24984 Results
Level of archival description:
Project
Project
Reference number:
AP075.S1.1983.PR02
Description:
Project series documents Cornelia Hahn Oberlander's landscape project for the Canadian Chancery on Pennsylvania Avenue, in Washington D.C. Oberlander worked in this project from 1983-1989 with architect Arthur Erickson. Oberlander and Erickson received the National Landscape Award for the project landscape design. The design included a paved courtyard accessible through Pennsylvania Avenue and John Marshall Place Park. Oberlanded connected the park, designed by landscape architect Carol L. Johnson in 1983, to the Chancery site by adding a paving area in place of the closed street separating the two blocks. A terraced façade featuring a hanging garden with trees and roses was design as a way of extending the John Marshall Park up to the roof of the building. The project series contains sketches and working drawings for the landscaping, including planting plans, irrigation plans, planters details, sections and planters irrigation plans, and architectural plans provided for reference use. It also contains photographs of the building and the courtyard landscaping. The project is also documented through textual records, including concept notes by Oberlander, correspondence with clients, architects, suppliers and consultants, specifications, meetings notes, financial documents, promotional material and articles on the project. Source: Herrington, Susan. Cornelia Hahn Oberlander: Making the Modern Landscape, University of Virginia Press, 2014, 304 pages.
AP075.S1.1983.PR02
Description:
Project series documents Cornelia Hahn Oberlander's landscape project for the Canadian Chancery on Pennsylvania Avenue, in Washington D.C. Oberlander worked in this project from 1983-1989 with architect Arthur Erickson. Oberlander and Erickson received the National Landscape Award for the project landscape design. The design included a paved courtyard accessible through Pennsylvania Avenue and John Marshall Place Park. Oberlanded connected the park, designed by landscape architect Carol L. Johnson in 1983, to the Chancery site by adding a paving area in place of the closed street separating the two blocks. A terraced façade featuring a hanging garden with trees and roses was design as a way of extending the John Marshall Park up to the roof of the building. The project series contains sketches and working drawings for the landscaping, including planting plans, irrigation plans, planters details, sections and planters irrigation plans, and architectural plans provided for reference use. It also contains photographs of the building and the courtyard landscaping. The project is also documented through textual records, including concept notes by Oberlander, correspondence with clients, architects, suppliers and consultants, specifications, meetings notes, financial documents, promotional material and articles on the project. Source: Herrington, Susan. Cornelia Hahn Oberlander: Making the Modern Landscape, University of Virginia Press, 2014, 304 pages.
People:
Date:
1983-1990
1983-1990
Title:
Canadian Chancery, Washington D.C. (1983-1990)
Actions:
AP075.S1.1983.PR02
Description:
Project series documents Cornelia Hahn Oberlander's landscape project for the Canadian Chancery on Pennsylvania Avenue, in Washington D.C. Oberlander worked in this project from 1983-1989 with architect Arthur Erickson. Oberlander and Erickson received the National Landscape Award for the project landscape design. The design included a paved courtyard accessible through Pennsylvania Avenue and John Marshall Place Park. Oberlanded connected the park, designed by landscape architect Carol L. Johnson in 1983, to the Chancery site by adding a paving area in place of the closed street separating the two blocks. A terraced façade featuring a hanging garden with trees and roses was design as a way of extending the John Marshall Park up to the roof of the building. The project series contains sketches and working drawings for the landscaping, including planting plans, irrigation plans, planters details, sections and planters irrigation plans, and architectural plans provided for reference use. It also contains photographs of the building and the courtyard landscaping. The project is also documented through textual records, including concept notes by Oberlander, correspondence with clients, architects, suppliers and consultants, specifications, meetings notes, financial documents, promotional material and articles on the project. Source: Herrington, Susan. Cornelia Hahn Oberlander: Making the Modern Landscape, University of Virginia Press, 2014, 304 pages.
Canadian Chancery, Washington D.C. (1983-1990)
Actions:
AP075.S1.1983.PR02
Description:
Project series documents Cornelia Hahn Oberlander's landscape project for the Canadian Chancery on Pennsylvania Avenue, in Washington D.C. Oberlander worked in this project from 1983-1989 with architect Arthur Erickson. Oberlander and Erickson received the National Landscape Award for the project landscape design. The design included a paved courtyard accessible through Pennsylvania Avenue and John Marshall Place Park. Oberlanded connected the park, designed by landscape architect Carol L. Johnson in 1983, to the Chancery site by adding a paving area in place of the closed street separating the two blocks. A terraced façade featuring a hanging garden with trees and roses was design as a way of extending the John Marshall Park up to the roof of the building. The project series contains sketches and working drawings for the landscaping, including planting plans, irrigation plans, planters details, sections and planters irrigation plans, and architectural plans provided for reference use. It also contains photographs of the building and the courtyard landscaping. The project is also documented through textual records, including concept notes by Oberlander, correspondence with clients, architects, suppliers and consultants, specifications, meetings notes, financial documents, promotional material and articles on the project. Source: Herrington, Susan. Cornelia Hahn Oberlander: Making the Modern Landscape, University of Virginia Press, 2014, 304 pages.
Level of archival description:
Project
Project
Date:
1983-1990
1983-1990
People:
Level of archival description:
Project
Project
Actions:
Reference number:
AP075.S1.1989.PR01
Description:
Project series documents Cornelia Hahn Oberlander's landscape project for the Environmental Science Building and Walter Ward Garden on West Bank Drive at Trent University, in Peterborough, Ontario. Oberlander worked on this project in 1989 with Richard Henriquez Architect and Laszlo Nemeth Associates who won the design competition for the new campus building. The project consists in an environmental garden with native plants and grasses and a landscaped roof linked to the ground level by a ramp covered in earth. The ramp and the green roof were design not for human but to give a refuge to ground hogs displaced by the construction of the building. The Environmental Science Building opened in 1991 while the garden was officially opened in 1992. The project series contains site plans, sketches, design developement drawings, including planting plans, landscape sections and details, working drawings, presentation drawings, including perspective drawings, and presentation panels. The project series also comprises working drawings of the building used as reference by Oberlander. The project is also documents through photographs of the construction of the building and the site work, concept notes by Oberlander, correspondence with clients, architects and consultants, specifications, including landscape specifications, plants selection documents, financial documents, reseach materials, and clippings of articles on the project.
AP075.S1.1989.PR01
Description:
Project series documents Cornelia Hahn Oberlander's landscape project for the Environmental Science Building and Walter Ward Garden on West Bank Drive at Trent University, in Peterborough, Ontario. Oberlander worked on this project in 1989 with Richard Henriquez Architect and Laszlo Nemeth Associates who won the design competition for the new campus building. The project consists in an environmental garden with native plants and grasses and a landscaped roof linked to the ground level by a ramp covered in earth. The ramp and the green roof were design not for human but to give a refuge to ground hogs displaced by the construction of the building. The Environmental Science Building opened in 1991 while the garden was officially opened in 1992. The project series contains site plans, sketches, design developement drawings, including planting plans, landscape sections and details, working drawings, presentation drawings, including perspective drawings, and presentation panels. The project series also comprises working drawings of the building used as reference by Oberlander. The project is also documents through photographs of the construction of the building and the site work, concept notes by Oberlander, correspondence with clients, architects and consultants, specifications, including landscape specifications, plants selection documents, financial documents, reseach materials, and clippings of articles on the project.
People:
Date:
1989-1993
1989-1993
Title:
Environmental Science Building and Walter Ward Garden, Trent University, Peterborough, Ontario (1989)
Actions:
AP075.S1.1989.PR01
Description:
Project series documents Cornelia Hahn Oberlander's landscape project for the Environmental Science Building and Walter Ward Garden on West Bank Drive at Trent University, in Peterborough, Ontario. Oberlander worked on this project in 1989 with Richard Henriquez Architect and Laszlo Nemeth Associates who won the design competition for the new campus building. The project consists in an environmental garden with native plants and grasses and a landscaped roof linked to the ground level by a ramp covered in earth. The ramp and the green roof were design not for human but to give a refuge to ground hogs displaced by the construction of the building. The Environmental Science Building opened in 1991 while the garden was officially opened in 1992. The project series contains site plans, sketches, design developement drawings, including planting plans, landscape sections and details, working drawings, presentation drawings, including perspective drawings, and presentation panels. The project series also comprises working drawings of the building used as reference by Oberlander. The project is also documents through photographs of the construction of the building and the site work, concept notes by Oberlander, correspondence with clients, architects and consultants, specifications, including landscape specifications, plants selection documents, financial documents, reseach materials, and clippings of articles on the project.
