3554 Results
Level of archival description:
Project
Project
Title:
Weavers' Studio
Weavers' Studio
Reference number:
AP182.S1.2013.D2
Description:
File documents a project for a live-work complex in Dehradun, Uttarakhand, India. Commissioned by Chiaki Maki, a Japanese textile weaver who spends a portion of each year in northern India, this complex in the Himalayan foothills provides working space for a studio of twenty-five weavers from all over the country. It is conceived as a cyclical, self-sufficient farm system that integrates all aspects of the weaving process, from cultivating indigo and henna for dye to gathering silk from cocoons and spinning wool. The site had been previously cultivated, and the design works with the landscape's existing pathways, terraces, and mango groves. Nearly all construction materials--including the brick, limestone, and phosphorescent river stones used in the foundation and to treat the brick walls--come from within a two-kilometre radius of the studio. The five-sided building occupying the centre of the site is the workshop itself, which frames a courtyard for gatherings (of weavers, children, etc.). A gallery in the complex displays the weavers' work, while the linear buildings accommodate motorcycle parking, a guest house, and residences for Maki and her partner as well as the site caretaker and his family. File contains artefacts and realia, models, photographs, drawings, site reports, and a video recording.
AP182.S1.2013.D2
Description:
File documents a project for a live-work complex in Dehradun, Uttarakhand, India. Commissioned by Chiaki Maki, a Japanese textile weaver who spends a portion of each year in northern India, this complex in the Himalayan foothills provides working space for a studio of twenty-five weavers from all over the country. It is conceived as a cyclical, self-sufficient farm system that integrates all aspects of the weaving process, from cultivating indigo and henna for dye to gathering silk from cocoons and spinning wool. The site had been previously cultivated, and the design works with the landscape's existing pathways, terraces, and mango groves. Nearly all construction materials--including the brick, limestone, and phosphorescent river stones used in the foundation and to treat the brick walls--come from within a two-kilometre radius of the studio. The five-sided building occupying the centre of the site is the workshop itself, which frames a courtyard for gatherings (of weavers, children, etc.). A gallery in the complex displays the weavers' work, while the linear buildings accommodate motorcycle parking, a guest house, and residences for Maki and her partner as well as the site caretaker and his family. File contains artefacts and realia, models, photographs, drawings, site reports, and a video recording.
People:
Date:
2012-2015
2012-2015
Title:
Weavers' Studio
Actions:
AP182.S1.2013.D2
Description:
File documents a project for a live-work complex in Dehradun, Uttarakhand, India. Commissioned by Chiaki Maki, a Japanese textile weaver who spends a portion of each year in northern India, this complex in the Himalayan foothills provides working space for a studio of twenty-five weavers from all over the country. It is conceived as a cyclical, self-sufficient farm system that integrates all aspects of the weaving process, from cultivating indigo and henna for dye to gathering silk from cocoons and spinning wool. The site had been previously cultivated, and the design works with the landscape's existing pathways, terraces, and mango groves. Nearly all construction materials--including the brick, limestone, and phosphorescent river stones used in the foundation and to treat the brick walls--come from within a two-kilometre radius of the studio. The five-sided building occupying the centre of the site is the workshop itself, which frames a courtyard for gatherings (of weavers, children, etc.). A gallery in the complex displays the weavers' work, while the linear buildings accommodate motorcycle parking, a guest house, and residences for Maki and her partner as well as the site caretaker and his family. File contains artefacts and realia, models, photographs, drawings, site reports, and a video recording.
Weavers' Studio
Actions:
AP182.S1.2013.D2
Description:
File documents a project for a live-work complex in Dehradun, Uttarakhand, India. Commissioned by Chiaki Maki, a Japanese textile weaver who spends a portion of each year in northern India, this complex in the Himalayan foothills provides working space for a studio of twenty-five weavers from all over the country. It is conceived as a cyclical, self-sufficient farm system that integrates all aspects of the weaving process, from cultivating indigo and henna for dye to gathering silk from cocoons and spinning wool. The site had been previously cultivated, and the design works with the landscape's existing pathways, terraces, and mango groves. Nearly all construction materials--including the brick, limestone, and phosphorescent river stones used in the foundation and to treat the brick walls--come from within a two-kilometre radius of the studio. The five-sided building occupying the centre of the site is the workshop itself, which frames a courtyard for gatherings (of weavers, children, etc.). A gallery in the complex displays the weavers' work, while the linear buildings accommodate motorcycle parking, a guest house, and residences for Maki and her partner as well as the site caretaker and his family. File contains artefacts and realia, models, photographs, drawings, site reports, and a video recording.
