947 Results
Form:
works of art
works of art
Reference number:
DR1988:0437:029
Description:
- This etching of a fireworks construction or macchina is in the form of a pavilion with unroofed arcades extending to either side. The pavilion is roofed by a tent-like structure and is open at front and back to show a group of people gathered around a large table. The two arcades are made of palm trees: the tree trunks are the columns and their leaves form the arches. The substructure includes rooms containing animals, which are visible behind barred windows.
DR1988:0437:029
Description:
- This etching of a fireworks construction or macchina is in the form of a pavilion with unroofed arcades extending to either side. The pavilion is roofed by a tent-like structure and is open at front and back to show a group of people gathered around a large table. The two arcades are made of palm trees: the tree trunks are the columns and their leaves form the arches. The substructure includes rooms containing animals, which are visible behind barred windows.
People:
Subject:
temporary architecture
temporary architecture
Date:
printed 1760
printed 1760
Title:
Etching of Posi's design for the "seconda macchina" of 1760
Actions:
DR1988:0437:029
Description:
- This etching of a fireworks construction or macchina is in the form of a pavilion with unroofed arcades extending to either side. The pavilion is roofed by a tent-like structure and is open at front and back to show a group of people gathered around a large table. The two arcades are made of palm trees: the tree trunks are the columns and their leaves form the arches. The substructure includes rooms containing animals, which are visible behind barred windows.
Etching of Posi's design for the "seconda macchina" of 1760
Actions:
DR1988:0437:029
Description:
- This etching of a fireworks construction or macchina is in the form of a pavilion with unroofed arcades extending to either side. The pavilion is roofed by a tent-like structure and is open at front and back to show a group of people gathered around a large table. The two arcades are made of palm trees: the tree trunks are the columns and their leaves form the arches. The substructure includes rooms containing animals, which are visible behind barred windows.
Form:
works of art
works of art
Date:
printed 1760
printed 1760
People:
Subject:
temporary architecture
temporary architecture
Form:
drawings, textual records, works of art
drawings, textual records, works of art
Actions:
Reference number:
DR1974:0002:018:001-027
Description:
- This portfolio contains record drawings - mostly line drawings and sketches, some coloured with wash - of four European zoological gardens: Antwerp, Brussels, Amsterdam and Marseille. The drawings include plans, sections, elevations of the animal cages, aviaries and buildings, as well as pictorial drawings of the facilities and general plans of the zoological gardens at Antwerp and Amsterdam. The zoological garden at Antwerp is depicted in the most detail, notably including drawings of the Palais égyptien designed by Charles Servais. Also included are two sheets of notes illustrated with sketches, concerning the zoological garden at Marseille.
DR1974:0002:018:001-027
Description:
- This portfolio contains record drawings - mostly line drawings and sketches, some coloured with wash - of four European zoological gardens: Antwerp, Brussels, Amsterdam and Marseille. The drawings include plans, sections, elevations of the animal cages, aviaries and buildings, as well as pictorial drawings of the facilities and general plans of the zoological gardens at Antwerp and Amsterdam. The zoological garden at Antwerp is depicted in the most detail, notably including drawings of the Palais égyptien designed by Charles Servais. Also included are two sheets of notes illustrated with sketches, concerning the zoological garden at Marseille.
People:
Subject:
architecture, landscape architecture
architecture, landscape architecture
Date:
ca. 1862, printed ca. 1862
ca. 1862, printed ca. 1862
Title:
Portfolio of drawings of European zoos in Antwerp, Brussels, Marseille, and Amsterdam
Actions:
DR1974:0002:018:001-027
Description:
- This portfolio contains record drawings - mostly line drawings and sketches, some coloured with wash - of four European zoological gardens: Antwerp, Brussels, Amsterdam and Marseille. The drawings include plans, sections, elevations of the animal cages, aviaries and buildings, as well as pictorial drawings of the facilities and general plans of the zoological gardens at Antwerp and Amsterdam. The zoological garden at Antwerp is depicted in the most detail, notably including drawings of the Palais égyptien designed by Charles Servais. Also included are two sheets of notes illustrated with sketches, concerning the zoological garden at Marseille.