Environmental Science Building and Walter Ward Garden, Trent University, Peterborough, Ontario (1989)
Actions:
AP075.S1.1989.PR01
Description:
Project series documents Cornelia Hahn Oberlander's landscape project for the Environmental Science Building and Walter Ward Garden on West Bank Drive at Trent University, in Peterborough, Ontario. Oberlander worked on this project in 1989 with Richard Henriquez Architect and Laszlo Nemeth Associates who won the design competition for the new campus building. The project consists in an environmental garden with native plants and grasses and a landscaped roof linked to the ground level by a ramp covered in earth. The ramp and the green roof were design not for human but to give a refuge to ground hogs displaced by the construction of the building. The Environmental Science Building opened in 1991 while the garden was officially opened in 1992. The project series contains site plans, sketches, design developement drawings, including planting plans, landscape sections and details, working drawings, presentation drawings, including perspective drawings, and presentation panels. The project series also comprises working drawings of the building used as reference by Oberlander. The project is also documents through photographs of the construction of the building and the site work, concept notes by Oberlander, correspondence with clients, architects and consultants, specifications, including landscape specifications, plants selection documents, financial documents, reseach materials, and clippings of articles on the project.
Level of archival description:
Project
Project
Date:
1989-1993
1989-1993
People:
Level of archival description:
Project
Project
Actions:
Reference number:
AP075.S1.1990.PR03
Description:
Project series documents Cornelia Hahn Oberlander's landscape design for the United Nations Peacekeeping Monument in Ottawa, Ontario. Oberlander worked on this from 1990-1993 with Richard Henriquez & Partners and sculptor Jack Harmon. Together, they won the design competition organized by the National Capital Commission in 1990. The monument is situated between the National Gallery of Canada and the United States Embassy, between St. Patrick Street and Murray Street. The monument consists in three bronze cast figures of peacekeeping soldiers on a granite slab. Oberlander elaborated the planting scheme and designed "an oval grove of twelve oak trees representing Canada's ten provinces and two territories [...]" [1], except Nunavut that was still included in the Northwest Territories at the time. The project was completed in 1993. Project series contains ten landscape working drawings, including a site plan, landscape sections, planting and grading plans, and an irrigations plan. The project is also documented through textual records, including design competition information documents, competition proposal, correspondence with architects, client and consultants, specifications, financial documents, press about the project and photographs of the construction and the inauguration of the monument. Source: [1] Herrington, Susan. Cornelia Hahn Oberlander: Making the Modern Landscape, University of Virginia Press, 2014, 304 pages, p. 171.
AP075.S1.1990.PR03
Description:
Project series documents Cornelia Hahn Oberlander's landscape design for the United Nations Peacekeeping Monument in Ottawa, Ontario. Oberlander worked on this from 1990-1993 with Richard Henriquez & Partners and sculptor Jack Harmon. Together, they won the design competition organized by the National Capital Commission in 1990. The monument is situated between the National Gallery of Canada and the United States Embassy, between St. Patrick Street and Murray Street. The monument consists in three bronze cast figures of peacekeeping soldiers on a granite slab. Oberlander elaborated the planting scheme and designed "an oval grove of twelve oak trees representing Canada's ten provinces and two territories [...]" [1], except Nunavut that was still included in the Northwest Territories at the time. The project was completed in 1993. Project series contains ten landscape working drawings, including a site plan, landscape sections, planting and grading plans, and an irrigations plan. The project is also documented through textual records, including design competition information documents, competition proposal, correspondence with architects, client and consultants, specifications, financial documents, press about the project and photographs of the construction and the inauguration of the monument. Source: [1] Herrington, Susan. Cornelia Hahn Oberlander: Making the Modern Landscape, University of Virginia Press, 2014, 304 pages, p. 171.
People:
Date:
1990-1993
1990-1993
Title:
United Nations Peacekeeping Monument, Ottawa, Ontario (1990-1993)
Actions:
AP075.S1.1990.PR03
Description:
Project series documents Cornelia Hahn Oberlander's landscape design for the United Nations Peacekeeping Monument in Ottawa, Ontario. Oberlander worked on this from 1990-1993 with Richard Henriquez & Partners and sculptor Jack Harmon. Together, they won the design competition organized by the National Capital Commission in 1990. The monument is situated between the National Gallery of Canada and the United States Embassy, between St. Patrick Street and Murray Street. The monument consists in three bronze cast figures of peacekeeping soldiers on a granite slab. Oberlander elaborated the planting scheme and designed "an oval grove of twelve oak trees representing Canada's ten provinces and two territories [...]" [1], except Nunavut that was still included in the Northwest Territories at the time. The project was completed in 1993. Project series contains ten landscape working drawings, including a site plan, landscape sections, planting and grading plans, and an irrigations plan. The project is also documented through textual records, including design competition information documents, competition proposal, correspondence with architects, client and consultants, specifications, financial documents, press about the project and photographs of the construction and the inauguration of the monument. Source: [1] Herrington, Susan. Cornelia Hahn Oberlander: Making the Modern Landscape, University of Virginia Press, 2014, 304 pages, p. 171.
United Nations Peacekeeping Monument, Ottawa, Ontario (1990-1993)
Actions:
AP075.S1.1990.PR03
Description:
Project series documents Cornelia Hahn Oberlander's landscape design for the United Nations Peacekeeping Monument in Ottawa, Ontario. Oberlander worked on this from 1990-1993 with Richard Henriquez & Partners and sculptor Jack Harmon. Together, they won the design competition organized by the National Capital Commission in 1990. The monument is situated between the National Gallery of Canada and the United States Embassy, between St. Patrick Street and Murray Street. The monument consists in three bronze cast figures of peacekeeping soldiers on a granite slab. Oberlander elaborated the planting scheme and designed "an oval grove of twelve oak trees representing Canada's ten provinces and two territories [...]" [1], except Nunavut that was still included in the Northwest Territories at the time. The project was completed in 1993. Project series contains ten landscape working drawings, including a site plan, landscape sections, planting and grading plans, and an irrigations plan. The project is also documented through textual records, including design competition information documents, competition proposal, correspondence with architects, client and consultants, specifications, financial documents, press about the project and photographs of the construction and the inauguration of the monument. Source: [1] Herrington, Susan. Cornelia Hahn Oberlander: Making the Modern Landscape, University of Virginia Press, 2014, 304 pages, p. 171.
Level of archival description:
Project
Project
Date:
1990-1993
1990-1993
People:
Level of archival description:
Project
Project
Title:
Liu Centre for Global Studies, University of British Columbia, Vancouver, British Columbia (1992)
Liu Centre for Global Studies, University of British Columbia, Vancouver, British Columbia (1992)
Actions:
Reference number:
AP075.S1.1992.PR05
Description:
Project series documents Cornelia Hahn Oberlander's landscape project for the Liu Centre for Global Studies at University of British Columbia, Vancouver. Oberlander worked on this project in 1994 with architect Arthur Erickson and architectural firm Aitken Wreglesworth Associates. The overwall concept for the project was to design an environmentally responsible building and landscape. Situated at the north edge of a mature costal forest, the main concern of the landscape design was to avoid effecting the existing woodland. Oberlander preserved all existing mature trees on the site and used only native plants and grasses. The design of the building was also though to minimize any impact on the surrounding forest, by avoiding machineries on site or pruning of existing trees. The project also included a green roof, also design by Oberlander. The project was completed in 2000. The project series includes sketches, design development drawings, including landscape plans, landscape details and planting plans, working drawings, such as planting plans and details for the green roof, and working drawings for the building used as reference. The project series also comprises a proposal, concept notes by Oberlander, correspondence with clients, architects and consultants, meetings notes, financial documents, specifications and some promotional material and press clippings on the building. The project is also documented through photographs of landscaping work.