Level of archival description:
Project
Project
Date:
2012-2015
2012-2015
People:
Level of archival description:
Series
Series
Title:
MarkeTrac and OrderTrac
MarkeTrac and OrderTrac
Actions:
Reference number:
AP184.S2
Description:
Series 2, MarkeTrac and OrderTrac, 1998-2007, chiefly documents Asymptote’s work bringing 3DTF online through the development and implementation of two web applications. This series includes textual and born-digital components, and chiefly dates from 2000 to 2001. MarkeTrac represents the most significant expansion on 3DTF. Running as a subdomain of the NYSE website for much of the early 2000s, it allowed users to monitor data from a personal computer using the 3DTF interface. Though there were other efforts bringing real-time stock data online at this time, MarkeTrac is significant in that it was the first to include a major data visualization component. Later additions to this project include OrderTrac, a component of MarkeTrac allowing users to buy and sell stocks online. Other unrealized projects related to 3DTF and data visualization were conceptualized during this time. The digital files in this series are chiefly raster images and video of renderings, in addition to a body of handout materials for project presentations. There is also a small body of CAD material in Maya. The textual records are largely handouts for presentation meetings, overlapping significantly with the digital files. There is also a small body of chiefly textual material documenting the conceptualization of other data visualization products.
AP184.S2
Description:
Series 2, MarkeTrac and OrderTrac, 1998-2007, chiefly documents Asymptote’s work bringing 3DTF online through the development and implementation of two web applications. This series includes textual and born-digital components, and chiefly dates from 2000 to 2001. MarkeTrac represents the most significant expansion on 3DTF. Running as a subdomain of the NYSE website for much of the early 2000s, it allowed users to monitor data from a personal computer using the 3DTF interface. Though there were other efforts bringing real-time stock data online at this time, MarkeTrac is significant in that it was the first to include a major data visualization component. Later additions to this project include OrderTrac, a component of MarkeTrac allowing users to buy and sell stocks online. Other unrealized projects related to 3DTF and data visualization were conceptualized during this time. The digital files in this series are chiefly raster images and video of renderings, in addition to a body of handout materials for project presentations. There is also a small body of CAD material in Maya. The textual records are largely handouts for presentation meetings, overlapping significantly with the digital files. There is also a small body of chiefly textual material documenting the conceptualization of other data visualization products.
People:
Date:
1991 - 2007
1991 - 2007
Title:
MarkeTrac and OrderTrac
Actions:
AP184.S2
Description:
Series 2, MarkeTrac and OrderTrac, 1998-2007, chiefly documents Asymptote’s work bringing 3DTF online through the development and implementation of two web applications. This series includes textual and born-digital components, and chiefly dates from 2000 to 2001. MarkeTrac represents the most significant expansion on 3DTF. Running as a subdomain of the NYSE website for much of the early 2000s, it allowed users to monitor data from a personal computer using the 3DTF interface. Though there were other efforts bringing real-time stock data online at this time, MarkeTrac is significant in that it was the first to include a major data visualization component. Later additions to this project include OrderTrac, a component of MarkeTrac allowing users to buy and sell stocks online. Other unrealized projects related to 3DTF and data visualization were conceptualized during this time. The digital files in this series are chiefly raster images and video of renderings, in addition to a body of handout materials for project presentations. There is also a small body of CAD material in Maya. The textual records are largely handouts for presentation meetings, overlapping significantly with the digital files. There is also a small body of chiefly textual material documenting the conceptualization of other data visualization products.
