1733 Results
Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Reference number:
AP175
Synopsis:
UNStudio Erasmus Bridge project records, 1990-1996, documents the design, conception and construction process for the Erasmus Bridge in Rotterdam, Netherlands. The records consist largely of textual records and technical drawings material in addition to born-digital material and two models.
AP175
Synopsis:
UNStudio Erasmus Bridge project records, 1990-1996, documents the design, conception and construction process for the Erasmus Bridge in Rotterdam, Netherlands. The records consist largely of textual records and technical drawings material in addition to born-digital material and two models.
People:
Date:
1990-1996
1990-1996
Title:
UNStudio Erasmus Bridge project records
Actions:
AP175
Synopsis:
UNStudio Erasmus Bridge project records, 1990-1996, documents the design, conception and construction process for the Erasmus Bridge in Rotterdam, Netherlands. The records consist largely of textual records and technical drawings material in addition to born-digital material and two models.
UNStudio Erasmus Bridge project records
Actions:
AP175
Synopsis:
UNStudio Erasmus Bridge project records, 1990-1996, documents the design, conception and construction process for the Erasmus Bridge in Rotterdam, Netherlands. The records consist largely of textual records and technical drawings material in addition to born-digital material and two models.
Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Date:
1990-1996
1990-1996
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:
exhibitions
exhibitions
Title:
Toys and Transport
Toys and Transport
Actions:
Description:
Every new transportation link and every change in systems of urban mobility introduces new infrastructure to the urban landscape: massive cuts enabling railway tracks to converge at a terminal or junction; wide railyards that service suburban and metropolitan transit systems; the proliferation of bridges, ramps, elevated highways, freeway cuts, parking lots, and even(...)
Every new transportation link and every change in systems of urban mobility introduces new infrastructure to the urban landscape: massive cuts enabling railway tracks to converge at a terminal or junction; wide railyards that service suburban and metropolitan transit systems; the proliferation of bridges, ramps, elevated highways, freeway cuts, parking lots, and even(...)
Location:
Octagonal gallery
Octagonal gallery
Date:
15 November 2000 to 1 April 2001
15 November 2000 to 1 April 2001
Title:
Toys and Transport
Actions:
Description:
Every new transportation link and every change in systems of urban mobility introduces new infrastructure to the urban landscape: massive cuts enabling railway tracks to converge at a terminal or junction; wide railyards that service suburban and metropolitan transit systems; the proliferation of bridges, ramps, elevated highways, freeway cuts, parking lots, and even(...)
Toys and Transport
Actions:
Description:
Every new transportation link and every change in systems of urban mobility introduces new infrastructure to the urban landscape: massive cuts enabling railway tracks to converge at a terminal or junction; wide railyards that service suburban and metropolitan transit systems; the proliferation of bridges, ramps, elevated highways, freeway cuts, parking lots, and even(...)
Form:
exhibitions
exhibitions
Date:
15 November 2000 to
1 April 2001
15 November 2000 to
1 April 2001
Location:
Octagonal gallery
Octagonal gallery
Form:
archives
Level of archival description:
Collection
archives
Level of archival description:
Collection
Title:
Rohault de Fleury collection
Rohault de Fleury collection
Reference number:
CI001
Synopsis:
The Rohault de Fleury collection documents the work of three generations of French architects, Hubert, his son Charles, and his grandson Georges, spanning from the early 18th to late 19th century. The collection is extremely varied encompassing both private and government commissions and including domestic work, institutional buildings, commercial buildings, urban planning, and student work from both the École des beaux-arts and the École polytechnique, and archaeological studies. Stylistically, the projects incorporate the two dominant contemporary directions in French architecture - functionalism as advocated by Jean-Nicolas-Louis Durand and the classicism of the École des beaux-arts.
CI001
Synopsis:
The Rohault de Fleury collection documents the work of three generations of French architects, Hubert, his son Charles, and his grandson Georges, spanning from the early 18th to late 19th century. The collection is extremely varied encompassing both private and government commissions and including domestic work, institutional buildings, commercial buildings, urban planning, and student work from both the École des beaux-arts and the École polytechnique, and archaeological studies. Stylistically, the projects incorporate the two dominant contemporary directions in French architecture - functionalism as advocated by Jean-Nicolas-Louis Durand and the classicism of the École des beaux-arts.