AP075.S1.1992.PR05
Description:
Project series documents Cornelia Hahn Oberlander's landscape project for the Liu Centre for Global Studies at University of British Columbia, Vancouver. Oberlander worked on this project in 1994 with architect Arthur Erickson and architectural firm Aitken Wreglesworth Associates. The overwall concept for the project was to design an environmentally responsible building and landscape. Situated at the north edge of a mature costal forest, the main concern of the landscape design was to avoid effecting the existing woodland. Oberlander preserved all existing mature trees on the site and used only native plants and grasses. The design of the building was also though to minimize any impact on the surrounding forest, by avoiding machineries on site or pruning of existing trees. The project also included a green roof, also design by Oberlander. The project was completed in 2000. The project series includes sketches, design development drawings, including landscape plans, landscape details and planting plans, working drawings, such as planting plans and details for the green roof, and working drawings for the building used as reference. The project series also comprises a proposal, concept notes by Oberlander, correspondence with clients, architects and consultants, meetings notes, financial documents, specifications and some promotional material and press clippings on the building. The project is also documented through photographs of landscaping work.
People:
Date:
1992-2009
1992-2009
Title:
Liu Centre for Global Studies, University of British Columbia, Vancouver, British Columbia (1992)
Actions:
AP075.S1.1992.PR05
Description:
Project series documents Cornelia Hahn Oberlander's landscape project for the Liu Centre for Global Studies at University of British Columbia, Vancouver. Oberlander worked on this project in 1994 with architect Arthur Erickson and architectural firm Aitken Wreglesworth Associates. The overwall concept for the project was to design an environmentally responsible building and landscape. Situated at the north edge of a mature costal forest, the main concern of the landscape design was to avoid effecting the existing woodland. Oberlander preserved all existing mature trees on the site and used only native plants and grasses. The design of the building was also though to minimize any impact on the surrounding forest, by avoiding machineries on site or pruning of existing trees. The project also included a green roof, also design by Oberlander. The project was completed in 2000. The project series includes sketches, design development drawings, including landscape plans, landscape details and planting plans, working drawings, such as planting plans and details for the green roof, and working drawings for the building used as reference. The project series also comprises a proposal, concept notes by Oberlander, correspondence with clients, architects and consultants, meetings notes, financial documents, specifications and some promotional material and press clippings on the building. The project is also documented through photographs of landscaping work.
Liu Centre for Global Studies, University of British Columbia, Vancouver, British Columbia (1992)
Actions:
AP075.S1.1992.PR05
Description:
Project series documents Cornelia Hahn Oberlander's landscape project for the Liu Centre for Global Studies at University of British Columbia, Vancouver. Oberlander worked on this project in 1994 with architect Arthur Erickson and architectural firm Aitken Wreglesworth Associates. The overwall concept for the project was to design an environmentally responsible building and landscape. Situated at the north edge of a mature costal forest, the main concern of the landscape design was to avoid effecting the existing woodland. Oberlander preserved all existing mature trees on the site and used only native plants and grasses. The design of the building was also though to minimize any impact on the surrounding forest, by avoiding machineries on site or pruning of existing trees. The project also included a green roof, also design by Oberlander. The project was completed in 2000. The project series includes sketches, design development drawings, including landscape plans, landscape details and planting plans, working drawings, such as planting plans and details for the green roof, and working drawings for the building used as reference. The project series also comprises a proposal, concept notes by Oberlander, correspondence with clients, architects and consultants, meetings notes, financial documents, specifications and some promotional material and press clippings on the building. The project is also documented through photographs of landscaping work.
Level of archival description:
Project
Project
Date:
1992-2009
1992-2009
People:
Level of archival description:
Project
Project
Actions:
Reference number:
AP075.S1.2001.PR01
Description:
Project series documents Cornelia Hahn Oberlander's proposal for the landscape master plan of Alberta Children's Hospital in Calgary. Oberlander worked on this project in the early 2000s. Oberlander was in charged of developping the concept for the landscape master plan and create a healing garden. Her concept included a site entry with a strong presence of the nature to reassure the visitor, the use of native plants to keep the landscape of the hospital in harmony with site natural landscape, the use of plants that encourage and support wildlife to allow sick children to appreciate nature, outdoor seating areas and pathways with lighting to be used even at nightime, and environments for play and learning for sick children and their relatives. A participatory method was also applied for the design of the master plan throughout workshops organized with the children of the hospital in which they were invited to draw what they wanted for the healing garden. The project series contains landscape plans, site plans, landscape concept plans, site concept plans and presentation drawings. The project is also documented through Oberlander's concept notes, correspondence, including correspondence with client, Oberlander's landscape proposal, landscape concept presentation documents, financial documents, research material, and photographs of the site for the hospital.
AP075.S1.2001.PR01
Description:
Project series documents Cornelia Hahn Oberlander's proposal for the landscape master plan of Alberta Children's Hospital in Calgary. Oberlander worked on this project in the early 2000s. Oberlander was in charged of developping the concept for the landscape master plan and create a healing garden. Her concept included a site entry with a strong presence of the nature to reassure the visitor, the use of native plants to keep the landscape of the hospital in harmony with site natural landscape, the use of plants that encourage and support wildlife to allow sick children to appreciate nature, outdoor seating areas and pathways with lighting to be used even at nightime, and environments for play and learning for sick children and their relatives. A participatory method was also applied for the design of the master plan throughout workshops organized with the children of the hospital in which they were invited to draw what they wanted for the healing garden. The project series contains landscape plans, site plans, landscape concept plans, site concept plans and presentation drawings. The project is also documented through Oberlander's concept notes, correspondence, including correspondence with client, Oberlander's landscape proposal, landscape concept presentation documents, financial documents, research material, and photographs of the site for the hospital.
People:
Date:
2000-2004
2000-2004
Title:
Alberta Children's Hospital, Calgary, Alberta (2001)
Actions:
AP075.S1.2001.PR01
Description:
Project series documents Cornelia Hahn Oberlander's proposal for the landscape master plan of Alberta Children's Hospital in Calgary. Oberlander worked on this project in the early 2000s. Oberlander was in charged of developping the concept for the landscape master plan and create a healing garden. Her concept included a site entry with a strong presence of the nature to reassure the visitor, the use of native plants to keep the landscape of the hospital in harmony with site natural landscape, the use of plants that encourage and support wildlife to allow sick children to appreciate nature, outdoor seating areas and pathways with lighting to be used even at nightime, and environments for play and learning for sick children and their relatives. A participatory method was also applied for the design of the master plan throughout workshops organized with the children of the hospital in which they were invited to draw what they wanted for the healing garden. The project series contains landscape plans, site plans, landscape concept plans, site concept plans and presentation drawings. The project is also documented through Oberlander's concept notes, correspondence, including correspondence with client, Oberlander's landscape proposal, landscape concept presentation documents, financial documents, research material, and photographs of the site for the hospital.
Alberta Children's Hospital, Calgary, Alberta (2001)
Actions:
AP075.S1.2001.PR01
Description:
Project series documents Cornelia Hahn Oberlander's proposal for the landscape master plan of Alberta Children's Hospital in Calgary. Oberlander worked on this project in the early 2000s. Oberlander was in charged of developping the concept for the landscape master plan and create a healing garden. Her concept included a site entry with a strong presence of the nature to reassure the visitor, the use of native plants to keep the landscape of the hospital in harmony with site natural landscape, the use of plants that encourage and support wildlife to allow sick children to appreciate nature, outdoor seating areas and pathways with lighting to be used even at nightime, and environments for play and learning for sick children and their relatives. A participatory method was also applied for the design of the master plan throughout workshops organized with the children of the hospital in which they were invited to draw what they wanted for the healing garden. The project series contains landscape plans, site plans, landscape concept plans, site concept plans and presentation drawings. The project is also documented through Oberlander's concept notes, correspondence, including correspondence with client, Oberlander's landscape proposal, landscape concept presentation documents, financial documents, research material, and photographs of the site for the hospital.
Level of archival description:
Project
Project
Date:
2000-2004
2000-2004
People:
Level of archival description:
Project
Project
Actions:
Reference number:
AP075.S1.1999.PR05
Description:
Project series documents Cornelia Hahn Oberlander's landscape project for the garden of Linda Yorke and Gordon Forbes in Vancouver, British Columbia. Oberlander worked on this project in the second half of the 1990s. She worked with architect André Rowland who was in charge of designing an addition to the residence designed in the late 1940s by Ned Pratt from architectural firm Sharp, Thompson, Berwick and & Pratt. The project consisted in redesigning the entire yard and adding a play area for children. Oberlander included terraces next to the addition to the house, planting beds and planters. The play area included a tower house accessible by a rope bridge, a two levels playhouse with wooden porch, a slide, a fireman pole and a ladder, and a small water canal with stone edges and activated by a hand pump. The project series contains landscape sketches, design development drawings, including a landscape concept plan, details, sections and elevations for play area and play structures, and building plans used as reference. The project is also documented through correspondence, including with clients, suppliers and consultants, concept notes by Oberlander, plant lists, financial material, research material, and photographs of the landscaping. Source: Herrington, Susan. Cornelia Hahn Oberlander: Making the Modern Landscape, University of Virginia Press, 2014, 304 pages.