Portfolio of drawings of European zoos in Antwerp, Brussels, Marseille, and Amsterdam
Actions:
DR1974:0002:018:001-027
Description:
- This portfolio contains record drawings - mostly line drawings and sketches, some coloured with wash - of four European zoological gardens: Antwerp, Brussels, Amsterdam and Marseille. The drawings include plans, sections, elevations of the animal cages, aviaries and buildings, as well as pictorial drawings of the facilities and general plans of the zoological gardens at Antwerp and Amsterdam. The zoological garden at Antwerp is depicted in the most detail, notably including drawings of the Palais égyptien designed by Charles Servais. Also included are two sheets of notes illustrated with sketches, concerning the zoological garden at Marseille.
Form:
drawings, textual records, works of art
drawings, textual records, works of art
Date:
ca. 1862, printed ca. 1862
ca. 1862, printed ca. 1862
People:
Subject:
architecture, landscape architecture
architecture, landscape architecture
Form:
photographs
photographs
Actions:
Reference number:
PH1985:0413
Description:
The sculpture depicts what seems to be a man standing, dressed in Indigenous clothing with regalia and tomahawk, and a woman seated on his right side and an animal (dog?) standing on his left. This way of representing an Indigenous couple reflects 19th century settler notions of gender roles. In Indigenous families the woman is the head of the house and would be the one standing, with the man beside her as her equal. The Saint Paul Ice Carnival, founded in 1886, is now known as the Saint Paul Winter Carnival.
PH1985:0413
Description:
The sculpture depicts what seems to be a man standing, dressed in Indigenous clothing with regalia and tomahawk, and a woman seated on his right side and an animal (dog?) standing on his left. This way of representing an Indigenous couple reflects 19th century settler notions of gender roles. In Indigenous families the woman is the head of the house and would be the one standing, with the man beside her as her equal. The Saint Paul Ice Carnival, founded in 1886, is now known as the Saint Paul Winter Carnival.
People:
Date:
circa 1886-1888
circa 1886-1888
Title:
Stereoview of an illuminated ice sculpture at the Saint Paul Ice Carnival representing two Indigenous persons and animal on a base, Saint Paul, Minnesota, United States
Actions:
PH1985:0413
Description:
The sculpture depicts what seems to be a man standing, dressed in Indigenous clothing with regalia and tomahawk, and a woman seated on his right side and an animal (dog?) standing on his left. This way of representing an Indigenous couple reflects 19th century settler notions of gender roles. In Indigenous families the woman is the head of the house and would be the one standing, with the man beside her as her equal. The Saint Paul Ice Carnival, founded in 1886, is now known as the Saint Paul Winter Carnival.
Stereoview of an illuminated ice sculpture at the Saint Paul Ice Carnival representing two Indigenous persons and animal on a base, Saint Paul, Minnesota, United States
Actions:
PH1985:0413
Description:
The sculpture depicts what seems to be a man standing, dressed in Indigenous clothing with regalia and tomahawk, and a woman seated on his right side and an animal (dog?) standing on his left. This way of representing an Indigenous couple reflects 19th century settler notions of gender roles. In Indigenous families the woman is the head of the house and would be the one standing, with the man beside her as her equal. The Saint Paul Ice Carnival, founded in 1886, is now known as the Saint Paul Winter Carnival.
Form:
photographs
photographs
Date:
circa 1886-1888
circa 1886-1888
People:
Form:
drawings
drawings
Actions:
Reference number:
DR1987:0304
Description:
- These plans and rendering show a chalet-style house with middle- and far-eastern influences, including ogee horseshoe arches and an onion dome. Although the inscribed scale mentions an "elevation", the draughtsman was probably referring to the pictorial drawing at the top of the sheet above the three plans. This rendering includes several groups of figures in middle eastern costume in the foreground, some of whom are riding animals -- horses, a camel, and an elephant. The background, includes two walled structures with minaret-like spires.
DR1987:0304
Description:
- These plans and rendering show a chalet-style house with middle- and far-eastern influences, including ogee horseshoe arches and an onion dome. Although the inscribed scale mentions an "elevation", the draughtsman was probably referring to the pictorial drawing at the top of the sheet above the three plans. This rendering includes several groups of figures in middle eastern costume in the foreground, some of whom are riding animals -- horses, a camel, and an elephant. The background, includes two walled structures with minaret-like spires.