People:
Date:
1717-[1884]
1717-[1884]
Title:
Rohault de Fleury collection
CI001
Synopsis:
The Rohault de Fleury collection documents the work of three generations of French architects, Hubert, his son Charles, and his grandson Georges, spanning from the early 18th to late 19th century. The collection is extremely varied encompassing both private and government commissions and including domestic work, institutional buildings, commercial buildings, urban planning, and student work from both the École des beaux-arts and the École polytechnique, and archaeological studies. Stylistically, the projects incorporate the two dominant contemporary directions in French architecture - functionalism as advocated by Jean-Nicolas-Louis Durand and the classicism of the École des beaux-arts.
Rohault de Fleury collection
CI001
Synopsis:
The Rohault de Fleury collection documents the work of three generations of French architects, Hubert, his son Charles, and his grandson Georges, spanning from the early 18th to late 19th century. The collection is extremely varied encompassing both private and government commissions and including domestic work, institutional buildings, commercial buildings, urban planning, and student work from both the École des beaux-arts and the École polytechnique, and archaeological studies. Stylistically, the projects incorporate the two dominant contemporary directions in French architecture - functionalism as advocated by Jean-Nicolas-Louis Durand and the classicism of the École des beaux-arts.
Form:
archives
Level of archival description:
Collection 1
archives
Level of archival description:
Collection 1
Date:
1717-[1884]
1717-[1884]
People:
Form:
events
events
Actions:
Description:
Ben Bradley presents how the automobile shaped how Canadians encountered their country during the 20th century. As thousands and then millions came to know Canada by motoring, their travel patterns, viewing habits, and tastes shaped and reshaped the places they passed through. Canada’s roads came to be festooned with scenic pullouts, viewpoints, and a constellation of(...)
Ben Bradley presents how the automobile shaped how Canadians encountered their country during the 20th century. As thousands and then millions came to know Canada by motoring, their travel patterns, viewing habits, and tastes shaped and reshaped the places they passed through. Canada’s roads came to be festooned with scenic pullouts, viewpoints, and a constellation of(...)
Location:
Paul Desmarais Theatre Keyword(s):
Canada, environment, Bradley, It's all happening so fast, roadside
Paul Desmarais Theatre Keyword(s):
Canada, environment, Bradley, It's all happening so fast, roadside
Date:
23 February 2017, 6pm
23 February 2017, 6pm
Title:
Making Canada a Roadside Attraction
Actions:
Description:
Ben Bradley presents how the automobile shaped how Canadians encountered their country during the 20th century. As thousands and then millions came to know Canada by motoring, their travel patterns, viewing habits, and tastes shaped and reshaped the places they passed through. Canada’s roads came to be festooned with scenic pullouts, viewpoints, and a constellation of(...)
Making Canada a Roadside Attraction
Actions:
Description:
Ben Bradley presents how the automobile shaped how Canadians encountered their country during the 20th century. As thousands and then millions came to know Canada by motoring, their travel patterns, viewing habits, and tastes shaped and reshaped the places they passed through. Canada’s roads came to be festooned with scenic pullouts, viewpoints, and a constellation of(...)
Form:
events
events
Date:
23 February 2017
6pm
23 February 2017
6pm
Location:
Paul Desmarais Theatre Keyword(s):
Canada, environment, Bradley, It's all happening so fast, roadside
Paul Desmarais Theatre Keyword(s):
Canada, environment, Bradley, It's all happening so fast, roadside
Form:
events
events
Title:
No Parks?
No Parks?
Actions:
Description:
Are parks bad? These quarantined bits of land and water speak to a confused desire for some kind of “nature”—and they might be good for our health—but do they also serve to excuse our continued bad behaviour? Parks are not innocent. City parks are real estate assets and urban “amenities” created by planners, landscape architects, hydrological engineers, police(...)
Are parks bad? These quarantined bits of land and water speak to a confused desire for some kind of “nature”—and they might be good for our health—but do they also serve to excuse our continued bad behaviour? Parks are not innocent. City parks are real estate assets and urban “amenities” created by planners, landscape architects, hydrological engineers, police(...)
Date:
25 May 2017
25 May 2017
Title:
No Parks?
Actions:
Description:
Are parks bad? These quarantined bits of land and water speak to a confused desire for some kind of “nature”—and they might be good for our health—but do they also serve to excuse our continued bad behaviour? Parks are not innocent. City parks are real estate assets and urban “amenities” created by planners, landscape architects, hydrological engineers, police(...)
No Parks?
Actions:
Description:
Are parks bad? These quarantined bits of land and water speak to a confused desire for some kind of “nature”—and they might be good for our health—but do they also serve to excuse our continued bad behaviour? Parks are not innocent. City parks are real estate assets and urban “amenities” created by planners, landscape architects, hydrological engineers, police(...)
Form:
events
events
Date:
25 May 2017
25 May 2017
Form:
archives
Level of archival description:
Collection
archives
Level of archival description:
Collection
Actions:
Reference number:
CD033
Synopsis:
The Aldo Cibic Microrealities project collection primarily consists of presentation materials, publications and born digital materials, like videos and photographs, by Aldo Cibic produced between 2003 and 2008 for the project “Microrealities”.
CD033
Synopsis:
The Aldo Cibic Microrealities project collection primarily consists of presentation materials, publications and born digital materials, like videos and photographs, by Aldo Cibic produced between 2003 and 2008 for the project “Microrealities”.
People:
Date:
2003-2008
2003-2008
Title:
Aldo Cibic Microrealities project collection
Actions:
CD033
Synopsis:
The Aldo Cibic Microrealities project collection primarily consists of presentation materials, publications and born digital materials, like videos and photographs, by Aldo Cibic produced between 2003 and 2008 for the project “Microrealities”.
Aldo Cibic Microrealities project collection
Actions:
CD033
Synopsis:
The Aldo Cibic Microrealities project collection primarily consists of presentation materials, publications and born digital materials, like videos and photographs, by Aldo Cibic produced between 2003 and 2008 for the project “Microrealities”.
Form:
archives
Level of archival description:
collection
archives
Level of archival description:
collection
Date:
2003-2008
2003-2008
People:
Form:
drawings
Quantity:
4 reprographie(s)
drawings
Quantity:
4 reprographie(s)
Actions:
Reference number:
ARCH172960
Description:
Complexe Desjardins, 1972-1977 Plans du basilaire et du niveau 72, élévation du mail, plan d'infrastructure par Longpré, Marchand et Goudreau
ARCH172960
Description:
Complexe Desjardins, 1972-1977 Plans du basilaire et du niveau 72, élévation du mail, plan d'infrastructure par Longpré, Marchand et Goudreau
People:
Title:
Plans du basilaire, plan d'étage, élévations et plan d'infrastructure
Actions:
ARCH172960
Description:
Complexe Desjardins, 1972-1977 Plans du basilaire et du niveau 72, élévation du mail, plan d'infrastructure par Longpré, Marchand et Goudreau
Plans du basilaire, plan d'étage, élévations et plan d'infrastructure
Actions:
ARCH172960
Description:
Complexe Desjardins, 1972-1977 Plans du basilaire et du niveau 72, élévation du mail, plan d'infrastructure par Longpré, Marchand et Goudreau
Form:
drawings
Quantity:
4 reprographie(s)
drawings
Quantity:
4 reprographie(s)
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:
Form:
exhibitions
exhibitions
Actions:
Description:
At the beginning of powered flight, most airplanes required only a stretch of grassy plain 1,500 feet long for take-off and landing, and a converted barn served as both terminal and hangar. Only with the advent of a profitable commercial aviation industry in the late 1920s, some twenty-five years after Wilbur and Orville Wright’s historic flight, did the modern airport(...)
At the beginning of powered flight, most airplanes required only a stretch of grassy plain 1,500 feet long for take-off and landing, and a converted barn served as both terminal and hangar. Only with the advent of a profitable commercial aviation industry in the late 1920s, some twenty-five years after Wilbur and Orville Wright’s historic flight, did the modern airport(...)
Location:
Hall cases
Hall cases
Date:
12 June 1990 to 16 September 1990
12 June 1990 to 16 September 1990
Title:
Airport Origins: Three Projects by Lloyd Wright
Actions:
Description:
At the beginning of powered flight, most airplanes required only a stretch of grassy plain 1,500 feet long for take-off and landing, and a converted barn served as both terminal and hangar. Only with the advent of a profitable commercial aviation industry in the late 1920s, some twenty-five years after Wilbur and Orville Wright’s historic flight, did the modern airport(...)
Airport Origins: Three Projects by Lloyd Wright
Actions:
Description:
At the beginning of powered flight, most airplanes required only a stretch of grassy plain 1,500 feet long for take-off and landing, and a converted barn served as both terminal and hangar. Only with the advent of a profitable commercial aviation industry in the late 1920s, some twenty-five years after Wilbur and Orville Wright’s historic flight, did the modern airport(...)
Form:
exhibitions
exhibitions
Date:
12 June 1990 to
16 September 1990
12 June 1990 to
16 September 1990
Location:
Hall cases
Hall cases