MarkeTrac and OrderTrac
Actions:
AP184.S2
Description:
Series 2, MarkeTrac and OrderTrac, 1998-2007, chiefly documents Asymptote’s work bringing 3DTF online through the development and implementation of two web applications. This series includes textual and born-digital components, and chiefly dates from 2000 to 2001. MarkeTrac represents the most significant expansion on 3DTF. Running as a subdomain of the NYSE website for much of the early 2000s, it allowed users to monitor data from a personal computer using the 3DTF interface. Though there were other efforts bringing real-time stock data online at this time, MarkeTrac is significant in that it was the first to include a major data visualization component. Later additions to this project include OrderTrac, a component of MarkeTrac allowing users to buy and sell stocks online. Other unrealized projects related to 3DTF and data visualization were conceptualized during this time. The digital files in this series are chiefly raster images and video of renderings, in addition to a body of handout materials for project presentations. There is also a small body of CAD material in Maya. The textual records are largely handouts for presentation meetings, overlapping significantly with the digital files. There is also a small body of chiefly textual material documenting the conceptualization of other data visualization products.
Level of archival description:
Series
Series
Date:
1991 - 2007
1991 - 2007
People:
Level of archival description:
Project
Project
Actions:
Reference number:
AP004.S1.D4
Description:
*CONTENT WARNING* This project series documents the Caughnawaga United Church in Kahnawá:ke, Quebec, Canada, which ran the school Caughnawaga Mission (or Caughnawaga Methodist Mission School), recognized as part of the Federal Indian Day School system by the Federal Government of Canada.[1] Please take care in consulting these records and seek help when needed. For more information about the Day School system, please visit https://indiandayschools.com. Note that Kahnawá:ke was previously known as Caughnawaga and the name has been maintained in the project title to preserve the project's historical context. The church was built in 1928 to replace the existing building, which was becoming too small for the congregation. The stained glass of the church was done by Canadian artist Charles William Kelsey. The one-storey building was made from quarried stone, which congregation members moved from quarry to site on horse and buggy.[2] [1] Federal Indian Day School Class Action “Schedule K – List of Federal Indian Day Schools.” https://indiandayschools.com/en/wp-content/uploads/schedule-k.pdf [2] Kahnawake United Church “Kahnawake United Church - Voices of our Elders.” YouTube Video, 23:37, February 8, 2023, https://www.youtube.com/watch?v=xPLYQIJ4c98
AP004.S1.D4
Description:
*CONTENT WARNING* This project series documents the Caughnawaga United Church in Kahnawá:ke, Quebec, Canada, which ran the school Caughnawaga Mission (or Caughnawaga Methodist Mission School), recognized as part of the Federal Indian Day School system by the Federal Government of Canada.[1] Please take care in consulting these records and seek help when needed. For more information about the Day School system, please visit https://indiandayschools.com. Note that Kahnawá:ke was previously known as Caughnawaga and the name has been maintained in the project title to preserve the project's historical context. The church was built in 1928 to replace the existing building, which was becoming too small for the congregation. The stained glass of the church was done by Canadian artist Charles William Kelsey. The one-storey building was made from quarried stone, which congregation members moved from quarry to site on horse and buggy.[2] [1] Federal Indian Day School Class Action “Schedule K – List of Federal Indian Day Schools.” https://indiandayschools.com/en/wp-content/uploads/schedule-k.pdf [2] Kahnawake United Church “Kahnawake United Church - Voices of our Elders.” YouTube Video, 23:37, February 8, 2023, https://www.youtube.com/watch?v=xPLYQIJ4c98
People:
Date:
1928
1928
Title:
Caughnawaga United Church, Kahnawá:ke, Québec, Canada
Actions:
AP004.S1.D4
Description:
*CONTENT WARNING* This project series documents the Caughnawaga United Church in Kahnawá:ke, Quebec, Canada, which ran the school Caughnawaga Mission (or Caughnawaga Methodist Mission School), recognized as part of the Federal Indian Day School system by the Federal Government of Canada.[1] Please take care in consulting these records and seek help when needed. For more information about the Day School system, please visit https://indiandayschools.com. Note that Kahnawá:ke was previously known as Caughnawaga and the name has been maintained in the project title to preserve the project's historical context. The church was built in 1928 to replace the existing building, which was becoming too small for the congregation. The stained glass of the church was done by Canadian artist Charles William Kelsey. The one-storey building was made from quarried stone, which congregation members moved from quarry to site on horse and buggy.[2] [1] Federal Indian Day School Class Action “Schedule K – List of Federal Indian Day Schools.” https://indiandayschools.com/en/wp-content/uploads/schedule-k.pdf [2] Kahnawake United Church “Kahnawake United Church - Voices of our Elders.” YouTube Video, 23:37, February 8, 2023, https://www.youtube.com/watch?v=xPLYQIJ4c98
Caughnawaga United Church, Kahnawá:ke, Québec, Canada
Actions:
AP004.S1.D4
Description:
*CONTENT WARNING* This project series documents the Caughnawaga United Church in Kahnawá:ke, Quebec, Canada, which ran the school Caughnawaga Mission (or Caughnawaga Methodist Mission School), recognized as part of the Federal Indian Day School system by the Federal Government of Canada.[1] Please take care in consulting these records and seek help when needed. For more information about the Day School system, please visit https://indiandayschools.com. Note that Kahnawá:ke was previously known as Caughnawaga and the name has been maintained in the project title to preserve the project's historical context. The church was built in 1928 to replace the existing building, which was becoming too small for the congregation. The stained glass of the church was done by Canadian artist Charles William Kelsey. The one-storey building was made from quarried stone, which congregation members moved from quarry to site on horse and buggy.[2] [1] Federal Indian Day School Class Action “Schedule K – List of Federal Indian Day Schools.” https://indiandayschools.com/en/wp-content/uploads/schedule-k.pdf [2] Kahnawake United Church “Kahnawake United Church - Voices of our Elders.” YouTube Video, 23:37, February 8, 2023, https://www.youtube.com/watch?v=xPLYQIJ4c98
Level of archival description:
Project
Project
Date:
1928
1928
People:
Level of archival description:
Project
Project
Actions:
Reference number:
AP207.S1.2014.PR05
Description:
The project series documents the installation "Architecture Ondoyante", designed by Pettena and presented at the FRAC Lorraine in Metz, in 2014. The installation consists of hanging long strips of white plastic on the facades of the FRAC building "to confuse the well-defined and somewhat austere space of the building that hosts the FRAC, wrapping it in light and movement would have overturned the grain of static, centuries-old architecture." [1] A similar installation, "Forgiving Architecture" was realized in 2009 at the Athens Biennale. Another edition of the installation was presented in the exhibition "Gianni Pettena. About non conscious architecture" at the Galleria Giovanni Bonelli in Milan, in 2017. The project series contains three sketches, a drawing, and photographs and videos of the installation. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/inst-ondoyante-2014-1/ (last accessed 28 January 2020)
AP207.S1.2014.PR05
Description:
The project series documents the installation "Architecture Ondoyante", designed by Pettena and presented at the FRAC Lorraine in Metz, in 2014. The installation consists of hanging long strips of white plastic on the facades of the FRAC building "to confuse the well-defined and somewhat austere space of the building that hosts the FRAC, wrapping it in light and movement would have overturned the grain of static, centuries-old architecture." [1] A similar installation, "Forgiving Architecture" was realized in 2009 at the Athens Biennale. Another edition of the installation was presented in the exhibition "Gianni Pettena. About non conscious architecture" at the Galleria Giovanni Bonelli in Milan, in 2017. The project series contains three sketches, a drawing, and photographs and videos of the installation. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/inst-ondoyante-2014-1/ (last accessed 28 January 2020)
People:
Date:
2013-2015
2013-2015
Title:
Architecture Ondoyante (2014)
Actions:
AP207.S1.2014.PR05
Description:
The project series documents the installation "Architecture Ondoyante", designed by Pettena and presented at the FRAC Lorraine in Metz, in 2014. The installation consists of hanging long strips of white plastic on the facades of the FRAC building "to confuse the well-defined and somewhat austere space of the building that hosts the FRAC, wrapping it in light and movement would have overturned the grain of static, centuries-old architecture." [1] A similar installation, "Forgiving Architecture" was realized in 2009 at the Athens Biennale. Another edition of the installation was presented in the exhibition "Gianni Pettena. About non conscious architecture" at the Galleria Giovanni Bonelli in Milan, in 2017. The project series contains three sketches, a drawing, and photographs and videos of the installation. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/inst-ondoyante-2014-1/ (last accessed 28 January 2020)
Architecture Ondoyante (2014)
Actions:
AP207.S1.2014.PR05
Description:
The project series documents the installation "Architecture Ondoyante", designed by Pettena and presented at the FRAC Lorraine in Metz, in 2014. The installation consists of hanging long strips of white plastic on the facades of the FRAC building "to confuse the well-defined and somewhat austere space of the building that hosts the FRAC, wrapping it in light and movement would have overturned the grain of static, centuries-old architecture." [1] A similar installation, "Forgiving Architecture" was realized in 2009 at the Athens Biennale. Another edition of the installation was presented in the exhibition "Gianni Pettena. About non conscious architecture" at the Galleria Giovanni Bonelli in Milan, in 2017. The project series contains three sketches, a drawing, and photographs and videos of the installation. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/inst-ondoyante-2014-1/ (last accessed 28 January 2020)
Level of archival description:
Project
Project
Date:
2013-2015
2013-2015
People:
Form:
exhibitions
exhibitions
Title:
Inside the Sponge
Inside the Sponge
Actions:
Description:
Simmons Hall is an award-winning university dormitory designed by architect Steven Holl on the Massachusetts Institute of Technology (MIT) campus in Cambridge. Inspired by the sea sponge and the concept of porosity, the building is radical in structure and ambitious in its program to encourage social interaction. Inside the Sponge is an investigation of Simmons Hall from(...)