AP075.S1.1999.PR05
Description:
Project series documents Cornelia Hahn Oberlander's landscape project for the garden of Linda Yorke and Gordon Forbes in Vancouver, British Columbia. Oberlander worked on this project in the second half of the 1990s. She worked with architect André Rowland who was in charge of designing an addition to the residence designed in the late 1940s by Ned Pratt from architectural firm Sharp, Thompson, Berwick and & Pratt. The project consisted in redesigning the entire yard and adding a play area for children. Oberlander included terraces next to the addition to the house, planting beds and planters. The play area included a tower house accessible by a rope bridge, a two levels playhouse with wooden porch, a slide, a fireman pole and a ladder, and a small water canal with stone edges and activated by a hand pump. The project series contains landscape sketches, design development drawings, including a landscape concept plan, details, sections and elevations for play area and play structures, and building plans used as reference. The project is also documented through correspondence, including with clients, suppliers and consultants, concept notes by Oberlander, plant lists, financial material, research material, and photographs of the landscaping. Source: Herrington, Susan. Cornelia Hahn Oberlander: Making the Modern Landscape, University of Virginia Press, 2014, 304 pages.
People:
Date:
1947-2006
1947-2006
Title:
Yorke-Forbes Residence, Vancouver, British Columbia (1999)
Actions:
AP075.S1.1999.PR05
Description:
Project series documents Cornelia Hahn Oberlander's landscape project for the garden of Linda Yorke and Gordon Forbes in Vancouver, British Columbia. Oberlander worked on this project in the second half of the 1990s. She worked with architect André Rowland who was in charge of designing an addition to the residence designed in the late 1940s by Ned Pratt from architectural firm Sharp, Thompson, Berwick and & Pratt. The project consisted in redesigning the entire yard and adding a play area for children. Oberlander included terraces next to the addition to the house, planting beds and planters. The play area included a tower house accessible by a rope bridge, a two levels playhouse with wooden porch, a slide, a fireman pole and a ladder, and a small water canal with stone edges and activated by a hand pump. The project series contains landscape sketches, design development drawings, including a landscape concept plan, details, sections and elevations for play area and play structures, and building plans used as reference. The project is also documented through correspondence, including with clients, suppliers and consultants, concept notes by Oberlander, plant lists, financial material, research material, and photographs of the landscaping. Source: Herrington, Susan. Cornelia Hahn Oberlander: Making the Modern Landscape, University of Virginia Press, 2014, 304 pages.
Yorke-Forbes Residence, Vancouver, British Columbia (1999)
Actions:
AP075.S1.1999.PR05
Description:
Project series documents Cornelia Hahn Oberlander's landscape project for the garden of Linda Yorke and Gordon Forbes in Vancouver, British Columbia. Oberlander worked on this project in the second half of the 1990s. She worked with architect André Rowland who was in charge of designing an addition to the residence designed in the late 1940s by Ned Pratt from architectural firm Sharp, Thompson, Berwick and & Pratt. The project consisted in redesigning the entire yard and adding a play area for children. Oberlander included terraces next to the addition to the house, planting beds and planters. The play area included a tower house accessible by a rope bridge, a two levels playhouse with wooden porch, a slide, a fireman pole and a ladder, and a small water canal with stone edges and activated by a hand pump. The project series contains landscape sketches, design development drawings, including a landscape concept plan, details, sections and elevations for play area and play structures, and building plans used as reference. The project is also documented through correspondence, including with clients, suppliers and consultants, concept notes by Oberlander, plant lists, financial material, research material, and photographs of the landscaping. Source: Herrington, Susan. Cornelia Hahn Oberlander: Making the Modern Landscape, University of Virginia Press, 2014, 304 pages.
Level of archival description:
Project
Project
Date:
1947-2006
1947-2006
People:
Level of archival description:
Project
Project
Actions:
Reference number:
AP046.S1.1983.PR01
Description:
This project series documents the design and construction of the Canadian Centre for Architecture, Montréal, Québec. After initially working as a consultant on the CCA warehouse project in the early 1980s, Peter Rose began designing the current CCA building in 1983. Architect, Erol Argun joined the project in 1985. The CCA building integrates the historic Shaughnessy House whose restoration ran concurrently with the CCA construction and was supervised by architect Denis St-Louis. For the realization of the Canadian Centre for Architecture, Rose worked in collaboration with the CCA’s founder and consulting architect, Phyllis Lambert and architects Erol Argun and Denis St. Louis. The CCA’s unique design and construction earned Rose a Prix d'excellence from the Ordre des architectes du Québec (1989), a National Honour Award from the American Institute of Architects (1992), a Governor General’s Award for Architecture (1992), and a Medal of Excellence from the Royal Architectural Institute of Canada (1993). The drawings in this project are largely arranged chronologically from the restoration of the Shaughnessy House to the design and construction of the CCA building. The bulk of the drawings are dated between 1985 and 1989 which correspond with the dates of construction, however there is a large number of sketches from 1983 on. Any materials which are not explicitly dated have been given the date range of the project. The textual records include minutes, correspondence with contractors, consultants and suppliers which often include discussions of design revisions, reports, architectural plan record sets, administrative files, architectural change orders, and files specific to the Shaughnessy House restoration. The majority of the records follow the original file structure, the largest two categories being Consultants, and Builder / Construction manager. There are also approximately 1.32 l.m. of architectural and shop drawings which were kept with the textual records. The photographic material includes mainly research and reference photographs and documents the CCA construction phases as well as a few photographs that document the Shaughnessy House restoration. The models are presentation and development models for the CCA building. These models provide views of Shaughnessy House, the entrance pavilion to the CCA, the galleries, library, Alcan Scholar’s wing, the Paul Desmarais Theatre, mock-ups of the CCA’s handrails and exterior wall facades as well as lamp bases for the Shaughnessy House. In order to better navigate the materials it is important to note that when referring exclusively to the CCA floor plans or to floor plans which show both the CCA and Shaughnessy House, Rose often uses the term “level” with the height in feet above sea level, for example, level 149’ 9” is the main floor. However, architectural plans exclusively for Shaughnessy House often use floor numbers. It should also be noted that all plans for the Paul Desmarais Theatre are labeled as auditorium.
AP046.S1.1983.PR01
Description:
This project series documents the design and construction of the Canadian Centre for Architecture, Montréal, Québec. After initially working as a consultant on the CCA warehouse project in the early 1980s, Peter Rose began designing the current CCA building in 1983. Architect, Erol Argun joined the project in 1985. The CCA building integrates the historic Shaughnessy House whose restoration ran concurrently with the CCA construction and was supervised by architect Denis St-Louis. For the realization of the Canadian Centre for Architecture, Rose worked in collaboration with the CCA’s founder and consulting architect, Phyllis Lambert and architects Erol Argun and Denis St. Louis. The CCA’s unique design and construction earned Rose a Prix d'excellence from the Ordre des architectes du Québec (1989), a National Honour Award from the American Institute of Architects (1992), a Governor General’s Award for Architecture (1992), and a Medal of Excellence from the Royal Architectural Institute of Canada (1993). The drawings in this project are largely arranged chronologically from the restoration of the Shaughnessy House to the design and construction of the CCA building. The bulk of the drawings are dated between 1985 and 1989 which correspond with the dates of construction, however there is a large number of sketches from 1983 on. Any materials which are not explicitly dated have been given the date range of the project. The textual records include minutes, correspondence with contractors, consultants and suppliers which often include discussions of design revisions, reports, architectural plan record sets, administrative files, architectural change orders, and files specific to the Shaughnessy House restoration. The majority of the records follow the original file structure, the largest two categories being Consultants, and Builder / Construction manager. There are also approximately 1.32 l.m. of architectural and shop drawings which were kept with the textual records. The photographic material includes mainly research and reference photographs and documents the CCA construction phases as well as a few photographs that document the Shaughnessy House restoration. The models are presentation and development models for the CCA building. These models provide views of Shaughnessy House, the entrance pavilion to the CCA, the galleries, library, Alcan Scholar’s wing, the Paul Desmarais Theatre, mock-ups of the CCA’s handrails and exterior wall facades as well as lamp bases for the Shaughnessy House. In order to better navigate the materials it is important to note that when referring exclusively to the CCA floor plans or to floor plans which show both the CCA and Shaughnessy House, Rose often uses the term “level” with the height in feet above sea level, for example, level 149’ 9” is the main floor. However, architectural plans exclusively for Shaughnessy House often use floor numbers. It should also be noted that all plans for the Paul Desmarais Theatre are labeled as auditorium.