People:
Subject:
architecture
architecture
Date:
ca. 1860
ca. 1860
Title:
Rendering and plans for an eclectic chalet-style house with eastern influences
Actions:
DR1987:0304
Description:
- These plans and rendering show a chalet-style house with middle- and far-eastern influences, including ogee horseshoe arches and an onion dome. Although the inscribed scale mentions an "elevation", the draughtsman was probably referring to the pictorial drawing at the top of the sheet above the three plans. This rendering includes several groups of figures in middle eastern costume in the foreground, some of whom are riding animals -- horses, a camel, and an elephant. The background, includes two walled structures with minaret-like spires.
Rendering and plans for an eclectic chalet-style house with eastern influences
Actions:
DR1987:0304
Description:
- These plans and rendering show a chalet-style house with middle- and far-eastern influences, including ogee horseshoe arches and an onion dome. Although the inscribed scale mentions an "elevation", the draughtsman was probably referring to the pictorial drawing at the top of the sheet above the three plans. This rendering includes several groups of figures in middle eastern costume in the foreground, some of whom are riding animals -- horses, a camel, and an elephant. The background, includes two walled structures with minaret-like spires.
Form:
drawings
drawings
Date:
ca. 1860
ca. 1860
People:
Subject:
architecture
architecture
Form:
photographs
photographs
Actions:
Reference number:
ARCH269550
Description:
Group consists of photographs of various buildings in Chandigarh, India, including a photograph of the Shop-Cum-Flats II in sector 22, the Hospital for animals by Jeet Malhotra near Chandigarh and the Servants quarters attached to the Chandigarh Club in an unidentified sector by Jeet Malhotra. There group also includes photographs of the Museum and Art Gallery (in construction) by Le Corbusier in sector 10, photographs of the Architects office in sector 19 and photographs of the Medical Research Institute (Post Graduate Institute for Medical Research) in sector 12.
ARCH269550
Description:
Group consists of photographs of various buildings in Chandigarh, India, including a photograph of the Shop-Cum-Flats II in sector 22, the Hospital for animals by Jeet Malhotra near Chandigarh and the Servants quarters attached to the Chandigarh Club in an unidentified sector by Jeet Malhotra. There group also includes photographs of the Museum and Art Gallery (in construction) by Le Corbusier in sector 10, photographs of the Architects office in sector 19 and photographs of the Medical Research Institute (Post Graduate Institute for Medical Research) in sector 12.
People:
Date:
ca. 1955-1965
ca. 1955-1965
Title:
Photographs of various buildings in Chandigarh, India
Actions:
ARCH269550
Description:
Group consists of photographs of various buildings in Chandigarh, India, including a photograph of the Shop-Cum-Flats II in sector 22, the Hospital for animals by Jeet Malhotra near Chandigarh and the Servants quarters attached to the Chandigarh Club in an unidentified sector by Jeet Malhotra. There group also includes photographs of the Museum and Art Gallery (in construction) by Le Corbusier in sector 10, photographs of the Architects office in sector 19 and photographs of the Medical Research Institute (Post Graduate Institute for Medical Research) in sector 12.
Photographs of various buildings in Chandigarh, India
Actions:
ARCH269550
Description:
Group consists of photographs of various buildings in Chandigarh, India, including a photograph of the Shop-Cum-Flats II in sector 22, the Hospital for animals by Jeet Malhotra near Chandigarh and the Servants quarters attached to the Chandigarh Club in an unidentified sector by Jeet Malhotra. There group also includes photographs of the Museum and Art Gallery (in construction) by Le Corbusier in sector 10, photographs of the Architects office in sector 19 and photographs of the Medical Research Institute (Post Graduate Institute for Medical Research) in sector 12.
Form:
photographs
photographs
Date:
ca. 1955-1965
ca. 1955-1965
People:
Level of archival description:
Series
Series
Reference number:
AP179.S3
Description:
Series 3, Tongxian Art Center, Beijing, 2000 – 2007, documents the development of a multiphase project for a public arts complex thirty miles from Beijing. Phases are distinguished when possible. Phase I of the project is the gatehouse (realized), which consists of housing and studio space for artists-in-residence. It is conceived as a brick monolith that has been shrink-wrapped or vacuumed into its shape – a metaphor for the optimization of the building’s limited space. Regional materials are incorporated through the use of local brick and native chudumu wood on the exterior. The gatehouse was completed in 2003. Phase II of the project is the art center (unrealized), which consists of public spaces, sculpture courts, administrative spaces and infrastructural needs of the institution, connected through a series of alleyways. The layout is organized to maximize interaction between inhabitants while maintaining a level of privacy. In addition to phases I and II, records in the series document a design referred to as Tongxian Gatekeeper (unrealized). Drawings, circa 2006, illustrate a building to house animals and agriculture in the southwest corner of the Tongxian Art complex grounds. The series contains sketches, drawings and reprographic copies from pre-design to construction stages of the project, two models including a wood model of the art center and a cardboard model of the gatekeeper wall, and photographic materials. The series also contains textual documents including correspondence with on-site project coordinator Timothy Clark, as well as meeting agendas, project schedules, agreements and proposals, and other project documentation. Digital material includes photographs of construction, CAD drawings, renderings, e-mail, and a video featuring the project team. The majority of material in the series relates to phase I of the project, the gatehouse. Some files include documentation about the involvement of contemporary artist Ai Wei Wei in a supervisory role for the project.
AP179.S3
Description:
Series 3, Tongxian Art Center, Beijing, 2000 – 2007, documents the development of a multiphase project for a public arts complex thirty miles from Beijing. Phases are distinguished when possible. Phase I of the project is the gatehouse (realized), which consists of housing and studio space for artists-in-residence. It is conceived as a brick monolith that has been shrink-wrapped or vacuumed into its shape – a metaphor for the optimization of the building’s limited space. Regional materials are incorporated through the use of local brick and native chudumu wood on the exterior. The gatehouse was completed in 2003. Phase II of the project is the art center (unrealized), which consists of public spaces, sculpture courts, administrative spaces and infrastructural needs of the institution, connected through a series of alleyways. The layout is organized to maximize interaction between inhabitants while maintaining a level of privacy. In addition to phases I and II, records in the series document a design referred to as Tongxian Gatekeeper (unrealized). Drawings, circa 2006, illustrate a building to house animals and agriculture in the southwest corner of the Tongxian Art complex grounds. The series contains sketches, drawings and reprographic copies from pre-design to construction stages of the project, two models including a wood model of the art center and a cardboard model of the gatekeeper wall, and photographic materials. The series also contains textual documents including correspondence with on-site project coordinator Timothy Clark, as well as meeting agendas, project schedules, agreements and proposals, and other project documentation. Digital material includes photographs of construction, CAD drawings, renderings, e-mail, and a video featuring the project team. The majority of material in the series relates to phase I of the project, the gatehouse. Some files include documentation about the involvement of contemporary artist Ai Wei Wei in a supervisory role for the project.
People:
Date:
2000 - 2007
2000 - 2007
Title:
Tongxian Art Center, Beijing, China (2000 - 2007)
Actions:
AP179.S3
Description:
Series 3, Tongxian Art Center, Beijing, 2000 – 2007, documents the development of a multiphase project for a public arts complex thirty miles from Beijing. Phases are distinguished when possible. Phase I of the project is the gatehouse (realized), which consists of housing and studio space for artists-in-residence. It is conceived as a brick monolith that has been shrink-wrapped or vacuumed into its shape – a metaphor for the optimization of the building’s limited space. Regional materials are incorporated through the use of local brick and native chudumu wood on the exterior. The gatehouse was completed in 2003. Phase II of the project is the art center (unrealized), which consists of public spaces, sculpture courts, administrative spaces and infrastructural needs of the institution, connected through a series of alleyways. The layout is organized to maximize interaction between inhabitants while maintaining a level of privacy. In addition to phases I and II, records in the series document a design referred to as Tongxian Gatekeeper (unrealized). Drawings, circa 2006, illustrate a building to house animals and agriculture in the southwest corner of the Tongxian Art complex grounds. The series contains sketches, drawings and reprographic copies from pre-design to construction stages of the project, two models including a wood model of the art center and a cardboard model of the gatekeeper wall, and photographic materials. The series also contains textual documents including correspondence with on-site project coordinator Timothy Clark, as well as meeting agendas, project schedules, agreements and proposals, and other project documentation. Digital material includes photographs of construction, CAD drawings, renderings, e-mail, and a video featuring the project team. The majority of material in the series relates to phase I of the project, the gatehouse. Some files include documentation about the involvement of contemporary artist Ai Wei Wei in a supervisory role for the project.
Tongxian Art Center, Beijing, China (2000 - 2007)
Actions:
AP179.S3
Description:
Series 3, Tongxian Art Center, Beijing, 2000 – 2007, documents the development of a multiphase project for a public arts complex thirty miles from Beijing. Phases are distinguished when possible. Phase I of the project is the gatehouse (realized), which consists of housing and studio space for artists-in-residence. It is conceived as a brick monolith that has been shrink-wrapped or vacuumed into its shape – a metaphor for the optimization of the building’s limited space. Regional materials are incorporated through the use of local brick and native chudumu wood on the exterior. The gatehouse was completed in 2003. Phase II of the project is the art center (unrealized), which consists of public spaces, sculpture courts, administrative spaces and infrastructural needs of the institution, connected through a series of alleyways. The layout is organized to maximize interaction between inhabitants while maintaining a level of privacy. In addition to phases I and II, records in the series document a design referred to as Tongxian Gatekeeper (unrealized). Drawings, circa 2006, illustrate a building to house animals and agriculture in the southwest corner of the Tongxian Art complex grounds. The series contains sketches, drawings and reprographic copies from pre-design to construction stages of the project, two models including a wood model of the art center and a cardboard model of the gatekeeper wall, and photographic materials. The series also contains textual documents including correspondence with on-site project coordinator Timothy Clark, as well as meeting agendas, project schedules, agreements and proposals, and other project documentation. Digital material includes photographs of construction, CAD drawings, renderings, e-mail, and a video featuring the project team. The majority of material in the series relates to phase I of the project, the gatehouse. Some files include documentation about the involvement of contemporary artist Ai Wei Wei in a supervisory role for the project.
Level of archival description:
Series
Series
Date:
2000 - 2007
2000 - 2007
People:
Level of archival description:
Series
Series
Title:
Sketchbooks
Sketchbooks
Reference number:
AP178.S2
Description:
Series AP178.S2 consists of over 280 of Siza’s personal sketchbooks, beginning from the late 1970s to the beginning of the early 2000s. The sketchbooks mostly contain sketches with some notes and are numbered chronologically. Indicated on the front cover of each sketchbook are the sketchbook number and the architectural project(s) and/or the geographic site(s) documented by the sketches and notes. The sketchbooks are mostly black notebooks and measure 21 x 30 cm, with a few exceptions. Most sketchbooks contain notes in Portuguese while some also include French and English notes. The sketchbooks document Siza’s creative process and demonstrate his unique method to comprehend an architectural project. Siza mentions that in the early stages of a project he immediately begins to draw, regardless of if he has knowledge of all the details and problems. The sketchbooks document the evolution of Siza's projects and also serve as a type of log. Not only does each sketchbook contain various sketches and notes for projects Siza was working on but also schedules, contacts, and drafts of letters. Among the sketches for projects are also general sketches of his travels, people, animals, objects, furniture, and at times landscapes. Most sketchbooks primarily contain sketches for projects with intermingled sketches of people or faces, however there are a number of sketchbooks that mostly contain sketches of people. The Siza fonds is being processed in four phases. Up to date the sketchbooks that have been processed are ones that relate to architectural projects that were processed in the first and second phase of processing. This includes projects from 1950’s, 1960’s, and 1970’s; urban planning projects; Reconstrução do Chiado; Berlin projects submitted to the IBA competition; and the Plano de urbanização Deelgebied 5 Schilderswijk-West in The Hague. However, it is important to note that the sketchbooks usually contain sketches related to multiple projects and therefore the sketchbooks that were processed also contain sketches related to projects not included in this list.
AP178.S2
Description:
Series AP178.S2 consists of over 280 of Siza’s personal sketchbooks, beginning from the late 1970s to the beginning of the early 2000s. The sketchbooks mostly contain sketches with some notes and are numbered chronologically. Indicated on the front cover of each sketchbook are the sketchbook number and the architectural project(s) and/or the geographic site(s) documented by the sketches and notes. The sketchbooks are mostly black notebooks and measure 21 x 30 cm, with a few exceptions. Most sketchbooks contain notes in Portuguese while some also include French and English notes. The sketchbooks document Siza’s creative process and demonstrate his unique method to comprehend an architectural project. Siza mentions that in the early stages of a project he immediately begins to draw, regardless of if he has knowledge of all the details and problems. The sketchbooks document the evolution of Siza's projects and also serve as a type of log. Not only does each sketchbook contain various sketches and notes for projects Siza was working on but also schedules, contacts, and drafts of letters. Among the sketches for projects are also general sketches of his travels, people, animals, objects, furniture, and at times landscapes. Most sketchbooks primarily contain sketches for projects with intermingled sketches of people or faces, however there are a number of sketchbooks that mostly contain sketches of people. The Siza fonds is being processed in four phases. Up to date the sketchbooks that have been processed are ones that relate to architectural projects that were processed in the first and second phase of processing. This includes projects from 1950’s, 1960’s, and 1970’s; urban planning projects; Reconstrução do Chiado; Berlin projects submitted to the IBA competition; and the Plano de urbanização Deelgebied 5 Schilderswijk-West in The Hague. However, it is important to note that the sketchbooks usually contain sketches related to multiple projects and therefore the sketchbooks that were processed also contain sketches related to projects not included in this list.
People:
Date:
1978-1993
1978-1993
Title:
Sketchbooks
Actions:
AP178.S2
Description:
Series AP178.S2 consists of over 280 of Siza’s personal sketchbooks, beginning from the late 1970s to the beginning of the early 2000s. The sketchbooks mostly contain sketches with some notes and are numbered chronologically. Indicated on the front cover of each sketchbook are the sketchbook number and the architectural project(s) and/or the geographic site(s) documented by the sketches and notes. The sketchbooks are mostly black notebooks and measure 21 x 30 cm, with a few exceptions. Most sketchbooks contain notes in Portuguese while some also include French and English notes. The sketchbooks document Siza’s creative process and demonstrate his unique method to comprehend an architectural project. Siza mentions that in the early stages of a project he immediately begins to draw, regardless of if he has knowledge of all the details and problems. The sketchbooks document the evolution of Siza's projects and also serve as a type of log. Not only does each sketchbook contain various sketches and notes for projects Siza was working on but also schedules, contacts, and drafts of letters. Among the sketches for projects are also general sketches of his travels, people, animals, objects, furniture, and at times landscapes. Most sketchbooks primarily contain sketches for projects with intermingled sketches of people or faces, however there are a number of sketchbooks that mostly contain sketches of people. The Siza fonds is being processed in four phases. Up to date the sketchbooks that have been processed are ones that relate to architectural projects that were processed in the first and second phase of processing. This includes projects from 1950’s, 1960’s, and 1970’s; urban planning projects; Reconstrução do Chiado; Berlin projects submitted to the IBA competition; and the Plano de urbanização Deelgebied 5 Schilderswijk-West in The Hague. However, it is important to note that the sketchbooks usually contain sketches related to multiple projects and therefore the sketchbooks that were processed also contain sketches related to projects not included in this list.
Sketchbooks
Actions:
AP178.S2
Description:
Series AP178.S2 consists of over 280 of Siza’s personal sketchbooks, beginning from the late 1970s to the beginning of the early 2000s. The sketchbooks mostly contain sketches with some notes and are numbered chronologically. Indicated on the front cover of each sketchbook are the sketchbook number and the architectural project(s) and/or the geographic site(s) documented by the sketches and notes. The sketchbooks are mostly black notebooks and measure 21 x 30 cm, with a few exceptions. Most sketchbooks contain notes in Portuguese while some also include French and English notes. The sketchbooks document Siza’s creative process and demonstrate his unique method to comprehend an architectural project. Siza mentions that in the early stages of a project he immediately begins to draw, regardless of if he has knowledge of all the details and problems. The sketchbooks document the evolution of Siza's projects and also serve as a type of log. Not only does each sketchbook contain various sketches and notes for projects Siza was working on but also schedules, contacts, and drafts of letters. Among the sketches for projects are also general sketches of his travels, people, animals, objects, furniture, and at times landscapes. Most sketchbooks primarily contain sketches for projects with intermingled sketches of people or faces, however there are a number of sketchbooks that mostly contain sketches of people. The Siza fonds is being processed in four phases. Up to date the sketchbooks that have been processed are ones that relate to architectural projects that were processed in the first and second phase of processing. This includes projects from 1950’s, 1960’s, and 1970’s; urban planning projects; Reconstrução do Chiado; Berlin projects submitted to the IBA competition; and the Plano de urbanização Deelgebied 5 Schilderswijk-West in The Hague. However, it is important to note that the sketchbooks usually contain sketches related to multiple projects and therefore the sketchbooks that were processed also contain sketches related to projects not included in this list.
Level of archival description:
Series
Series
Date:
1978-1993
1978-1993
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 transportation 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 transportation 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 transportation 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 transportation 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:
Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Title:
Myron Goldsmith fonds
Myron Goldsmith fonds
Reference number:
AP032
Synopsis:
The Myron Goldsmith fonds consists primarily of 30.4 metres of textual documents, including notebooks, research and reading notes, travel journals, documentation files, correspondence, sketchbooks and personal and office papers. There are also 2,800 original drawings and prints, 10,000 photographs and slides, and 5 architectural models. The material ranges in date from c.1933 to 1996. In shedding light on Goldsmith's student years and working career, the fonds' rich collection of documents also provides material on activities in the architectural profession, architectural education, and architectural and engineering theory and building techniques through the 1940s to the 1990s.
AP032
Synopsis:
The Myron Goldsmith fonds consists primarily of 30.4 metres of textual documents, including notebooks, research and reading notes, travel journals, documentation files, correspondence, sketchbooks and personal and office papers. There are also 2,800 original drawings and prints, 10,000 photographs and slides, and 5 architectural models. The material ranges in date from c.1933 to 1996. In shedding light on Goldsmith's student years and working career, the fonds' rich collection of documents also provides material on activities in the architectural profession, architectural education, and architectural and engineering theory and building techniques through the 1940s to the 1990s.
People:
Date:
1933-1996
1933-1996
Title:
Myron Goldsmith fonds
Actions:
AP032
Synopsis:
The Myron Goldsmith fonds consists primarily of 30.4 metres of textual documents, including notebooks, research and reading notes, travel journals, documentation files, correspondence, sketchbooks and personal and office papers. There are also 2,800 original drawings and prints, 10,000 photographs and slides, and 5 architectural models. The material ranges in date from c.1933 to 1996. In shedding light on Goldsmith's student years and working career, the fonds' rich collection of documents also provides material on activities in the architectural profession, architectural education, and architectural and engineering theory and building techniques through the 1940s to the 1990s.
Myron Goldsmith fonds
Actions:
AP032
Synopsis:
The Myron Goldsmith fonds consists primarily of 30.4 metres of textual documents, including notebooks, research and reading notes, travel journals, documentation files, correspondence, sketchbooks and personal and office papers. There are also 2,800 original drawings and prints, 10,000 photographs and slides, and 5 architectural models. The material ranges in date from c.1933 to 1996. In shedding light on Goldsmith's student years and working career, the fonds' rich collection of documents also provides material on activities in the architectural profession, architectural education, and architectural and engineering theory and building techniques through the 1940s to the 1990s.
Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Date:
1933-1996
1933-1996
People:
Form:
drawings
drawings
Actions:
Reference number:
DR1986:0704
Description:
- DR1986:0704X represents a bird's-eye view of an imagined zoological garden. In the foreground, immediately behind an iron and stone fence, appear a series of small, whimsical structures in a Chinese or mixed Chinese-Indian style. These structures, together with their adjoining enclosures, house a variety of animals and are scattered among a number of fountains, ponds and clustered shrubs. - In the middle ground, on the central axis of the garden, rises a long, two-storey structure with a large, projecting pavilion in the centre and a tower at either end. Both levels of this structure are encased in verandas and the end towers and central pavilion are capped with pointed domes in an Indian style. The oval area before this structure is enclosed by two curved colonnades open on both sides and supporting a peaked, tile roof. This construction is obviously an orientalized version of St. Peter's Colonnade in Rome. - Further back and behind the long structure occur additional pavilions in a Chinese style, most notably a three-storey pagoda. On axis, and still further back, rises a second long, palace-like structure, sketched in a vaguely Mogul style. The entire ensemble is set in a nondescript, generalized landscape.
DR1986:0704
Description:
- DR1986:0704X represents a bird's-eye view of an imagined zoological garden. In the foreground, immediately behind an iron and stone fence, appear a series of small, whimsical structures in a Chinese or mixed Chinese-Indian style. These structures, together with their adjoining enclosures, house a variety of animals and are scattered among a number of fountains, ponds and clustered shrubs. - In the middle ground, on the central axis of the garden, rises a long, two-storey structure with a large, projecting pavilion in the centre and a tower at either end. Both levels of this structure are encased in verandas and the end towers and central pavilion are capped with pointed domes in an Indian style. The oval area before this structure is enclosed by two curved colonnades open on both sides and supporting a peaked, tile roof. This construction is obviously an orientalized version of St. Peter's Colonnade in Rome. - Further back and behind the long structure occur additional pavilions in a Chinese style, most notably a three-storey pagoda. On axis, and still further back, rises a second long, palace-like structure, sketched in a vaguely Mogul style. The entire ensemble is set in a nondescript, generalized landscape.
People:
Subject:
architecture, landscape architecture
architecture, landscape architecture
Date:
ca. 1830-1840
ca. 1830-1840
Title:
Design for a zoological garden in an oriental style
Actions:
DR1986:0704
Description:
- DR1986:0704X represents a bird's-eye view of an imagined zoological garden. In the foreground, immediately behind an iron and stone fence, appear a series of small, whimsical structures in a Chinese or mixed Chinese-Indian style. These structures, together with their adjoining enclosures, house a variety of animals and are scattered among a number of fountains, ponds and clustered shrubs. - In the middle ground, on the central axis of the garden, rises a long, two-storey structure with a large, projecting pavilion in the centre and a tower at either end. Both levels of this structure are encased in verandas and the end towers and central pavilion are capped with pointed domes in an Indian style. The oval area before this structure is enclosed by two curved colonnades open on both sides and supporting a peaked, tile roof. This construction is obviously an orientalized version of St. Peter's Colonnade in Rome. - Further back and behind the long structure occur additional pavilions in a Chinese style, most notably a three-storey pagoda. On axis, and still further back, rises a second long, palace-like structure, sketched in a vaguely Mogul style. The entire ensemble is set in a nondescript, generalized landscape.
Design for a zoological garden in an oriental style
Actions:
DR1986:0704
Description:
- DR1986:0704X represents a bird's-eye view of an imagined zoological garden. In the foreground, immediately behind an iron and stone fence, appear a series of small, whimsical structures in a Chinese or mixed Chinese-Indian style. These structures, together with their adjoining enclosures, house a variety of animals and are scattered among a number of fountains, ponds and clustered shrubs. - In the middle ground, on the central axis of the garden, rises a long, two-storey structure with a large, projecting pavilion in the centre and a tower at either end. Both levels of this structure are encased in verandas and the end towers and central pavilion are capped with pointed domes in an Indian style. The oval area before this structure is enclosed by two curved colonnades open on both sides and supporting a peaked, tile roof. This construction is obviously an orientalized version of St. Peter's Colonnade in Rome. - Further back and behind the long structure occur additional pavilions in a Chinese style, most notably a three-storey pagoda. On axis, and still further back, rises a second long, palace-like structure, sketched in a vaguely Mogul style. The entire ensemble is set in a nondescript, generalized landscape.
Form:
drawings
drawings
Date:
ca. 1830-1840
ca. 1830-1840
People:
Subject:
architecture, landscape architecture
architecture, landscape architecture