Simmons Hall is an award-winning university dormitory designed by architect Steven Holl on the Massachusetts Institute of Technology (MIT) campus in Cambridge. Inspired by the sea sponge and the concept of porosity, the building is radical in structure and ambitious in its program to encourage social interaction. Inside the Sponge is an investigation of Simmons Hall from(...)
Location:
Octagonal gallery
Octagonal gallery
Date:
10 August 2006 to 19 November 2006
10 August 2006 to 19 November 2006
Title:
Inside the Sponge
Actions:
Description:
Simmons Hall is an award-winning university dormitory designed by architect Steven Holl on the Massachusetts Institute of Technology (MIT) campus in Cambridge. Inspired by the sea sponge and the concept of porosity, the building is radical in structure and ambitious in its program to encourage social interaction. Inside the Sponge is an investigation of Simmons Hall from(...)
Inside the Sponge
Actions:
Description:
Simmons Hall is an award-winning university dormitory designed by architect Steven Holl on the Massachusetts Institute of Technology (MIT) campus in Cambridge. Inspired by the sea sponge and the concept of porosity, the building is radical in structure and ambitious in its program to encourage social interaction. Inside the Sponge is an investigation of Simmons Hall from(...)
Form:
exhibitions
exhibitions
Date:
10 August 2006 to
19 November 2006
10 August 2006 to
19 November 2006
Location:
Octagonal gallery
Octagonal gallery
Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Title:
Gianni Pettena fonds
Gianni Pettena fonds
Reference number:
AP207
Synopsis:
The Gianni Pettena fonds documents Pettena’s work as an artist, architect, critic, and professor of history of contemporary architecture from the 1960s to the end of the 2010s. It includes one hundred artistic and architectural projects, material related to exhibitions he curated and designed, and his writings.
AP207
Synopsis:
The Gianni Pettena fonds documents Pettena’s work as an artist, architect, critic, and professor of history of contemporary architecture from the 1960s to the end of the 2010s. It includes one hundred artistic and architectural projects, material related to exhibitions he curated and designed, and his writings.
People:
Date:
1960-2019
1960-2019
Title:
Gianni Pettena fonds
Actions:
AP207
Synopsis:
The Gianni Pettena fonds documents Pettena’s work as an artist, architect, critic, and professor of history of contemporary architecture from the 1960s to the end of the 2010s. It includes one hundred artistic and architectural projects, material related to exhibitions he curated and designed, and his writings.
Gianni Pettena fonds
Actions:
AP207
Synopsis:
The Gianni Pettena fonds documents Pettena’s work as an artist, architect, critic, and professor of history of contemporary architecture from the 1960s to the end of the 2010s. It includes one hundred artistic and architectural projects, material related to exhibitions he curated and designed, and his writings.
Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Date:
1960-2019
1960-2019
People:
Form:
articles
articles
Title:
Photographic Pilgrimage
Photographic Pilgrimage
Actions:
Guido Guidi in conversation with Stefano Graziani and Bas Princen
Keyword(s):
The Lives of Documents, Photography as a Project, Stefano Graziani and Bas Princen, Guido Guidi, conversation, oral history
The Lives of Documents, Photography as a Project, Stefano Graziani and Bas Princen, Guido Guidi, conversation, oral history
Published:
27 June 2023
27 June 2023
Title:
Photographic Pilgrimage
Guido Guidi in conversation with Stefano Graziani and Bas Princen
Actions:
Photographic Pilgrimage
Guido Guidi in conversation with Stefano Graziani and Bas Princen
Actions:
Level of archival description:
Project
Project
Title:
Applausi [Applause] (1968)
Applausi [Applause] (1968)
Actions:
Reference number:
AP207.S1.1968.PR05
Description:
This project series documents Pettena's design for "Applausi", a suitcase split in half to create two flashing signs with the word "Applausi". The signs were designed for the music performance by Vittorio Gelmetti, "La descrittione del gran paese" a post-pop opera for which Pettena was also in charge of the scene direction. The performance was presented at the 6th Festival of Avant-Garde Music at the Teatro Biondo, in Palermo, in December 1968. The signs were placed on each side of the stage, toward the audience. "The text, together with others that indicated the piano, the singer and the cello, reminded the audience of the habits of an illiterate public participating in a televised show." [1] The "Applausi" signs were also presented in the exhibition "The living currency" in Varsaw, at the Teatr Dramatyczny in 2010, and at the 6th Berlin Biennale at the Hau1, Die lebende Münze, in 2010. The project series contains photographs of the 'Applausi' signs, a drawing of the sign, and a draft poster showing the display of the stage for Vittorio Gelmetti performance at the 6th Festival of Avant-Garde Music. The project series also includes photographs of the music performance, a video of Pettena and the sign at the Berlin Biennale in 2010, and project descriptions in English and Italian. Source: [1] Marco Scotini, editor. Non-conscious architecture: Gianni Pettena, Sternberg Press, 2018, 235 pages. p. 102.
AP207.S1.1968.PR05
Description:
This project series documents Pettena's design for "Applausi", a suitcase split in half to create two flashing signs with the word "Applausi". The signs were designed for the music performance by Vittorio Gelmetti, "La descrittione del gran paese" a post-pop opera for which Pettena was also in charge of the scene direction. The performance was presented at the 6th Festival of Avant-Garde Music at the Teatro Biondo, in Palermo, in December 1968. The signs were placed on each side of the stage, toward the audience. "The text, together with others that indicated the piano, the singer and the cello, reminded the audience of the habits of an illiterate public participating in a televised show." [1] The "Applausi" signs were also presented in the exhibition "The living currency" in Varsaw, at the Teatr Dramatyczny in 2010, and at the 6th Berlin Biennale at the Hau1, Die lebende Münze, in 2010. The project series contains photographs of the 'Applausi' signs, a drawing of the sign, and a draft poster showing the display of the stage for Vittorio Gelmetti performance at the 6th Festival of Avant-Garde Music. The project series also includes photographs of the music performance, a video of Pettena and the sign at the Berlin Biennale in 2010, and project descriptions in English and Italian. Source: [1] Marco Scotini, editor. Non-conscious architecture: Gianni Pettena, Sternberg Press, 2018, 235 pages. p. 102.
People:
Date:
circa 1968-2015
circa 1968-2015
Title:
Applausi [Applause] (1968)
Actions:
AP207.S1.1968.PR05
Description:
This project series documents Pettena's design for "Applausi", a suitcase split in half to create two flashing signs with the word "Applausi". The signs were designed for the music performance by Vittorio Gelmetti, "La descrittione del gran paese" a post-pop opera for which Pettena was also in charge of the scene direction. The performance was presented at the 6th Festival of Avant-Garde Music at the Teatro Biondo, in Palermo, in December 1968. The signs were placed on each side of the stage, toward the audience. "The text, together with others that indicated the piano, the singer and the cello, reminded the audience of the habits of an illiterate public participating in a televised show." [1] The "Applausi" signs were also presented in the exhibition "The living currency" in Varsaw, at the Teatr Dramatyczny in 2010, and at the 6th Berlin Biennale at the Hau1, Die lebende Münze, in 2010. The project series contains photographs of the 'Applausi' signs, a drawing of the sign, and a draft poster showing the display of the stage for Vittorio Gelmetti performance at the 6th Festival of Avant-Garde Music. The project series also includes photographs of the music performance, a video of Pettena and the sign at the Berlin Biennale in 2010, and project descriptions in English and Italian. Source: [1] Marco Scotini, editor. Non-conscious architecture: Gianni Pettena, Sternberg Press, 2018, 235 pages. p. 102.
Applausi [Applause] (1968)
Actions:
AP207.S1.1968.PR05
Description:
This project series documents Pettena's design for "Applausi", a suitcase split in half to create two flashing signs with the word "Applausi". The signs were designed for the music performance by Vittorio Gelmetti, "La descrittione del gran paese" a post-pop opera for which Pettena was also in charge of the scene direction. The performance was presented at the 6th Festival of Avant-Garde Music at the Teatro Biondo, in Palermo, in December 1968. The signs were placed on each side of the stage, toward the audience. "The text, together with others that indicated the piano, the singer and the cello, reminded the audience of the habits of an illiterate public participating in a televised show." [1] The "Applausi" signs were also presented in the exhibition "The living currency" in Varsaw, at the Teatr Dramatyczny in 2010, and at the 6th Berlin Biennale at the Hau1, Die lebende Münze, in 2010. The project series contains photographs of the 'Applausi' signs, a drawing of the sign, and a draft poster showing the display of the stage for Vittorio Gelmetti performance at the 6th Festival of Avant-Garde Music. The project series also includes photographs of the music performance, a video of Pettena and the sign at the Berlin Biennale in 2010, and project descriptions in English and Italian. Source: [1] Marco Scotini, editor. Non-conscious architecture: Gianni Pettena, Sternberg Press, 2018, 235 pages. p. 102.
Level of archival description:
Project
Project
Date:
circa 1968-2015
circa 1968-2015
People:
Level of archival description:
Project
Project
Actions:
Reference number:
AP056.S1.1988.PR08
Description:
This project series documents the Dome Productions offices and studio in Toronto from 1988-1989. The office identified the project number as 8804. This project consisted of a two-level office and studio area inside Toronto's SkyDome for the production company that was owned by The Sports Network (TSN). The main purpose of this space was to broadcast sports live from the stadium, but offices for producing, accounting, and marketing were also included. The two floors followed the curved shape of the stadium and were connected to one another by staircases. Visitors entered via large, glass doors into the reception area on the lower level, where they could move to the main lounge with its curved cappuccino bar, integrated into the main staircase. The lower level also held equipment rooms, fan rooms, editing areas, storage and offices. The upper level included two announcing booths, video editing suites, production spaces and conference rooms. The walls were composed of painted gypsum board but granite touches throughout stayed true to the concrete look of the stadium. Aluminum, steel, wood and sandblasted glass were also featured heavily throughout. The project is recorded through drawings and photographs dating from 1988-1989. The drawings are mostly originals and include sketches, presentation drawings, plans, details, elevations, sections, axonometric drawings, and structural drawings. The photographs show the finished interiors of the project.
AP056.S1.1988.PR08
Description:
This project series documents the Dome Productions offices and studio in Toronto from 1988-1989. The office identified the project number as 8804. This project consisted of a two-level office and studio area inside Toronto's SkyDome for the production company that was owned by The Sports Network (TSN). The main purpose of this space was to broadcast sports live from the stadium, but offices for producing, accounting, and marketing were also included. The two floors followed the curved shape of the stadium and were connected to one another by staircases. Visitors entered via large, glass doors into the reception area on the lower level, where they could move to the main lounge with its curved cappuccino bar, integrated into the main staircase. The lower level also held equipment rooms, fan rooms, editing areas, storage and offices. The upper level included two announcing booths, video editing suites, production spaces and conference rooms. The walls were composed of painted gypsum board but granite touches throughout stayed true to the concrete look of the stadium. Aluminum, steel, wood and sandblasted glass were also featured heavily throughout. The project is recorded through drawings and photographs dating from 1988-1989. The drawings are mostly originals and include sketches, presentation drawings, plans, details, elevations, sections, axonometric drawings, and structural drawings. The photographs show the finished interiors of the project.
People:
Date:
1988-1989
1988-1989
Title:
Dome Productions Offices and Studios, Toronto (1988-1989)
Actions:
AP056.S1.1988.PR08
Description:
This project series documents the Dome Productions offices and studio in Toronto from 1988-1989. The office identified the project number as 8804. This project consisted of a two-level office and studio area inside Toronto's SkyDome for the production company that was owned by The Sports Network (TSN). The main purpose of this space was to broadcast sports live from the stadium, but offices for producing, accounting, and marketing were also included. The two floors followed the curved shape of the stadium and were connected to one another by staircases. Visitors entered via large, glass doors into the reception area on the lower level, where they could move to the main lounge with its curved cappuccino bar, integrated into the main staircase. The lower level also held equipment rooms, fan rooms, editing areas, storage and offices. The upper level included two announcing booths, video editing suites, production spaces and conference rooms. The walls were composed of painted gypsum board but granite touches throughout stayed true to the concrete look of the stadium. Aluminum, steel, wood and sandblasted glass were also featured heavily throughout. The project is recorded through drawings and photographs dating from 1988-1989. The drawings are mostly originals and include sketches, presentation drawings, plans, details, elevations, sections, axonometric drawings, and structural drawings. The photographs show the finished interiors of the project.
Dome Productions Offices and Studios, Toronto (1988-1989)
Actions:
AP056.S1.1988.PR08
Description:
This project series documents the Dome Productions offices and studio in Toronto from 1988-1989. The office identified the project number as 8804. This project consisted of a two-level office and studio area inside Toronto's SkyDome for the production company that was owned by The Sports Network (TSN). The main purpose of this space was to broadcast sports live from the stadium, but offices for producing, accounting, and marketing were also included. The two floors followed the curved shape of the stadium and were connected to one another by staircases. Visitors entered via large, glass doors into the reception area on the lower level, where they could move to the main lounge with its curved cappuccino bar, integrated into the main staircase. The lower level also held equipment rooms, fan rooms, editing areas, storage and offices. The upper level included two announcing booths, video editing suites, production spaces and conference rooms. The walls were composed of painted gypsum board but granite touches throughout stayed true to the concrete look of the stadium. Aluminum, steel, wood and sandblasted glass were also featured heavily throughout. The project is recorded through drawings and photographs dating from 1988-1989. The drawings are mostly originals and include sketches, presentation drawings, plans, details, elevations, sections, axonometric drawings, and structural drawings. The photographs show the finished interiors of the project.
Level of archival description:
Project
Project
Date:
1988-1989
1988-1989
People:
Form:
exhibitions
exhibitions
Title:
Sense of the City
Sense of the City
Actions:
Description:
Sense of the City explores urban phenomena and perceptions of the city which have traditionally been ignored, repressed, or maligned. Challenging the dominance of the visual in the urban environment, the exhibition proposes a re-thinking of latent qualities of the city, offering complex analyses of the comforts, communication systems, and sensory dimensions of urban(...)
Sense of the City explores urban phenomena and perceptions of the city which have traditionally been ignored, repressed, or maligned. Challenging the dominance of the visual in the urban environment, the exhibition proposes a re-thinking of latent qualities of the city, offering complex analyses of the comforts, communication systems, and sensory dimensions of urban(...)
Location:
Main galleries
Main galleries
Date:
26 October 2005 to 10 September 2006
26 October 2005 to 10 September 2006
Title:
Sense of the City
Actions:
Description:
Sense of the City explores urban phenomena and perceptions of the city which have traditionally been ignored, repressed, or maligned. Challenging the dominance of the visual in the urban environment, the exhibition proposes a re-thinking of latent qualities of the city, offering complex analyses of the comforts, communication systems, and sensory dimensions of urban(...)
Sense of the City
Actions:
Description:
Sense of the City explores urban phenomena and perceptions of the city which have traditionally been ignored, repressed, or maligned. Challenging the dominance of the visual in the urban environment, the exhibition proposes a re-thinking of latent qualities of the city, offering complex analyses of the comforts, communication systems, and sensory dimensions of urban(...)
Form:
exhibitions
exhibitions
Date:
26 October 2005 to
10 September 2006
26 October 2005 to
10 September 2006
Location:
Main galleries
Main galleries