People:
Date:
1983-1989
1983-1989
Title:
Canadian Centre for Architecture, Montréal, Québec
Actions:
AP046.S1.1983.PR01
Description:
This project series documents the design and construction of the Canadian Centre for Architecture, Montréal, Québec. After initially working as a consultant on the CCA warehouse project in the early 1980s, Peter Rose began designing the current CCA building in 1983. Architect, Erol Argun joined the project in 1985. The CCA building integrates the historic Shaughnessy House whose restoration ran concurrently with the CCA construction and was supervised by architect Denis St-Louis. For the realization of the Canadian Centre for Architecture, Rose worked in collaboration with the CCA’s founder and consulting architect, Phyllis Lambert and architects Erol Argun and Denis St. Louis. The CCA’s unique design and construction earned Rose a Prix d'excellence from the Ordre des architectes du Québec (1989), a National Honour Award from the American Institute of Architects (1992), a Governor General’s Award for Architecture (1992), and a Medal of Excellence from the Royal Architectural Institute of Canada (1993). The drawings in this project are largely arranged chronologically from the restoration of the Shaughnessy House to the design and construction of the CCA building. The bulk of the drawings are dated between 1985 and 1989 which correspond with the dates of construction, however there is a large number of sketches from 1983 on. Any materials which are not explicitly dated have been given the date range of the project. The textual records include minutes, correspondence with contractors, consultants and suppliers which often include discussions of design revisions, reports, architectural plan record sets, administrative files, architectural change orders, and files specific to the Shaughnessy House restoration. The majority of the records follow the original file structure, the largest two categories being Consultants, and Builder / Construction manager. There are also approximately 1.32 l.m. of architectural and shop drawings which were kept with the textual records. The photographic material includes mainly research and reference photographs and documents the CCA construction phases as well as a few photographs that document the Shaughnessy House restoration. The models are presentation and development models for the CCA building. These models provide views of Shaughnessy House, the entrance pavilion to the CCA, the galleries, library, Alcan Scholar’s wing, the Paul Desmarais Theatre, mock-ups of the CCA’s handrails and exterior wall facades as well as lamp bases for the Shaughnessy House. In order to better navigate the materials it is important to note that when referring exclusively to the CCA floor plans or to floor plans which show both the CCA and Shaughnessy House, Rose often uses the term “level” with the height in feet above sea level, for example, level 149’ 9” is the main floor. However, architectural plans exclusively for Shaughnessy House often use floor numbers. It should also be noted that all plans for the Paul Desmarais Theatre are labeled as auditorium.
Canadian Centre for Architecture, Montréal, Québec
Actions:
AP046.S1.1983.PR01
Description:
This project series documents the design and construction of the Canadian Centre for Architecture, Montréal, Québec. After initially working as a consultant on the CCA warehouse project in the early 1980s, Peter Rose began designing the current CCA building in 1983. Architect, Erol Argun joined the project in 1985. The CCA building integrates the historic Shaughnessy House whose restoration ran concurrently with the CCA construction and was supervised by architect Denis St-Louis. For the realization of the Canadian Centre for Architecture, Rose worked in collaboration with the CCA’s founder and consulting architect, Phyllis Lambert and architects Erol Argun and Denis St. Louis. The CCA’s unique design and construction earned Rose a Prix d'excellence from the Ordre des architectes du Québec (1989), a National Honour Award from the American Institute of Architects (1992), a Governor General’s Award for Architecture (1992), and a Medal of Excellence from the Royal Architectural Institute of Canada (1993). The drawings in this project are largely arranged chronologically from the restoration of the Shaughnessy House to the design and construction of the CCA building. The bulk of the drawings are dated between 1985 and 1989 which correspond with the dates of construction, however there is a large number of sketches from 1983 on. Any materials which are not explicitly dated have been given the date range of the project. The textual records include minutes, correspondence with contractors, consultants and suppliers which often include discussions of design revisions, reports, architectural plan record sets, administrative files, architectural change orders, and files specific to the Shaughnessy House restoration. The majority of the records follow the original file structure, the largest two categories being Consultants, and Builder / Construction manager. There are also approximately 1.32 l.m. of architectural and shop drawings which were kept with the textual records. The photographic material includes mainly research and reference photographs and documents the CCA construction phases as well as a few photographs that document the Shaughnessy House restoration. The models are presentation and development models for the CCA building. These models provide views of Shaughnessy House, the entrance pavilion to the CCA, the galleries, library, Alcan Scholar’s wing, the Paul Desmarais Theatre, mock-ups of the CCA’s handrails and exterior wall facades as well as lamp bases for the Shaughnessy House. In order to better navigate the materials it is important to note that when referring exclusively to the CCA floor plans or to floor plans which show both the CCA and Shaughnessy House, Rose often uses the term “level” with the height in feet above sea level, for example, level 149’ 9” is the main floor. However, architectural plans exclusively for Shaughnessy House often use floor numbers. It should also be noted that all plans for the Paul Desmarais Theatre are labeled as auditorium.
Level of archival description:
Project
Project
Date:
1983-1989
1983-1989
People:
Level of archival description:
Project
Project
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Reference number:
AP056.S1.1987.PR02
Description:
This project series documents a competition entry for the design of Ottawa City Hall in Ottawa, Ontario from 1987-1988. The office identified the project number as 8711. This competition for Ottawa's new city hall called for a contemporary building that would integrate the old city hall, originally built in the 1950s and located on Green Island in the Rideau Canal. Set between Sussex Drive and Union Street, this project consisted of 1 building with 6 distinct parts: the old office building, the new office building, the City Room, the Council Chamber, the podium, and the daycare centre. The old office building was the original modernist-style city hall that would now serve as office spaces for civic workers. It would be renovated to create better circulation with the new extension. The new office building, serving a similar function, would sit behind the old one to create an L-shape on half of the perimeter. It had a large civic tower on one end that would serve as an observation deck. The City Room, a three-storey element in the centre of the structure, had a distinctive roof made up of more than a dozen small pyramids. Whitton Hall would be used as a ceremonial space, the building's lobby, a major central assembly hall, and meeting rooms. The council chambers were located in a self-contained rotunda, which also had press offices on the ground floor. The daycare centre consisted of a rectangular pavilion, set on a diagonal axis from the rest of City Hall. All of these elements sat on a raised podium that had landscaped terraces and gardens around the building's exterior. The terrace offered stunning views of the Ottawa cityscape across the canal. The podium contained one level of parking, with two additional levels below ground. This project was conceptualized to have two distinct fronts, one with its formal address on Sussex Drive that had a ceremonial entrance called the Plaza of Nations, and one off Union Street beneath the podium and underneath the Peace Bell. KPMB's entry proposed a building that would integrate with the existing system of green parks and walkways already present on the island. However, this was not the winning design for the competition and the project was eventually realized by architect Moshe Safdie. This project is recorded through drawings, photographs, a model and watercolour paintings dating from 1987-1988. The drawings are mostly originals and include sketches, surveys and site plans, floor plans, elevations, sections, perspectives and axonometrics of the design. There are also a number of presentation panels that show the final competition submission with short texts about the design intention and construction phasing. The watercolours present the building's exterior and photographs show different views of the project model.
AP056.S1.1987.PR02
Description:
This project series documents a competition entry for the design of Ottawa City Hall in Ottawa, Ontario from 1987-1988. The office identified the project number as 8711. This competition for Ottawa's new city hall called for a contemporary building that would integrate the old city hall, originally built in the 1950s and located on Green Island in the Rideau Canal. Set between Sussex Drive and Union Street, this project consisted of 1 building with 6 distinct parts: the old office building, the new office building, the City Room, the Council Chamber, the podium, and the daycare centre. The old office building was the original modernist-style city hall that would now serve as office spaces for civic workers. It would be renovated to create better circulation with the new extension. The new office building, serving a similar function, would sit behind the old one to create an L-shape on half of the perimeter. It had a large civic tower on one end that would serve as an observation deck. The City Room, a three-storey element in the centre of the structure, had a distinctive roof made up of more than a dozen small pyramids. Whitton Hall would be used as a ceremonial space, the building's lobby, a major central assembly hall, and meeting rooms. The council chambers were located in a self-contained rotunda, which also had press offices on the ground floor. The daycare centre consisted of a rectangular pavilion, set on a diagonal axis from the rest of City Hall. All of these elements sat on a raised podium that had landscaped terraces and gardens around the building's exterior. The terrace offered stunning views of the Ottawa cityscape across the canal. The podium contained one level of parking, with two additional levels below ground. This project was conceptualized to have two distinct fronts, one with its formal address on Sussex Drive that had a ceremonial entrance called the Plaza of Nations, and one off Union Street beneath the podium and underneath the Peace Bell. KPMB's entry proposed a building that would integrate with the existing system of green parks and walkways already present on the island. However, this was not the winning design for the competition and the project was eventually realized by architect Moshe Safdie. This project is recorded through drawings, photographs, a model and watercolour paintings dating from 1987-1988. The drawings are mostly originals and include sketches, surveys and site plans, floor plans, elevations, sections, perspectives and axonometrics of the design. There are also a number of presentation panels that show the final competition submission with short texts about the design intention and construction phasing. The watercolours present the building's exterior and photographs show different views of the project model.
People:
Date:
1987-1988
1987-1988
Title:
Ottawa City Hall Competition, Ontario (1987-1988)
Actions:
AP056.S1.1987.PR02
Description:
This project series documents a competition entry for the design of Ottawa City Hall in Ottawa, Ontario from 1987-1988. The office identified the project number as 8711. This competition for Ottawa's new city hall called for a contemporary building that would integrate the old city hall, originally built in the 1950s and located on Green Island in the Rideau Canal. Set between Sussex Drive and Union Street, this project consisted of 1 building with 6 distinct parts: the old office building, the new office building, the City Room, the Council Chamber, the podium, and the daycare centre. The old office building was the original modernist-style city hall that would now serve as office spaces for civic workers. It would be renovated to create better circulation with the new extension. The new office building, serving a similar function, would sit behind the old one to create an L-shape on half of the perimeter. It had a large civic tower on one end that would serve as an observation deck. The City Room, a three-storey element in the centre of the structure, had a distinctive roof made up of more than a dozen small pyramids. Whitton Hall would be used as a ceremonial space, the building's lobby, a major central assembly hall, and meeting rooms. The council chambers were located in a self-contained rotunda, which also had press offices on the ground floor. The daycare centre consisted of a rectangular pavilion, set on a diagonal axis from the rest of City Hall. All of these elements sat on a raised podium that had landscaped terraces and gardens around the building's exterior. The terrace offered stunning views of the Ottawa cityscape across the canal. The podium contained one level of parking, with two additional levels below ground. This project was conceptualized to have two distinct fronts, one with its formal address on Sussex Drive that had a ceremonial entrance called the Plaza of Nations, and one off Union Street beneath the podium and underneath the Peace Bell. KPMB's entry proposed a building that would integrate with the existing system of green parks and walkways already present on the island. However, this was not the winning design for the competition and the project was eventually realized by architect Moshe Safdie. This project is recorded through drawings, photographs, a model and watercolour paintings dating from 1987-1988. The drawings are mostly originals and include sketches, surveys and site plans, floor plans, elevations, sections, perspectives and axonometrics of the design. There are also a number of presentation panels that show the final competition submission with short texts about the design intention and construction phasing. The watercolours present the building's exterior and photographs show different views of the project model.
Ottawa City Hall Competition, Ontario (1987-1988)
Actions:
AP056.S1.1987.PR02
Description:
This project series documents a competition entry for the design of Ottawa City Hall in Ottawa, Ontario from 1987-1988. The office identified the project number as 8711. This competition for Ottawa's new city hall called for a contemporary building that would integrate the old city hall, originally built in the 1950s and located on Green Island in the Rideau Canal. Set between Sussex Drive and Union Street, this project consisted of 1 building with 6 distinct parts: the old office building, the new office building, the City Room, the Council Chamber, the podium, and the daycare centre. The old office building was the original modernist-style city hall that would now serve as office spaces for civic workers. It would be renovated to create better circulation with the new extension. The new office building, serving a similar function, would sit behind the old one to create an L-shape on half of the perimeter. It had a large civic tower on one end that would serve as an observation deck. The City Room, a three-storey element in the centre of the structure, had a distinctive roof made up of more than a dozen small pyramids. Whitton Hall would be used as a ceremonial space, the building's lobby, a major central assembly hall, and meeting rooms. The council chambers were located in a self-contained rotunda, which also had press offices on the ground floor. The daycare centre consisted of a rectangular pavilion, set on a diagonal axis from the rest of City Hall. All of these elements sat on a raised podium that had landscaped terraces and gardens around the building's exterior. The terrace offered stunning views of the Ottawa cityscape across the canal. The podium contained one level of parking, with two additional levels below ground. This project was conceptualized to have two distinct fronts, one with its formal address on Sussex Drive that had a ceremonial entrance called the Plaza of Nations, and one off Union Street beneath the podium and underneath the Peace Bell. KPMB's entry proposed a building that would integrate with the existing system of green parks and walkways already present on the island. However, this was not the winning design for the competition and the project was eventually realized by architect Moshe Safdie. This project is recorded through drawings, photographs, a model and watercolour paintings dating from 1987-1988. The drawings are mostly originals and include sketches, surveys and site plans, floor plans, elevations, sections, perspectives and axonometrics of the design. There are also a number of presentation panels that show the final competition submission with short texts about the design intention and construction phasing. The watercolours present the building's exterior and photographs show different views of the project model.
Level of archival description:
Project
Project
Date:
1987-1988
1987-1988
People:
Level of archival description:
Project
Project
Reference number:
AP018.S1.1969.PR01
Description:
This project series documents the expansion of the Art Gallery of Ontario (AGO) in Toronto from 1969-1974. The office identified the project as number 69006. This project consisted of the vast expansion of the AGO that began in 1969, which largely came about due to a multi-million dollar donation from English sculpture Henry Moore. Most prominent in this project was the design and construction of the Henry Moore Sculpture Centre, a new gallery to house the extensive artworks of Henry Moore in the AGO’s collection. This included $15 million’s worth of art that Moore donated at the start of the project. The project was made up of two phases. The first included construction of the Henry Moore Sculpture Centre, the Sam and Ayala Zacks Wing, a link to the pre-existing Grange mansion, and updates to the art gallery’s finishes. The second phase proposed additional updates to existing finishes. By the end of this project, the architects had also added a public lounge, dining room and cafeteria, a members’ lounge, lecture areas (including the Henry Moore Lecture Hall), classrooms, and spaces for the gallery’s special services. The work was further divided into 4 physical areas of the art gallery (A, B, C and D) and the drawings for this project reflect this division. Before this work had been completed, a “Stage II” to the expansion had already been approved by the owners (Stage II is also included in this fonds, see AP018.S1.1972.PR08). In the documentation, this project was originally called the Henry Moore Sculpture Centre, Art Gallery of Ontario, Expansion Phases 1 and 2. However, as multiple stages to the expansion developed later on, this project eventually became known as the Stage I Expansion. While the project contract was originally given to John B. Parkin Associates, John C. Parkin continued the project under his new firm, Parkin Architects Planners, after parting ways with partner John B. Parkin in 1971. The project is recorded through drawings, textual records, and mounted photographs dating from 1968-1986. There are numerous original drawings showing the design development of the new galleries. Two presentation boards show photographs of the project model. The textual records consist of correspondence with contractors and clients, inspection and other site reports, specifications, contract data, consultancy records, schedules, change orders, financial documentation, conference reports, area calculations, research materials, detail planning records, and project notebooks. Box AP018.S1.1969.PR01.007 contains an index to the textual records, which was created by the office. This project series also contains one box of textual documentation that spans across multiple project series related to the AGO expansion within this fonds (see AP018.S1.1969.PR01.044). This includes press releases, newspaper articles, project proposals and studies, correspondence with Henry Moore, meeting minutes and reports.
AP018.S1.1969.PR01
Description:
This project series documents the expansion of the Art Gallery of Ontario (AGO) in Toronto from 1969-1974. The office identified the project as number 69006. This project consisted of the vast expansion of the AGO that began in 1969, which largely came about due to a multi-million dollar donation from English sculpture Henry Moore. Most prominent in this project was the design and construction of the Henry Moore Sculpture Centre, a new gallery to house the extensive artworks of Henry Moore in the AGO’s collection. This included $15 million’s worth of art that Moore donated at the start of the project. The project was made up of two phases. The first included construction of the Henry Moore Sculpture Centre, the Sam and Ayala Zacks Wing, a link to the pre-existing Grange mansion, and updates to the art gallery’s finishes. The second phase proposed additional updates to existing finishes. By the end of this project, the architects had also added a public lounge, dining room and cafeteria, a members’ lounge, lecture areas (including the Henry Moore Lecture Hall), classrooms, and spaces for the gallery’s special services. The work was further divided into 4 physical areas of the art gallery (A, B, C and D) and the drawings for this project reflect this division. Before this work had been completed, a “Stage II” to the expansion had already been approved by the owners (Stage II is also included in this fonds, see AP018.S1.1972.PR08). In the documentation, this project was originally called the Henry Moore Sculpture Centre, Art Gallery of Ontario, Expansion Phases 1 and 2. However, as multiple stages to the expansion developed later on, this project eventually became known as the Stage I Expansion. While the project contract was originally given to John B. Parkin Associates, John C. Parkin continued the project under his new firm, Parkin Architects Planners, after parting ways with partner John B. Parkin in 1971. The project is recorded through drawings, textual records, and mounted photographs dating from 1968-1986. There are numerous original drawings showing the design development of the new galleries. Two presentation boards show photographs of the project model. The textual records consist of correspondence with contractors and clients, inspection and other site reports, specifications, contract data, consultancy records, schedules, change orders, financial documentation, conference reports, area calculations, research materials, detail planning records, and project notebooks. Box AP018.S1.1969.PR01.007 contains an index to the textual records, which was created by the office. This project series also contains one box of textual documentation that spans across multiple project series related to the AGO expansion within this fonds (see AP018.S1.1969.PR01.044). This includes press releases, newspaper articles, project proposals and studies, correspondence with Henry Moore, meeting minutes and reports.
People:
Date:
1968-1986
1968-1986
Title:
Henry Moore Sculpture Centre, Art Gallery of Ontario, Stage I Expansion, Toronto (1969-1974)
Actions:
AP018.S1.1969.PR01
Description:
This project series documents the expansion of the Art Gallery of Ontario (AGO) in Toronto from 1969-1974. The office identified the project as number 69006. This project consisted of the vast expansion of the AGO that began in 1969, which largely came about due to a multi-million dollar donation from English sculpture Henry Moore. Most prominent in this project was the design and construction of the Henry Moore Sculpture Centre, a new gallery to house the extensive artworks of Henry Moore in the AGO’s collection. This included $15 million’s worth of art that Moore donated at the start of the project. The project was made up of two phases. The first included construction of the Henry Moore Sculpture Centre, the Sam and Ayala Zacks Wing, a link to the pre-existing Grange mansion, and updates to the art gallery’s finishes. The second phase proposed additional updates to existing finishes. By the end of this project, the architects had also added a public lounge, dining room and cafeteria, a members’ lounge, lecture areas (including the Henry Moore Lecture Hall), classrooms, and spaces for the gallery’s special services. The work was further divided into 4 physical areas of the art gallery (A, B, C and D) and the drawings for this project reflect this division. Before this work had been completed, a “Stage II” to the expansion had already been approved by the owners (Stage II is also included in this fonds, see AP018.S1.1972.PR08). In the documentation, this project was originally called the Henry Moore Sculpture Centre, Art Gallery of Ontario, Expansion Phases 1 and 2. However, as multiple stages to the expansion developed later on, this project eventually became known as the Stage I Expansion. While the project contract was originally given to John B. Parkin Associates, John C. Parkin continued the project under his new firm, Parkin Architects Planners, after parting ways with partner John B. Parkin in 1971. The project is recorded through drawings, textual records, and mounted photographs dating from 1968-1986. There are numerous original drawings showing the design development of the new galleries. Two presentation boards show photographs of the project model. The textual records consist of correspondence with contractors and clients, inspection and other site reports, specifications, contract data, consultancy records, schedules, change orders, financial documentation, conference reports, area calculations, research materials, detail planning records, and project notebooks. Box AP018.S1.1969.PR01.007 contains an index to the textual records, which was created by the office. This project series also contains one box of textual documentation that spans across multiple project series related to the AGO expansion within this fonds (see AP018.S1.1969.PR01.044). This includes press releases, newspaper articles, project proposals and studies, correspondence with Henry Moore, meeting minutes and reports.
Henry Moore Sculpture Centre, Art Gallery of Ontario, Stage I Expansion, Toronto (1969-1974)
Actions:
AP018.S1.1969.PR01
Description:
This project series documents the expansion of the Art Gallery of Ontario (AGO) in Toronto from 1969-1974. The office identified the project as number 69006. This project consisted of the vast expansion of the AGO that began in 1969, which largely came about due to a multi-million dollar donation from English sculpture Henry Moore. Most prominent in this project was the design and construction of the Henry Moore Sculpture Centre, a new gallery to house the extensive artworks of Henry Moore in the AGO’s collection. This included $15 million’s worth of art that Moore donated at the start of the project. The project was made up of two phases. The first included construction of the Henry Moore Sculpture Centre, the Sam and Ayala Zacks Wing, a link to the pre-existing Grange mansion, and updates to the art gallery’s finishes. The second phase proposed additional updates to existing finishes. By the end of this project, the architects had also added a public lounge, dining room and cafeteria, a members’ lounge, lecture areas (including the Henry Moore Lecture Hall), classrooms, and spaces for the gallery’s special services. The work was further divided into 4 physical areas of the art gallery (A, B, C and D) and the drawings for this project reflect this division. Before this work had been completed, a “Stage II” to the expansion had already been approved by the owners (Stage II is also included in this fonds, see AP018.S1.1972.PR08). In the documentation, this project was originally called the Henry Moore Sculpture Centre, Art Gallery of Ontario, Expansion Phases 1 and 2. However, as multiple stages to the expansion developed later on, this project eventually became known as the Stage I Expansion. While the project contract was originally given to John B. Parkin Associates, John C. Parkin continued the project under his new firm, Parkin Architects Planners, after parting ways with partner John B. Parkin in 1971. The project is recorded through drawings, textual records, and mounted photographs dating from 1968-1986. There are numerous original drawings showing the design development of the new galleries. Two presentation boards show photographs of the project model. The textual records consist of correspondence with contractors and clients, inspection and other site reports, specifications, contract data, consultancy records, schedules, change orders, financial documentation, conference reports, area calculations, research materials, detail planning records, and project notebooks. Box AP018.S1.1969.PR01.007 contains an index to the textual records, which was created by the office. This project series also contains one box of textual documentation that spans across multiple project series related to the AGO expansion within this fonds (see AP018.S1.1969.PR01.044). This includes press releases, newspaper articles, project proposals and studies, correspondence with Henry Moore, meeting minutes and reports.
Level of archival description:
Project
Project
Date:
1968-1986
1968-1986
People:
Level of archival description:
Project
Project
Actions:
Reference number:
AP198.S1.1997.PR02
Description:
Project records document the design process for OCEAN North’s competition entry for the Jyväskylä Music and Arts Centre in 1997. The project was titled Terra Cultura by OCEAN North. The international competition called to create a multi-usage space that would include a venue for the symphonic orchestra, a music school, exhibition spaces, and the possibility to host a variety of small cultural events in the Finnish city of Jyväskylä. The proposed site is in the center of the town, across the street from the Jyväskylä city church and its park, and nearby buildings designed by Alvar Aalto. OCEAN North’s concept presents a topological surface as an extension of the surrounding urban scape with two masses that would host the formal functions of the building (concert hall, music school, exhibition halls). The two volumes, or raised blocks, are divided along a diagonal elevated space, which is the extension of the ground’s topological surface filled and dubbed “Liquid Flow Space” by the design team. In their interview with Greg Lynn, Johan Bettum and Kivi Sotamaa mentioned that the idea for Jyväskylä was that it was a cloud. Digital files, in particular, show the process to achieve the projected design. Drawings provide views of streamed particles and of resulting peels. They also include plans, elevations and axonometric views of the structure. Most files are raster or vector images, likely saved from CAD software. A few files are in CAD formats such as Microstation, 3D Studio and form*Z. Digital files also present sine wave analysis and resulting charts for each component of the program. The analysis and charts present the relationships between various components of the building’s program such as the Art Museum, the Concert Halls, the technical space, and the Common facilities. These files are raster images and spreadsheets. Photographs of the site in Jyväskylä and of models built by OCEAN North were digitized and are included with the digital working files. Physical drawings are chiefly floor plans for the building, but also include sections and sketches. Finally, project files include photographic prints of two built models. One of these models, a small model of the conceptual masses of the building structure, is itself in the archive. Photographs show the model in the context of a city scape model. The second model, not part of the archive at CCA, was built at a bigger scale and was an intricate cardboard and wooden stick structure. Sources: Softspace: from a representation of form to a simulation of space, Edited by Sean Lally and Jessica Young. London, New York: Routledge, 2007. Greg Lynn, ed. Archaeology of the Digital 17: OCEAN North, Jyväskylä Music and Arts Centre, Montréal: Canadian Centre for Architecture, 2017. ePub.
AP198.S1.1997.PR02
Description:
Project records document the design process for OCEAN North’s competition entry for the Jyväskylä Music and Arts Centre in 1997. The project was titled Terra Cultura by OCEAN North. The international competition called to create a multi-usage space that would include a venue for the symphonic orchestra, a music school, exhibition spaces, and the possibility to host a variety of small cultural events in the Finnish city of Jyväskylä. The proposed site is in the center of the town, across the street from the Jyväskylä city church and its park, and nearby buildings designed by Alvar Aalto. OCEAN North’s concept presents a topological surface as an extension of the surrounding urban scape with two masses that would host the formal functions of the building (concert hall, music school, exhibition halls). The two volumes, or raised blocks, are divided along a diagonal elevated space, which is the extension of the ground’s topological surface filled and dubbed “Liquid Flow Space” by the design team. In their interview with Greg Lynn, Johan Bettum and Kivi Sotamaa mentioned that the idea for Jyväskylä was that it was a cloud. Digital files, in particular, show the process to achieve the projected design. Drawings provide views of streamed particles and of resulting peels. They also include plans, elevations and axonometric views of the structure. Most files are raster or vector images, likely saved from CAD software. A few files are in CAD formats such as Microstation, 3D Studio and form*Z. Digital files also present sine wave analysis and resulting charts for each component of the program. The analysis and charts present the relationships between various components of the building’s program such as the Art Museum, the Concert Halls, the technical space, and the Common facilities. These files are raster images and spreadsheets. Photographs of the site in Jyväskylä and of models built by OCEAN North were digitized and are included with the digital working files. Physical drawings are chiefly floor plans for the building, but also include sections and sketches. Finally, project files include photographic prints of two built models. One of these models, a small model of the conceptual masses of the building structure, is itself in the archive. Photographs show the model in the context of a city scape model. The second model, not part of the archive at CCA, was built at a bigger scale and was an intricate cardboard and wooden stick structure. Sources: Softspace: from a representation of form to a simulation of space, Edited by Sean Lally and Jessica Young. London, New York: Routledge, 2007. Greg Lynn, ed. Archaeology of the Digital 17: OCEAN North, Jyväskylä Music and Arts Centre, Montréal: Canadian Centre for Architecture, 2017. ePub.
People:
Date:
1997
1997
Title:
Terra Cultura – Jyväskylä Music and Arts Centre, international competition entry
Actions:
AP198.S1.1997.PR02
Description:
Project records document the design process for OCEAN North’s competition entry for the Jyväskylä Music and Arts Centre in 1997. The project was titled Terra Cultura by OCEAN North. The international competition called to create a multi-usage space that would include a venue for the symphonic orchestra, a music school, exhibition spaces, and the possibility to host a variety of small cultural events in the Finnish city of Jyväskylä. The proposed site is in the center of the town, across the street from the Jyväskylä city church and its park, and nearby buildings designed by Alvar Aalto. OCEAN North’s concept presents a topological surface as an extension of the surrounding urban scape with two masses that would host the formal functions of the building (concert hall, music school, exhibition halls). The two volumes, or raised blocks, are divided along a diagonal elevated space, which is the extension of the ground’s topological surface filled and dubbed “Liquid Flow Space” by the design team. In their interview with Greg Lynn, Johan Bettum and Kivi Sotamaa mentioned that the idea for Jyväskylä was that it was a cloud. Digital files, in particular, show the process to achieve the projected design. Drawings provide views of streamed particles and of resulting peels. They also include plans, elevations and axonometric views of the structure. Most files are raster or vector images, likely saved from CAD software. A few files are in CAD formats such as Microstation, 3D Studio and form*Z. Digital files also present sine wave analysis and resulting charts for each component of the program. The analysis and charts present the relationships between various components of the building’s program such as the Art Museum, the Concert Halls, the technical space, and the Common facilities. These files are raster images and spreadsheets. Photographs of the site in Jyväskylä and of models built by OCEAN North were digitized and are included with the digital working files. Physical drawings are chiefly floor plans for the building, but also include sections and sketches. Finally, project files include photographic prints of two built models. One of these models, a small model of the conceptual masses of the building structure, is itself in the archive. Photographs show the model in the context of a city scape model. The second model, not part of the archive at CCA, was built at a bigger scale and was an intricate cardboard and wooden stick structure. Sources: Softspace: from a representation of form to a simulation of space, Edited by Sean Lally and Jessica Young. London, New York: Routledge, 2007. Greg Lynn, ed. Archaeology of the Digital 17: OCEAN North, Jyväskylä Music and Arts Centre, Montréal: Canadian Centre for Architecture, 2017. ePub.
Terra Cultura – Jyväskylä Music and Arts Centre, international competition entry
Actions:
AP198.S1.1997.PR02
Description:
Project records document the design process for OCEAN North’s competition entry for the Jyväskylä Music and Arts Centre in 1997. The project was titled Terra Cultura by OCEAN North. The international competition called to create a multi-usage space that would include a venue for the symphonic orchestra, a music school, exhibition spaces, and the possibility to host a variety of small cultural events in the Finnish city of Jyväskylä. The proposed site is in the center of the town, across the street from the Jyväskylä city church and its park, and nearby buildings designed by Alvar Aalto. OCEAN North’s concept presents a topological surface as an extension of the surrounding urban scape with two masses that would host the formal functions of the building (concert hall, music school, exhibition halls). The two volumes, or raised blocks, are divided along a diagonal elevated space, which is the extension of the ground’s topological surface filled and dubbed “Liquid Flow Space” by the design team. In their interview with Greg Lynn, Johan Bettum and Kivi Sotamaa mentioned that the idea for Jyväskylä was that it was a cloud. Digital files, in particular, show the process to achieve the projected design. Drawings provide views of streamed particles and of resulting peels. They also include plans, elevations and axonometric views of the structure. Most files are raster or vector images, likely saved from CAD software. A few files are in CAD formats such as Microstation, 3D Studio and form*Z. Digital files also present sine wave analysis and resulting charts for each component of the program. The analysis and charts present the relationships between various components of the building’s program such as the Art Museum, the Concert Halls, the technical space, and the Common facilities. These files are raster images and spreadsheets. Photographs of the site in Jyväskylä and of models built by OCEAN North were digitized and are included with the digital working files. Physical drawings are chiefly floor plans for the building, but also include sections and sketches. Finally, project files include photographic prints of two built models. One of these models, a small model of the conceptual masses of the building structure, is itself in the archive. Photographs show the model in the context of a city scape model. The second model, not part of the archive at CCA, was built at a bigger scale and was an intricate cardboard and wooden stick structure. Sources: Softspace: from a representation of form to a simulation of space, Edited by Sean Lally and Jessica Young. London, New York: Routledge, 2007. Greg Lynn, ed. Archaeology of the Digital 17: OCEAN North, Jyväskylä Music and Arts Centre, Montréal: Canadian Centre for Architecture, 2017. ePub.
Level of archival description:
Project
Project
Date:
1997
1997
People:
