18227 Results
Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Title:
Shoei Yoh fonds
Shoei Yoh fonds
Reference number:
AP166
Synopsis:
The Shoei Yoh fonds (1976-2014, predominant 1990-1996) documents a selection of works by the Japanese architect and designer Shoei Yoh and the firm Shoei Yoh + Architects. The selection is comprised of two projects that were featured in the CCA exhibition Archaeology of the Digital (May 7-October 27, 2013)—the Galaxy Toyama Gymnasium and the unbuilt Odawara Municipal Sports Complex --and five other projects.The fonds also includes some published material by and about Shoei Yoh.
AP166
Synopsis:
The Shoei Yoh fonds (1976-2014, predominant 1990-1996) documents a selection of works by the Japanese architect and designer Shoei Yoh and the firm Shoei Yoh + Architects. The selection is comprised of two projects that were featured in the CCA exhibition Archaeology of the Digital (May 7-October 27, 2013)—the Galaxy Toyama Gymnasium and the unbuilt Odawara Municipal Sports Complex --and five other projects.The fonds also includes some published material by and about Shoei Yoh.
People:
Date:
1976-2014, predominant 1990-1996
1976-2014, predominant 1990-1996
Title:
Shoei Yoh fonds
Actions:
AP166
Synopsis:
The Shoei Yoh fonds (1976-2014, predominant 1990-1996) documents a selection of works by the Japanese architect and designer Shoei Yoh and the firm Shoei Yoh + Architects. The selection is comprised of two projects that were featured in the CCA exhibition Archaeology of the Digital (May 7-October 27, 2013)—the Galaxy Toyama Gymnasium and the unbuilt Odawara Municipal Sports Complex --and five other projects.The fonds also includes some published material by and about Shoei Yoh.
Shoei Yoh fonds
Actions:
AP166
Synopsis:
The Shoei Yoh fonds (1976-2014, predominant 1990-1996) documents a selection of works by the Japanese architect and designer Shoei Yoh and the firm Shoei Yoh + Architects. The selection is comprised of two projects that were featured in the CCA exhibition Archaeology of the Digital (May 7-October 27, 2013)—the Galaxy Toyama Gymnasium and the unbuilt Odawara Municipal Sports Complex --and five other projects.The fonds also includes some published material by and about Shoei Yoh.
Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Date:
1976-2014, predominant 1990-1996
1976-2014, predominant 1990-1996
People:
Form:
textual records
textual records
Actions:
Reference number:
ARCH158526
Description:
Cette chemise contient des articles de publication sur Roger D'Astous ou sur ses projets, et notamment un exemplaire de la publication Architecture-Bâtiment- Construction, vol. 15, no. 165, janvier 1960, un négatif de plans de la Résidence Fred Snyder (1963), 9 x 15,5 cm et un certificat The Montreal Construction Centre Design Award, daté du 23 juin 1958, décerné à Roger D'Astous pour le développement d'habitations du Domaine Estérel, Québec (1958). Elle contient également de la documentation sur le Village olympique, comprenant : 1 photographie noir et blanc du Village olympique. 21,5 x 31 cm 1 série de 20 reproductions photographiques en noir et blanc : détails, coupe, élévation et plans du Village olympique. 8 x 10 cm
ARCH158526
Description:
Cette chemise contient des articles de publication sur Roger D'Astous ou sur ses projets, et notamment un exemplaire de la publication Architecture-Bâtiment- Construction, vol. 15, no. 165, janvier 1960, un négatif de plans de la Résidence Fred Snyder (1963), 9 x 15,5 cm et un certificat The Montreal Construction Centre Design Award, daté du 23 juin 1958, décerné à Roger D'Astous pour le développement d'habitations du Domaine Estérel, Québec (1958). Elle contient également de la documentation sur le Village olympique, comprenant : 1 photographie noir et blanc du Village olympique. 21,5 x 31 cm 1 série de 20 reproductions photographiques en noir et blanc : détails, coupe, élévation et plans du Village olympique. 8 x 10 cm
People:
Title:
Articles de publication sur Roger D'Astous ou sur ses projets
Actions:
ARCH158526
Description:
Cette chemise contient des articles de publication sur Roger D'Astous ou sur ses projets, et notamment un exemplaire de la publication Architecture-Bâtiment- Construction, vol. 15, no. 165, janvier 1960, un négatif de plans de la Résidence Fred Snyder (1963), 9 x 15,5 cm et un certificat The Montreal Construction Centre Design Award, daté du 23 juin 1958, décerné à Roger D'Astous pour le développement d'habitations du Domaine Estérel, Québec (1958). Elle contient également de la documentation sur le Village olympique, comprenant : 1 photographie noir et blanc du Village olympique. 21,5 x 31 cm 1 série de 20 reproductions photographiques en noir et blanc : détails, coupe, élévation et plans du Village olympique. 8 x 10 cm
Articles de publication sur Roger D'Astous ou sur ses projets
Actions:
ARCH158526
Description:
Cette chemise contient des articles de publication sur Roger D'Astous ou sur ses projets, et notamment un exemplaire de la publication Architecture-Bâtiment- Construction, vol. 15, no. 165, janvier 1960, un négatif de plans de la Résidence Fred Snyder (1963), 9 x 15,5 cm et un certificat The Montreal Construction Centre Design Award, daté du 23 juin 1958, décerné à Roger D'Astous pour le développement d'habitations du Domaine Estérel, Québec (1958). Elle contient également de la documentation sur le Village olympique, comprenant : 1 photographie noir et blanc du Village olympique. 21,5 x 31 cm 1 série de 20 reproductions photographiques en noir et blanc : détails, coupe, élévation et plans du Village olympique. 8 x 10 cm
Form:
textual records
textual records
People:
Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Actions:
Reference number:
AP225
Synopsis:
The Roderick Robbie Katimavik project records describe Robbie's collaboration with his architectural partners at the Toronto-based firm Ashworth Robbie Vaughan and Williams to create Katimavik, an entry for the competition for the design of the Canadian Government’s pavilion at Expo 67. The records in this fonds relate to the project's design process, the reception of the completed structure in Canadian and international architectural discourse, reporting on the project to the Canadian government, and Expo 67 memerobilia.
AP225
Synopsis:
The Roderick Robbie Katimavik project records describe Robbie's collaboration with his architectural partners at the Toronto-based firm Ashworth Robbie Vaughan and Williams to create Katimavik, an entry for the competition for the design of the Canadian Government’s pavilion at Expo 67. The records in this fonds relate to the project's design process, the reception of the completed structure in Canadian and international architectural discourse, reporting on the project to the Canadian government, and Expo 67 memerobilia.
People:
Date:
1966-2017
1966-2017
Title:
Roderick Robbie Katimavik project records
Actions:
AP225
Synopsis:
The Roderick Robbie Katimavik project records describe Robbie's collaboration with his architectural partners at the Toronto-based firm Ashworth Robbie Vaughan and Williams to create Katimavik, an entry for the competition for the design of the Canadian Government’s pavilion at Expo 67. The records in this fonds relate to the project's design process, the reception of the completed structure in Canadian and international architectural discourse, reporting on the project to the Canadian government, and Expo 67 memerobilia.
Roderick Robbie Katimavik project records
Actions:
AP225
Synopsis:
The Roderick Robbie Katimavik project records describe Robbie's collaboration with his architectural partners at the Toronto-based firm Ashworth Robbie Vaughan and Williams to create Katimavik, an entry for the competition for the design of the Canadian Government’s pavilion at Expo 67. The records in this fonds relate to the project's design process, the reception of the completed structure in Canadian and international architectural discourse, reporting on the project to the Canadian government, and Expo 67 memerobilia.
Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Date:
1966-2017
1966-2017
People:
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:
Level of archival description:
Project
Project
Reference number:
AP148.S1.1970.PR02
Description:
The project series documents Poli's work on the Interplanetary Architecture project, which was also made into a film by Superstudio directed by Alessandro Poli (the film is not included in the fonds). The project reflects Poli's deep fascination with the moon landing in 1969. Poli uses this major media event as a catalyst for thinking about a new approach to architecture and tools for design, including the idea that film and the movie camera should become part of the toolset. The project also seems to be in some way a response to Epoch magazine's challenge for a "Primo concorso di architettura nello spazio" (the first architectural competition in space), and includes much imagery and textual references to a new road or architectural links between the earth and other planets, including an earth moon highway. In his storyboard, Poli also makes reference to his earlier Piper project, and some imagery features wheels and an amusement park. The Interplanetary Architecture project was exhibited by Superstudio in Rome in 1972 and featured in "Casabella" magazine in April 1972 (no. 364). The project was also featured in the 2010 CCA exhibition "Other Space Odysseys". In the accompanying CCA publication, Poli describes this project as "a voyage off earthbound routes in quest of architecture unfettered by the urban nightmare, by induced needs or by planning as the only tool for regulating and solving the world's problems" (Poli quoted in Borasi and Zardini, 2010, 110). Poli's work on this project is deeply tied to the Zeno project, which was also featured in this exhibition and is included in this fonds (see AP148.S1.1972.PR01). For the Zeno project, Poli envisioned a dialogue between astronaut Buzz Aldrin and an Italian peasant, Zeno of Riparbella. Poli felt that these two shared a similarity in that both their homes were isolated capsules, one that provided a lens from which to see the rest of the world and understand their place in it. The material in the series includes numerous photomontages and collages of astronauts in space, as well as drawings of plantery shapes and structures. There are also texts, some of which include calculations of distances and diameters of planets, as well as notebooks and sketchbooks, many of which Poli included in a folder he entitled "Storyboard." The series also includes an unsent letter from Poli to Adolfo Natalini which describes how, after the moon landing, everything - the planet, the moon, the stars - is architecture, and that this will necessitate the need for new design tools, such as the movie camera. Some works are signed Alessandro Poli-Superstudio. Source cited: Giovanna Borasi and Mirko Zardini, eds., Other Space Odysseys, Montreal and Baden: Canadian Centre for Architecture/Lars Müller Publishers, 2010.
AP148.S1.1970.PR02
Description:
The project series documents Poli's work on the Interplanetary Architecture project, which was also made into a film by Superstudio directed by Alessandro Poli (the film is not included in the fonds). The project reflects Poli's deep fascination with the moon landing in 1969. Poli uses this major media event as a catalyst for thinking about a new approach to architecture and tools for design, including the idea that film and the movie camera should become part of the toolset. The project also seems to be in some way a response to Epoch magazine's challenge for a "Primo concorso di architettura nello spazio" (the first architectural competition in space), and includes much imagery and textual references to a new road or architectural links between the earth and other planets, including an earth moon highway. In his storyboard, Poli also makes reference to his earlier Piper project, and some imagery features wheels and an amusement park. The Interplanetary Architecture project was exhibited by Superstudio in Rome in 1972 and featured in "Casabella" magazine in April 1972 (no. 364). The project was also featured in the 2010 CCA exhibition "Other Space Odysseys". In the accompanying CCA publication, Poli describes this project as "a voyage off earthbound routes in quest of architecture unfettered by the urban nightmare, by induced needs or by planning as the only tool for regulating and solving the world's problems" (Poli quoted in Borasi and Zardini, 2010, 110). Poli's work on this project is deeply tied to the Zeno project, which was also featured in this exhibition and is included in this fonds (see AP148.S1.1972.PR01). For the Zeno project, Poli envisioned a dialogue between astronaut Buzz Aldrin and an Italian peasant, Zeno of Riparbella. Poli felt that these two shared a similarity in that both their homes were isolated capsules, one that provided a lens from which to see the rest of the world and understand their place in it. The material in the series includes numerous photomontages and collages of astronauts in space, as well as drawings of plantery shapes and structures. There are also texts, some of which include calculations of distances and diameters of planets, as well as notebooks and sketchbooks, many of which Poli included in a folder he entitled "Storyboard." The series also includes an unsent letter from Poli to Adolfo Natalini which describes how, after the moon landing, everything - the planet, the moon, the stars - is architecture, and that this will necessitate the need for new design tools, such as the movie camera. Some works are signed Alessandro Poli-Superstudio. Source cited: Giovanna Borasi and Mirko Zardini, eds., Other Space Odysseys, Montreal and Baden: Canadian Centre for Architecture/Lars Müller Publishers, 2010.
People:
Date:
1969-1971
1969-1971
Title:
Architettura Interplanetaria [Interplanetary Architecture] (1970-1971)
Actions:
AP148.S1.1970.PR02
Description:
The project series documents Poli's work on the Interplanetary Architecture project, which was also made into a film by Superstudio directed by Alessandro Poli (the film is not included in the fonds). The project reflects Poli's deep fascination with the moon landing in 1969. Poli uses this major media event as a catalyst for thinking about a new approach to architecture and tools for design, including the idea that film and the movie camera should become part of the toolset. The project also seems to be in some way a response to Epoch magazine's challenge for a "Primo concorso di architettura nello spazio" (the first architectural competition in space), and includes much imagery and textual references to a new road or architectural links between the earth and other planets, including an earth moon highway. In his storyboard, Poli also makes reference to his earlier Piper project, and some imagery features wheels and an amusement park. The Interplanetary Architecture project was exhibited by Superstudio in Rome in 1972 and featured in "Casabella" magazine in April 1972 (no. 364). The project was also featured in the 2010 CCA exhibition "Other Space Odysseys". In the accompanying CCA publication, Poli describes this project as "a voyage off earthbound routes in quest of architecture unfettered by the urban nightmare, by induced needs or by planning as the only tool for regulating and solving the world's problems" (Poli quoted in Borasi and Zardini, 2010, 110). Poli's work on this project is deeply tied to the Zeno project, which was also featured in this exhibition and is included in this fonds (see AP148.S1.1972.PR01). For the Zeno project, Poli envisioned a dialogue between astronaut Buzz Aldrin and an Italian peasant, Zeno of Riparbella. Poli felt that these two shared a similarity in that both their homes were isolated capsules, one that provided a lens from which to see the rest of the world and understand their place in it. The material in the series includes numerous photomontages and collages of astronauts in space, as well as drawings of plantery shapes and structures. There are also texts, some of which include calculations of distances and diameters of planets, as well as notebooks and sketchbooks, many of which Poli included in a folder he entitled "Storyboard." The series also includes an unsent letter from Poli to Adolfo Natalini which describes how, after the moon landing, everything - the planet, the moon, the stars - is architecture, and that this will necessitate the need for new design tools, such as the movie camera. Some works are signed Alessandro Poli-Superstudio. Source cited: Giovanna Borasi and Mirko Zardini, eds., Other Space Odysseys, Montreal and Baden: Canadian Centre for Architecture/Lars Müller Publishers, 2010.
Architettura Interplanetaria [Interplanetary Architecture] (1970-1971)
Actions:
AP148.S1.1970.PR02
Description:
The project series documents Poli's work on the Interplanetary Architecture project, which was also made into a film by Superstudio directed by Alessandro Poli (the film is not included in the fonds). The project reflects Poli's deep fascination with the moon landing in 1969. Poli uses this major media event as a catalyst for thinking about a new approach to architecture and tools for design, including the idea that film and the movie camera should become part of the toolset. The project also seems to be in some way a response to Epoch magazine's challenge for a "Primo concorso di architettura nello spazio" (the first architectural competition in space), and includes much imagery and textual references to a new road or architectural links between the earth and other planets, including an earth moon highway. In his storyboard, Poli also makes reference to his earlier Piper project, and some imagery features wheels and an amusement park. The Interplanetary Architecture project was exhibited by Superstudio in Rome in 1972 and featured in "Casabella" magazine in April 1972 (no. 364). The project was also featured in the 2010 CCA exhibition "Other Space Odysseys". In the accompanying CCA publication, Poli describes this project as "a voyage off earthbound routes in quest of architecture unfettered by the urban nightmare, by induced needs or by planning as the only tool for regulating and solving the world's problems" (Poli quoted in Borasi and Zardini, 2010, 110). Poli's work on this project is deeply tied to the Zeno project, which was also featured in this exhibition and is included in this fonds (see AP148.S1.1972.PR01). For the Zeno project, Poli envisioned a dialogue between astronaut Buzz Aldrin and an Italian peasant, Zeno of Riparbella. Poli felt that these two shared a similarity in that both their homes were isolated capsules, one that provided a lens from which to see the rest of the world and understand their place in it. The material in the series includes numerous photomontages and collages of astronauts in space, as well as drawings of plantery shapes and structures. There are also texts, some of which include calculations of distances and diameters of planets, as well as notebooks and sketchbooks, many of which Poli included in a folder he entitled "Storyboard." The series also includes an unsent letter from Poli to Adolfo Natalini which describes how, after the moon landing, everything - the planet, the moon, the stars - is architecture, and that this will necessitate the need for new design tools, such as the movie camera. Some works are signed Alessandro Poli-Superstudio. Source cited: Giovanna Borasi and Mirko Zardini, eds., Other Space Odysseys, Montreal and Baden: Canadian Centre for Architecture/Lars Müller Publishers, 2010.
Level of archival description:
Project
Project
Date:
1969-1971
1969-1971
People:
Level of archival description:
Project
Project
Actions:
Reference number:
AP194.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 competition was 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. To reach this goal, the team used CAD software to trace streams of particles as a modelling approach. The masses of linear elements that were generated were further deconstructed and turned into “peels” and rearranged to create the masses of the building. Physical models were also used to test and further what had emerged from the digital design process, with results being fed back into the digital drawings. During the process, Bettum also brought in the idea of the internalisation of the outside, taking inspiration from the Centre Georges Pompidou. Digital records document the creative process with raster and vector images, CAD drawings and models, and few digital textual records describing the project and the program charts. Drawings and models show site and building plans, perspectives and sections; particles streaming and resulting linear masses; peels and sections identified per color; and renderings of aerials, perspectives and elevation views. OCEAN North seems to have mostly used Microstation for modelling, although there are a few files created with form*Z and 3D Studio. Some of the raster images might have been created with these software as well, showing a given stage of the design process and including renderings. There are also screen captures showing the top, front, left and perspective views of 3D models. Adobe Photoshop and Illustrator were also used to create and modify drawings and diagrams. Program charts were created in Microsoft Excel. 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.
AP194.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 competition was 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. To reach this goal, the team used CAD software to trace streams of particles as a modelling approach. The masses of linear elements that were generated were further deconstructed and turned into “peels” and rearranged to create the masses of the building. Physical models were also used to test and further what had emerged from the digital design process, with results being fed back into the digital drawings. During the process, Bettum also brought in the idea of the internalisation of the outside, taking inspiration from the Centre Georges Pompidou. Digital records document the creative process with raster and vector images, CAD drawings and models, and few digital textual records describing the project and the program charts. Drawings and models show site and building plans, perspectives and sections; particles streaming and resulting linear masses; peels and sections identified per color; and renderings of aerials, perspectives and elevation views. OCEAN North seems to have mostly used Microstation for modelling, although there are a few files created with form*Z and 3D Studio. Some of the raster images might have been created with these software as well, showing a given stage of the design process and including renderings. There are also screen captures showing the top, front, left and perspective views of 3D models. Adobe Photoshop and Illustrator were also used to create and modify drawings and diagrams. Program charts were created in Microsoft Excel. 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:
1997-1998
1997-1998
Title:
Terra Cultura – Jyväskylä Music and Arts Centre, international competition entry, Jyväskylä, Finland (1997)
Actions:
AP194.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 competition was 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. To reach this goal, the team used CAD software to trace streams of particles as a modelling approach. The masses of linear elements that were generated were further deconstructed and turned into “peels” and rearranged to create the masses of the building. Physical models were also used to test and further what had emerged from the digital design process, with results being fed back into the digital drawings. During the process, Bettum also brought in the idea of the internalisation of the outside, taking inspiration from the Centre Georges Pompidou. Digital records document the creative process with raster and vector images, CAD drawings and models, and few digital textual records describing the project and the program charts. Drawings and models show site and building plans, perspectives and sections; particles streaming and resulting linear masses; peels and sections identified per color; and renderings of aerials, perspectives and elevation views. OCEAN North seems to have mostly used Microstation for modelling, although there are a few files created with form*Z and 3D Studio. Some of the raster images might have been created with these software as well, showing a given stage of the design process and including renderings. There are also screen captures showing the top, front, left and perspective views of 3D models. Adobe Photoshop and Illustrator were also used to create and modify drawings and diagrams. Program charts were created in Microsoft Excel. 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, Jyväskylä, Finland (1997)
Actions:
AP194.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 competition was 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. To reach this goal, the team used CAD software to trace streams of particles as a modelling approach. The masses of linear elements that were generated were further deconstructed and turned into “peels” and rearranged to create the masses of the building. Physical models were also used to test and further what had emerged from the digital design process, with results being fed back into the digital drawings. During the process, Bettum also brought in the idea of the internalisation of the outside, taking inspiration from the Centre Georges Pompidou. Digital records document the creative process with raster and vector images, CAD drawings and models, and few digital textual records describing the project and the program charts. Drawings and models show site and building plans, perspectives and sections; particles streaming and resulting linear masses; peels and sections identified per color; and renderings of aerials, perspectives and elevation views. OCEAN North seems to have mostly used Microstation for modelling, although there are a few files created with form*Z and 3D Studio. Some of the raster images might have been created with these software as well, showing a given stage of the design process and including renderings. There are also screen captures showing the top, front, left and perspective views of 3D models. Adobe Photoshop and Illustrator were also used to create and modify drawings and diagrams. Program charts were created in Microsoft Excel. 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:
1997-1998
1997-1998
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:
Form:
drawings, textual records
drawings, textual records
Actions:
Reference number:
ARCH166761
Description:
16 pages: 1 dépliant "Construction métallique 1-92" 5 feuillets: Correspondance 19 septembre 1991-20 janvier 1993 15 feuillets: notes manuscrites 1 carte d'affaire 1 facture 3 bordereaux de transmission de télécopieur 2 feuillets: tableaux d'honoraire Rampe ondulée, 1 dépliant 1 plan d'une boutique en ligne 2 dessins: Plans et élévation "Santana Jeans-Layout-La Baie-Mtl" mine de plomb sur mylar jusqu'à 21,5 x 35,5 cm pliés 2 reproductions couleurs: perspectives du projet de siège social 1 reproduction couleur: "Orme chinois" 2 feuillets: Plans du site photocopies 13 dessins: Esquisses du projet Santana mine de plomb sur papier calque jusqu'à 34 x 61 cm photocopie: perspective du siège social 28 x 43 cm 6 dessins: Dessins de structure et esquisses, photocopies
ARCH166761
Description:
16 pages: 1 dépliant "Construction métallique 1-92" 5 feuillets: Correspondance 19 septembre 1991-20 janvier 1993 15 feuillets: notes manuscrites 1 carte d'affaire 1 facture 3 bordereaux de transmission de télécopieur 2 feuillets: tableaux d'honoraire Rampe ondulée, 1 dépliant 1 plan d'une boutique en ligne 2 dessins: Plans et élévation "Santana Jeans-Layout-La Baie-Mtl" mine de plomb sur mylar jusqu'à 21,5 x 35,5 cm pliés 2 reproductions couleurs: perspectives du projet de siège social 1 reproduction couleur: "Orme chinois" 2 feuillets: Plans du site photocopies 13 dessins: Esquisses du projet Santana mine de plomb sur papier calque jusqu'à 34 x 61 cm photocopie: perspective du siège social 28 x 43 cm 6 dessins: Dessins de structure et esquisses, photocopies
People:
Title:
Dépliant "Construction métallique 1-92", correspondance
Actions:
ARCH166761
Description:
16 pages: 1 dépliant "Construction métallique 1-92" 5 feuillets: Correspondance 19 septembre 1991-20 janvier 1993 15 feuillets: notes manuscrites 1 carte d'affaire 1 facture 3 bordereaux de transmission de télécopieur 2 feuillets: tableaux d'honoraire Rampe ondulée, 1 dépliant 1 plan d'une boutique en ligne 2 dessins: Plans et élévation "Santana Jeans-Layout-La Baie-Mtl" mine de plomb sur mylar jusqu'à 21,5 x 35,5 cm pliés 2 reproductions couleurs: perspectives du projet de siège social 1 reproduction couleur: "Orme chinois" 2 feuillets: Plans du site photocopies 13 dessins: Esquisses du projet Santana mine de plomb sur papier calque jusqu'à 34 x 61 cm photocopie: perspective du siège social 28 x 43 cm 6 dessins: Dessins de structure et esquisses, photocopies
Dépliant "Construction métallique 1-92", correspondance
Actions:
ARCH166761
Description:
16 pages: 1 dépliant "Construction métallique 1-92" 5 feuillets: Correspondance 19 septembre 1991-20 janvier 1993 15 feuillets: notes manuscrites 1 carte d'affaire 1 facture 3 bordereaux de transmission de télécopieur 2 feuillets: tableaux d'honoraire Rampe ondulée, 1 dépliant 1 plan d'une boutique en ligne 2 dessins: Plans et élévation "Santana Jeans-Layout-La Baie-Mtl" mine de plomb sur mylar jusqu'à 21,5 x 35,5 cm pliés 2 reproductions couleurs: perspectives du projet de siège social 1 reproduction couleur: "Orme chinois" 2 feuillets: Plans du site photocopies 13 dessins: Esquisses du projet Santana mine de plomb sur papier calque jusqu'à 34 x 61 cm photocopie: perspective du siège social 28 x 43 cm 6 dessins: Dessins de structure et esquisses, photocopies
Form:
drawings, textual records
drawings, textual records
People:
Form:
textual records
textual records
Actions:
Reference number:
ARCH256698
Description:
Offer of Services and proposals - incomplete draft of Abu Nuwas Conservation and Development project, Energy Mines and Resources, Bank of Nova Scotia, Royal Bank of Canada in Montreal, Owen project on University Ave., Kingston project, Marathon Realty / North Bay, Erin Mills South Church Campus, International Urban Development Competition (Regina), Saskatoon multi-purpose arena, Inter-American Development Bank brochures, Unionville Arts Foundation, Wandich Residence (Missisauga), Port Hope masterplan, London Art Gallery competition (2 files), Halton Regional Headquarters, Thornhill-Vaughan Residents Assoc., recreational facility in Ottawa (5 files), Edmonton Commonwealth Games Aquatic Centre and Stadium (5 files), Calgary proposed rapid transit, Edmonton proposed rapid transit (3 files), proposed Carbide Mill on Victoria Island Chaudiere (2 files) near Ottawa, for National Capital Commission
ARCH256698
Description:
Offer of Services and proposals - incomplete draft of Abu Nuwas Conservation and Development project, Energy Mines and Resources, Bank of Nova Scotia, Royal Bank of Canada in Montreal, Owen project on University Ave., Kingston project, Marathon Realty / North Bay, Erin Mills South Church Campus, International Urban Development Competition (Regina), Saskatoon multi-purpose arena, Inter-American Development Bank brochures, Unionville Arts Foundation, Wandich Residence (Missisauga), Port Hope masterplan, London Art Gallery competition (2 files), Halton Regional Headquarters, Thornhill-Vaughan Residents Assoc., recreational facility in Ottawa (5 files), Edmonton Commonwealth Games Aquatic Centre and Stadium (5 files), Calgary proposed rapid transit, Edmonton proposed rapid transit (3 files), proposed Carbide Mill on Victoria Island Chaudiere (2 files) near Ottawa, for National Capital Commission
People:
Date:
1971-1977
1971-1977
Title:
Offer of services and proposals for various projects
Actions:
ARCH256698
Description:
Offer of Services and proposals - incomplete draft of Abu Nuwas Conservation and Development project, Energy Mines and Resources, Bank of Nova Scotia, Royal Bank of Canada in Montreal, Owen project on University Ave., Kingston project, Marathon Realty / North Bay, Erin Mills South Church Campus, International Urban Development Competition (Regina), Saskatoon multi-purpose arena, Inter-American Development Bank brochures, Unionville Arts Foundation, Wandich Residence (Missisauga), Port Hope masterplan, London Art Gallery competition (2 files), Halton Regional Headquarters, Thornhill-Vaughan Residents Assoc., recreational facility in Ottawa (5 files), Edmonton Commonwealth Games Aquatic Centre and Stadium (5 files), Calgary proposed rapid transit, Edmonton proposed rapid transit (3 files), proposed Carbide Mill on Victoria Island Chaudiere (2 files) near Ottawa, for National Capital Commission
Offer of services and proposals for various projects
Actions:
ARCH256698
Description:
Offer of Services and proposals - incomplete draft of Abu Nuwas Conservation and Development project, Energy Mines and Resources, Bank of Nova Scotia, Royal Bank of Canada in Montreal, Owen project on University Ave., Kingston project, Marathon Realty / North Bay, Erin Mills South Church Campus, International Urban Development Competition (Regina), Saskatoon multi-purpose arena, Inter-American Development Bank brochures, Unionville Arts Foundation, Wandich Residence (Missisauga), Port Hope masterplan, London Art Gallery competition (2 files), Halton Regional Headquarters, Thornhill-Vaughan Residents Assoc., recreational facility in Ottawa (5 files), Edmonton Commonwealth Games Aquatic Centre and Stadium (5 files), Calgary proposed rapid transit, Edmonton proposed rapid transit (3 files), proposed Carbide Mill on Victoria Island Chaudiere (2 files) near Ottawa, for National Capital Commission
Form:
textual records
textual records
Date:
1971-1977
1971-1977
People:
Form:
drawings, textual records, photographs
drawings, textual records, photographs
Title:
Correspondance,contrat et cahier de charge, ordre du jour de la réunion du jury de sélection, notes
Correspondance,contrat et cahier de charge, ordre du jour de la réunion du jury de sélection, notes
Actions:
Reference number:
ARCH168518
Description:
6 feuillets: Correspondance avec la Ville de Montréal 8 avril 1993 - 18 octobre 1993 24 feuillets: Contrat et cahier de charge 1 feuillet: Ordre du jour de la réunion du jury de sélection 14 feuillets: Notes manuscrites 1 dépliant: "Assurances pour oeuvre d'art" 9,5 x 27 cm 5 bordeaux de transmission par télécopieur 3 photocopies de photographies: vue de fouilles archéologiques sous la Place Jacques-Cartier une photocopie couleur 15 feuillets: Documentation diverse 2 feuillets: "La Place Jacques-Cartier" photocopie d'un article de la Presse 22 septembre 1991 1 photographie: Vue de la Place Jacques-Cartier noir et blanc 20 x 25,5 cm 1 dépliant: "Promo-Béton" 13 feuillets: Notes et esquisses pour la Place Jacques-Cartier dessins à la mine de plomb et photocopies 6 dessins: Esquisses mine de plomb et crayon de couleur sur calque jusqu'à 36 x 22 cm 1 collage de cartons de couleur et 1 photocopie du collage 11 x 37 cm 9 reprographies: schémas géométriques, Vues de la maquette photocopie sur acétate format lettre 3 copies laser de photographies 1 photographie: Vue de la maquette noir et blanc 20 x 25,5 cm
ARCH168518
Description:
6 feuillets: Correspondance avec la Ville de Montréal 8 avril 1993 - 18 octobre 1993 24 feuillets: Contrat et cahier de charge 1 feuillet: Ordre du jour de la réunion du jury de sélection 14 feuillets: Notes manuscrites 1 dépliant: "Assurances pour oeuvre d'art" 9,5 x 27 cm 5 bordeaux de transmission par télécopieur 3 photocopies de photographies: vue de fouilles archéologiques sous la Place Jacques-Cartier une photocopie couleur 15 feuillets: Documentation diverse 2 feuillets: "La Place Jacques-Cartier" photocopie d'un article de la Presse 22 septembre 1991 1 photographie: Vue de la Place Jacques-Cartier noir et blanc 20 x 25,5 cm 1 dépliant: "Promo-Béton" 13 feuillets: Notes et esquisses pour la Place Jacques-Cartier dessins à la mine de plomb et photocopies 6 dessins: Esquisses mine de plomb et crayon de couleur sur calque jusqu'à 36 x 22 cm 1 collage de cartons de couleur et 1 photocopie du collage 11 x 37 cm 9 reprographies: schémas géométriques, Vues de la maquette photocopie sur acétate format lettre 3 copies laser de photographies 1 photographie: Vue de la maquette noir et blanc 20 x 25,5 cm
People:
Title:
Correspondance,contrat et cahier de charge, ordre du jour de la réunion du jury de sélection, notes
Actions:
ARCH168518
Description:
6 feuillets: Correspondance avec la Ville de Montréal 8 avril 1993 - 18 octobre 1993 24 feuillets: Contrat et cahier de charge 1 feuillet: Ordre du jour de la réunion du jury de sélection 14 feuillets: Notes manuscrites 1 dépliant: "Assurances pour oeuvre d'art" 9,5 x 27 cm 5 bordeaux de transmission par télécopieur 3 photocopies de photographies: vue de fouilles archéologiques sous la Place Jacques-Cartier une photocopie couleur 15 feuillets: Documentation diverse 2 feuillets: "La Place Jacques-Cartier" photocopie d'un article de la Presse 22 septembre 1991 1 photographie: Vue de la Place Jacques-Cartier noir et blanc 20 x 25,5 cm 1 dépliant: "Promo-Béton" 13 feuillets: Notes et esquisses pour la Place Jacques-Cartier dessins à la mine de plomb et photocopies 6 dessins: Esquisses mine de plomb et crayon de couleur sur calque jusqu'à 36 x 22 cm 1 collage de cartons de couleur et 1 photocopie du collage 11 x 37 cm 9 reprographies: schémas géométriques, Vues de la maquette photocopie sur acétate format lettre 3 copies laser de photographies 1 photographie: Vue de la maquette noir et blanc 20 x 25,5 cm
Correspondance,contrat et cahier de charge, ordre du jour de la réunion du jury de sélection, notes
Actions:
ARCH168518
Description:
6 feuillets: Correspondance avec la Ville de Montréal 8 avril 1993 - 18 octobre 1993 24 feuillets: Contrat et cahier de charge 1 feuillet: Ordre du jour de la réunion du jury de sélection 14 feuillets: Notes manuscrites 1 dépliant: "Assurances pour oeuvre d'art" 9,5 x 27 cm 5 bordeaux de transmission par télécopieur 3 photocopies de photographies: vue de fouilles archéologiques sous la Place Jacques-Cartier une photocopie couleur 15 feuillets: Documentation diverse 2 feuillets: "La Place Jacques-Cartier" photocopie d'un article de la Presse 22 septembre 1991 1 photographie: Vue de la Place Jacques-Cartier noir et blanc 20 x 25,5 cm 1 dépliant: "Promo-Béton" 13 feuillets: Notes et esquisses pour la Place Jacques-Cartier dessins à la mine de plomb et photocopies 6 dessins: Esquisses mine de plomb et crayon de couleur sur calque jusqu'à 36 x 22 cm 1 collage de cartons de couleur et 1 photocopie du collage 11 x 37 cm 9 reprographies: schémas géométriques, Vues de la maquette photocopie sur acétate format lettre 3 copies laser de photographies 1 photographie: Vue de la maquette noir et blanc 20 x 25,5 cm
Form:
drawings, textual records, photographs
drawings, textual records, photographs
People:
