reconquered by its context, “caught” by a net that connects it to a still living tree." [1] Two other editions of the installation were presented at the "Gianni Pettena one-man show" exhibition at the Museo Piaggio, in Pontedera, in 2003, and at the Galleria Enrico Fornello in Prato, in 2009. The project series contains sketches, three drawings showing the variations of the armchair-hammock design, notes, and photographs of the installation in 1985, 2003 and 2009, and a digital video of the 2009 installation. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/inst-armchair-hammock-1985/ (last accessed 11 December 2019).
Level of archival description:
Project
Project
Date:
circa 1985-2015
circa 1985-2015
People:
