3554 Results
Quantity:
19 file
19 file
Actions:
Reference number:
DR1999:0365
Description:
videocassettes include: - 2/18/86 - Texas A + M University "Arrows, Eros and More Errors" - 12/1/88 - P.E. Higgins Renovation - June 1988 - Philip Johnson at OSU - 8/17/89 - P.E./students/faculty/staff DAAP building - August 1989 - "Banyoles al Costat de Barcelona" in English - November 16th, 1989 - Wexner Symposium - OSU - Fall 1989 - All School Lecture Series Rice University, Texas - 7/19/90 - Greater Columbus Convention Center Promo video - 3/1/90 - DAAP students/faculty/staff meeting - March 1990 - lecture University of Tennessee - July 1st - 4th 1990 - Tokyo, Koizumi - 11/1/91 - P.E./Columbia - 3/25/91 - Columbia University lecture - 4/15/92 - Pacific Design Center, Westweek 1992 "Venice Biennale" - 8/19/92 & 11/4/92 - T.V. news monitoring service - August 1992 - Nunotani on Japan T.V. - June 24th, 1993 - Philip Johnson on Charlie Rose - October 25th, 1993 - DAAP - preground breaking lecture -Peter Eisenman, Penn State April 7, 1994
DR1999:0365
Description:
videocassettes include: - 2/18/86 - Texas A + M University "Arrows, Eros and More Errors" - 12/1/88 - P.E. Higgins Renovation - June 1988 - Philip Johnson at OSU - 8/17/89 - P.E./students/faculty/staff DAAP building - August 1989 - "Banyoles al Costat de Barcelona" in English - November 16th, 1989 - Wexner Symposium - OSU - Fall 1989 - All School Lecture Series Rice University, Texas - 7/19/90 - Greater Columbus Convention Center Promo video - 3/1/90 - DAAP students/faculty/staff meeting - March 1990 - lecture University of Tennessee - July 1st - 4th 1990 - Tokyo, Koizumi - 11/1/91 - P.E./Columbia - 3/25/91 - Columbia University lecture - 4/15/92 - Pacific Design Center, Westweek 1992 "Venice Biennale" - 8/19/92 & 11/4/92 - T.V. news monitoring service - August 1992 - Nunotani on Japan T.V. - June 24th, 1993 - Philip Johnson on Charlie Rose - October 25th, 1993 - DAAP - preground breaking lecture -Peter Eisenman, Penn State April 7, 1994
People:
Title:
Lectures for Wexner Center, Columbus, Ohio and Banyoles Olympic Hotel, Banyoles, Spain
Actions:
DR1999:0365
Description:
videocassettes include: - 2/18/86 - Texas A + M University "Arrows, Eros and More Errors" - 12/1/88 - P.E. Higgins Renovation - June 1988 - Philip Johnson at OSU - 8/17/89 - P.E./students/faculty/staff DAAP building - August 1989 - "Banyoles al Costat de Barcelona" in English - November 16th, 1989 - Wexner Symposium - OSU - Fall 1989 - All School Lecture Series Rice University, Texas - 7/19/90 - Greater Columbus Convention Center Promo video - 3/1/90 - DAAP students/faculty/staff meeting - March 1990 - lecture University of Tennessee - July 1st - 4th 1990 - Tokyo, Koizumi - 11/1/91 - P.E./Columbia - 3/25/91 - Columbia University lecture - 4/15/92 - Pacific Design Center, Westweek 1992 "Venice Biennale" - 8/19/92 & 11/4/92 - T.V. news monitoring service - August 1992 - Nunotani on Japan T.V. - June 24th, 1993 - Philip Johnson on Charlie Rose - October 25th, 1993 - DAAP - preground breaking lecture -Peter Eisenman, Penn State April 7, 1994
Lectures for Wexner Center, Columbus, Ohio and Banyoles Olympic Hotel, Banyoles, Spain
Actions:
DR1999:0365
Description:
videocassettes include: - 2/18/86 - Texas A + M University "Arrows, Eros and More Errors" - 12/1/88 - P.E. Higgins Renovation - June 1988 - Philip Johnson at OSU - 8/17/89 - P.E./students/faculty/staff DAAP building - August 1989 - "Banyoles al Costat de Barcelona" in English - November 16th, 1989 - Wexner Symposium - OSU - Fall 1989 - All School Lecture Series Rice University, Texas - 7/19/90 - Greater Columbus Convention Center Promo video - 3/1/90 - DAAP students/faculty/staff meeting - March 1990 - lecture University of Tennessee - July 1st - 4th 1990 - Tokyo, Koizumi - 11/1/91 - P.E./Columbia - 3/25/91 - Columbia University lecture - 4/15/92 - Pacific Design Center, Westweek 1992 "Venice Biennale" - 8/19/92 & 11/4/92 - T.V. news monitoring service - August 1992 - Nunotani on Japan T.V. - June 24th, 1993 - Philip Johnson on Charlie Rose - October 25th, 1993 - DAAP - preground breaking lecture -Peter Eisenman, Penn State April 7, 1994
Quantity:
19 file
19 file
People:
Level of archival description:
Series
Series
Title:
Une architecture des humeurs
Une architecture des humeurs
Actions:
Reference number:
AP193.S4
Description:
Series 4, Une architecture des humeurs, 2008-2011, documents the conception and the presentation of exhibition and project Une architecture des humeurs. Presented at Le laboratoire art gallery in Paris between January and May 2010, Une architecture des humeurs is a conceptual, unbuilt, residential urban structure based on a potential future in which contemporary science reads human physiology and chemical balance. The idea is to acquire a chemistry of the “humors”, or the moods and temperament, of future purchasers. Taken as input, the information generates a diversity of habitable morphologies and relationships between them. With this process, the project attempts to make palpable and graspable, through technologies, the emotions of the participants captured via the chemistry of their body. The goal is to gather information on their capacity of adaptation, their level of sympathy and empathy while confronted to a situation or an environment. This information is then analyzed by computational, mathematical, and machinist procedures. This leads to the design and production of an urban structure submitted to the improbable and uncertain protocols produced by emotions, also creating aggregations and layouts that rearticulate the links between the individual and the collective. These structures are calculated following simultaneously incremental and recursive structural optimization protocols resulting in the physicality and morphology of architecture. The layout of the residential units and the structural trajectories are conceived and developed as posterior to the constructs supporting social life and not as an a priori. The structure of each components of the urban structure is generated by a secretion and weaving machine called Viab02. The machine is the second prototype of VIAB which was developed with Robotics Research Lab of the University of Southern California and takes its name from the terms viability and variability. With a process similar to contour crafting, the machine produces bio-cement, a mix between cement and bio-resin, giving form to the adapted residential structures. The records consist largely of images detailing the creative process of the firm, photographs of the exhibition, and 3D models. It also contains animated renderings representing the machine in action and sequences of the construction of the building or the structure. The records include a video orienting the project into François Roche theoretical stance, research as speculation, that can be summarize as the use of technological tools to take a critical and political position through esthetic in order to open new lines of thoughts. AP193.S2 contains updated previous version of the VIAB machine
AP193.S4
Description:
Series 4, Une architecture des humeurs, 2008-2011, documents the conception and the presentation of exhibition and project Une architecture des humeurs. Presented at Le laboratoire art gallery in Paris between January and May 2010, Une architecture des humeurs is a conceptual, unbuilt, residential urban structure based on a potential future in which contemporary science reads human physiology and chemical balance. The idea is to acquire a chemistry of the “humors”, or the moods and temperament, of future purchasers. Taken as input, the information generates a diversity of habitable morphologies and relationships between them. With this process, the project attempts to make palpable and graspable, through technologies, the emotions of the participants captured via the chemistry of their body. The goal is to gather information on their capacity of adaptation, their level of sympathy and empathy while confronted to a situation or an environment. This information is then analyzed by computational, mathematical, and machinist procedures. This leads to the design and production of an urban structure submitted to the improbable and uncertain protocols produced by emotions, also creating aggregations and layouts that rearticulate the links between the individual and the collective. These structures are calculated following simultaneously incremental and recursive structural optimization protocols resulting in the physicality and morphology of architecture. The layout of the residential units and the structural trajectories are conceived and developed as posterior to the constructs supporting social life and not as an a priori. The structure of each components of the urban structure is generated by a secretion and weaving machine called Viab02. The machine is the second prototype of VIAB which was developed with Robotics Research Lab of the University of Southern California and takes its name from the terms viability and variability. With a process similar to contour crafting, the machine produces bio-cement, a mix between cement and bio-resin, giving form to the adapted residential structures. The records consist largely of images detailing the creative process of the firm, photographs of the exhibition, and 3D models. It also contains animated renderings representing the machine in action and sequences of the construction of the building or the structure. The records include a video orienting the project into François Roche theoretical stance, research as speculation, that can be summarize as the use of technological tools to take a critical and political position through esthetic in order to open new lines of thoughts. AP193.S2 contains updated previous version of the VIAB machine
People:
Date:
2008-2011
2008-2011
Title:
Une architecture des humeurs
Actions:
AP193.S4
Description:
Series 4, Une architecture des humeurs, 2008-2011, documents the conception and the presentation of exhibition and project Une architecture des humeurs. Presented at Le laboratoire art gallery in Paris between January and May 2010, Une architecture des humeurs is a conceptual, unbuilt, residential urban structure based on a potential future in which contemporary science reads human physiology and chemical balance. The idea is to acquire a chemistry of the “humors”, or the moods and temperament, of future purchasers. Taken as input, the information generates a diversity of habitable morphologies and relationships between them. With this process, the project attempts to make palpable and graspable, through technologies, the emotions of the participants captured via the chemistry of their body. The goal is to gather information on their capacity of adaptation, their level of sympathy and empathy while confronted to a situation or an environment. This information is then analyzed by computational, mathematical, and machinist procedures. This leads to the design and production of an urban structure submitted to the improbable and uncertain protocols produced by emotions, also creating aggregations and layouts that rearticulate the links between the individual and the collective. These structures are calculated following simultaneously incremental and recursive structural optimization protocols resulting in the physicality and morphology of architecture. The layout of the residential units and the structural trajectories are conceived and developed as posterior to the constructs supporting social life and not as an a priori. The structure of each components of the urban structure is generated by a secretion and weaving machine called Viab02. The machine is the second prototype of VIAB which was developed with Robotics Research Lab of the University of Southern California and takes its name from the terms viability and variability. With a process similar to contour crafting, the machine produces bio-cement, a mix between cement and bio-resin, giving form to the adapted residential structures. The records consist largely of images detailing the creative process of the firm, photographs of the exhibition, and 3D models. It also contains animated renderings representing the machine in action and sequences of the construction of the building or the structure. The records include a video orienting the project into François Roche theoretical stance, research as speculation, that can be summarize as the use of technological tools to take a critical and political position through esthetic in order to open new lines of thoughts. AP193.S2 contains updated previous version of the VIAB machine
Une architecture des humeurs
Actions:
AP193.S4
Description:
Series 4, Une architecture des humeurs, 2008-2011, documents the conception and the presentation of exhibition and project Une architecture des humeurs. Presented at Le laboratoire art gallery in Paris between January and May 2010, Une architecture des humeurs is a conceptual, unbuilt, residential urban structure based on a potential future in which contemporary science reads human physiology and chemical balance. The idea is to acquire a chemistry of the “humors”, or the moods and temperament, of future purchasers. Taken as input, the information generates a diversity of habitable morphologies and relationships between them. With this process, the project attempts to make palpable and graspable, through technologies, the emotions of the participants captured via the chemistry of their body. The goal is to gather information on their capacity of adaptation, their level of sympathy and empathy while confronted to a situation or an environment. This information is then analyzed by computational, mathematical, and machinist procedures. This leads to the design and production of an urban structure submitted to the improbable and uncertain protocols produced by emotions, also creating aggregations and layouts that rearticulate the links between the individual and the collective. These structures are calculated following simultaneously incremental and recursive structural optimization protocols resulting in the physicality and morphology of architecture. The layout of the residential units and the structural trajectories are conceived and developed as posterior to the constructs supporting social life and not as an a priori. The structure of each components of the urban structure is generated by a secretion and weaving machine called Viab02. The machine is the second prototype of VIAB which was developed with Robotics Research Lab of the University of Southern California and takes its name from the terms viability and variability. With a process similar to contour crafting, the machine produces bio-cement, a mix between cement and bio-resin, giving form to the adapted residential structures. The records consist largely of images detailing the creative process of the firm, photographs of the exhibition, and 3D models. It also contains animated renderings representing the machine in action and sequences of the construction of the building or the structure. The records include a video orienting the project into François Roche theoretical stance, research as speculation, that can be summarize as the use of technological tools to take a critical and political position through esthetic in order to open new lines of thoughts. AP193.S2 contains updated previous version of the VIAB machine
Level of archival description:
Series
Series
Date:
2008-2011
2008-2011
People:
Form:
articles
articles
Title:
Familiar Observations
Familiar Observations
Actions:
Tokuko Ushioda in conversation with Stefano Graziani and Bas Princen
Keyword(s):
The Lives of Documents—Photography as Project, Stefano Graziani, Bas Princen, Tokuko Ushioda, Ice Box, My Husband
The Lives of Documents—Photography as Project, Stefano Graziani, Bas Princen, Tokuko Ushioda, Ice Box, My Husband
Published:
17 July 2023
17 July 2023
Title:
Familiar Observations
Tokuko Ushioda in conversation with Stefano Graziani and Bas Princen
Actions:
Familiar Observations
Tokuko Ushioda in conversation with Stefano Graziani and Bas Princen
Actions:
Form:
exhibitions
exhibitions
Title:
1973: Sorry, Out of Gas
1973: Sorry, Out of Gas
Actions:
Description:
1973: Sorry, Out of Gas captures the architectural innovation spurred by the 1973 oil crisis, when the value of oil increased exponentially and triggered economic, political, and social upheaval across the world. Featuring over 350 objects including architectural drawings, photographs, books and pamphlets, archival television footage, and historical artefacts, it maps the(...)
1973: Sorry, Out of Gas captures the architectural innovation spurred by the 1973 oil crisis, when the value of oil increased exponentially and triggered economic, political, and social upheaval across the world. Featuring over 350 objects including architectural drawings, photographs, books and pamphlets, archival television footage, and historical artefacts, it maps the(...)
Date:
7 November 2007 to 20 April 2008
7 November 2007 to 20 April 2008
Title:
1973: Sorry, Out of Gas
Actions:
Description:
1973: Sorry, Out of Gas captures the architectural innovation spurred by the 1973 oil crisis, when the value of oil increased exponentially and triggered economic, political, and social upheaval across the world. Featuring over 350 objects including architectural drawings, photographs, books and pamphlets, archival television footage, and historical artefacts, it maps the(...)
1973: Sorry, Out of Gas
Actions:
Description:
1973: Sorry, Out of Gas captures the architectural innovation spurred by the 1973 oil crisis, when the value of oil increased exponentially and triggered economic, political, and social upheaval across the world. Featuring over 350 objects including architectural drawings, photographs, books and pamphlets, archival television footage, and historical artefacts, it maps the(...)
Form:
exhibitions
exhibitions
Date:
7 November 2007 to
20 April 2008
7 November 2007 to
20 April 2008
Level of archival description:
Series
Series
Actions:
Reference number:
AP193.S2
Description:
Series 2, I’ve heard about and Hypnosis chamber, 2004-2006, relates to the conception of the urban structure “I’ve heard about”. The records contain algorithmically-generated images, renderings, pictures of models and exhibitions. There are also photographs of the contour crafting process, 3D models and animated renderings illustrating the construction process of the structure. The project is a conceptual, unbuilt project that is meant to be a habitable organism, an adaptive landscape in a constant state of evolution. By means of transitory scenarios in which the operational mode is entropy and uncertainty, it develops open algorithms based on growth scripts permeable not only to human expressions, but also to the most discrete data such as the chemical emissions (for example due to stress or anxiety) of those who inhabit it. The chemical information is harvested through nanoreceptors feeding the VIAB machine with information. This biostructure becomes the visible part of human contingencies and their negotiation in real time. The structure is conceptualized to be in constant construction through the VIAB machine which is also a constituent of the structure itself. It secretes fiber cement, shaping the landscape where it is located and through which it moves. It generates the reticular structure using a process modelled on contour crafting. The VIAB machine was developed with Robotics Research Lab of the University of Southern California and takes its name from the terms viability and variability. R&Sie(n) considers that due to its mode of emergence “I’ve heard about” fabrication is not subjugated to any political power. Hypnosis chamber is a component of “I’ve heard about”. It consists of an indoor chamber, which was realized as a full-scale sample constructed through automated machinery. The chamber is situated as a part of the whole urban structure presented by “I’ve heard about,” and its goal is to immerse the audience into the project, into a fictional environment only reachable by hypnosis. In this context, hypnosis is a way to help citizens escape from their social condition and experience the new condition of citizenship imagined in “I’ve heard about”, where democracy is re-evaluated as a process of self-determination. Both parts of the projects were shown in contemporary art museums. First at Musée d’art de la ville de Paris in Paris (2005), the Hypnotic chamber is permanently on view at Towada Art Center in Towanda, Japan. AP193.S4 contains a video orienting the project into François Roche theoretical stance, research as speculation, that can be summarize as the use of technological tools to take a critical and political position through esthetic in order to open new lines of thoughts. AP193.S4 contains an updated version of the VIAB machine
AP193.S2
Description:
Series 2, I’ve heard about and Hypnosis chamber, 2004-2006, relates to the conception of the urban structure “I’ve heard about”. The records contain algorithmically-generated images, renderings, pictures of models and exhibitions. There are also photographs of the contour crafting process, 3D models and animated renderings illustrating the construction process of the structure. The project is a conceptual, unbuilt project that is meant to be a habitable organism, an adaptive landscape in a constant state of evolution. By means of transitory scenarios in which the operational mode is entropy and uncertainty, it develops open algorithms based on growth scripts permeable not only to human expressions, but also to the most discrete data such as the chemical emissions (for example due to stress or anxiety) of those who inhabit it. The chemical information is harvested through nanoreceptors feeding the VIAB machine with information. This biostructure becomes the visible part of human contingencies and their negotiation in real time. The structure is conceptualized to be in constant construction through the VIAB machine which is also a constituent of the structure itself. It secretes fiber cement, shaping the landscape where it is located and through which it moves. It generates the reticular structure using a process modelled on contour crafting. The VIAB machine was developed with Robotics Research Lab of the University of Southern California and takes its name from the terms viability and variability. R&Sie(n) considers that due to its mode of emergence “I’ve heard about” fabrication is not subjugated to any political power. Hypnosis chamber is a component of “I’ve heard about”. It consists of an indoor chamber, which was realized as a full-scale sample constructed through automated machinery. The chamber is situated as a part of the whole urban structure presented by “I’ve heard about,” and its goal is to immerse the audience into the project, into a fictional environment only reachable by hypnosis. In this context, hypnosis is a way to help citizens escape from their social condition and experience the new condition of citizenship imagined in “I’ve heard about”, where democracy is re-evaluated as a process of self-determination. Both parts of the projects were shown in contemporary art museums. First at Musée d’art de la ville de Paris in Paris (2005), the Hypnotic chamber is permanently on view at Towada Art Center in Towanda, Japan. AP193.S4 contains a video orienting the project into François Roche theoretical stance, research as speculation, that can be summarize as the use of technological tools to take a critical and political position through esthetic in order to open new lines of thoughts. AP193.S4 contains an updated version of the VIAB machine
People:
Date:
2004-2006
2004-2006
Title:
I’ve heard about and Hypnosis chamber
Actions:
AP193.S2
Description:
Series 2, I’ve heard about and Hypnosis chamber, 2004-2006, relates to the conception of the urban structure “I’ve heard about”. The records contain algorithmically-generated images, renderings, pictures of models and exhibitions. There are also photographs of the contour crafting process, 3D models and animated renderings illustrating the construction process of the structure. The project is a conceptual, unbuilt project that is meant to be a habitable organism, an adaptive landscape in a constant state of evolution. By means of transitory scenarios in which the operational mode is entropy and uncertainty, it develops open algorithms based on growth scripts permeable not only to human expressions, but also to the most discrete data such as the chemical emissions (for example due to stress or anxiety) of those who inhabit it. The chemical information is harvested through nanoreceptors feeding the VIAB machine with information. This biostructure becomes the visible part of human contingencies and their negotiation in real time. The structure is conceptualized to be in constant construction through the VIAB machine which is also a constituent of the structure itself. It secretes fiber cement, shaping the landscape where it is located and through which it moves. It generates the reticular structure using a process modelled on contour crafting. The VIAB machine was developed with Robotics Research Lab of the University of Southern California and takes its name from the terms viability and variability. R&Sie(n) considers that due to its mode of emergence “I’ve heard about” fabrication is not subjugated to any political power. Hypnosis chamber is a component of “I’ve heard about”. It consists of an indoor chamber, which was realized as a full-scale sample constructed through automated machinery. The chamber is situated as a part of the whole urban structure presented by “I’ve heard about,” and its goal is to immerse the audience into the project, into a fictional environment only reachable by hypnosis. In this context, hypnosis is a way to help citizens escape from their social condition and experience the new condition of citizenship imagined in “I’ve heard about”, where democracy is re-evaluated as a process of self-determination. Both parts of the projects were shown in contemporary art museums. First at Musée d’art de la ville de Paris in Paris (2005), the Hypnotic chamber is permanently on view at Towada Art Center in Towanda, Japan. AP193.S4 contains a video orienting the project into François Roche theoretical stance, research as speculation, that can be summarize as the use of technological tools to take a critical and political position through esthetic in order to open new lines of thoughts. AP193.S4 contains an updated version of the VIAB machine
I’ve heard about and Hypnosis chamber
Actions:
AP193.S2
Description:
Series 2, I’ve heard about and Hypnosis chamber, 2004-2006, relates to the conception of the urban structure “I’ve heard about”. The records contain algorithmically-generated images, renderings, pictures of models and exhibitions. There are also photographs of the contour crafting process, 3D models and animated renderings illustrating the construction process of the structure. The project is a conceptual, unbuilt project that is meant to be a habitable organism, an adaptive landscape in a constant state of evolution. By means of transitory scenarios in which the operational mode is entropy and uncertainty, it develops open algorithms based on growth scripts permeable not only to human expressions, but also to the most discrete data such as the chemical emissions (for example due to stress or anxiety) of those who inhabit it. The chemical information is harvested through nanoreceptors feeding the VIAB machine with information. This biostructure becomes the visible part of human contingencies and their negotiation in real time. The structure is conceptualized to be in constant construction through the VIAB machine which is also a constituent of the structure itself. It secretes fiber cement, shaping the landscape where it is located and through which it moves. It generates the reticular structure using a process modelled on contour crafting. The VIAB machine was developed with Robotics Research Lab of the University of Southern California and takes its name from the terms viability and variability. R&Sie(n) considers that due to its mode of emergence “I’ve heard about” fabrication is not subjugated to any political power. Hypnosis chamber is a component of “I’ve heard about”. It consists of an indoor chamber, which was realized as a full-scale sample constructed through automated machinery. The chamber is situated as a part of the whole urban structure presented by “I’ve heard about,” and its goal is to immerse the audience into the project, into a fictional environment only reachable by hypnosis. In this context, hypnosis is a way to help citizens escape from their social condition and experience the new condition of citizenship imagined in “I’ve heard about”, where democracy is re-evaluated as a process of self-determination. Both parts of the projects were shown in contemporary art museums. First at Musée d’art de la ville de Paris in Paris (2005), the Hypnotic chamber is permanently on view at Towada Art Center in Towanda, Japan. AP193.S4 contains a video orienting the project into François Roche theoretical stance, research as speculation, that can be summarize as the use of technological tools to take a critical and political position through esthetic in order to open new lines of thoughts. AP193.S4 contains an updated version of the VIAB machine
Level of archival description:
Series
Series
Date:
2004-2006
2004-2006
People:
Form:
textual records
textual records
Title:
Filing system and job lists
Filing system and job lists
Actions:
Reference number:
DR2004:1462
Description:
includes filing system and job lists; boxes of reference cards (6 total) 'CP Ref & Article Ref/ Articles, Interviews X15/Cassettes tapes X16/ Videos... onwards /Negatives/ Photographs' (by project also) references (1 box); Boxes of reference cards 'Job cards' (3 boxes) by job nr, with contact info; Boxes of reference cards 'Memo references' (2 boxes) with list of memos by job nr with content;
DR2004:1462
Description:
includes filing system and job lists; boxes of reference cards (6 total) 'CP Ref & Article Ref/ Articles, Interviews X15/Cassettes tapes X16/ Videos... onwards /Negatives/ Photographs' (by project also) references (1 box); Boxes of reference cards 'Job cards' (3 boxes) by job nr, with contact info; Boxes of reference cards 'Memo references' (2 boxes) with list of memos by job nr with content;
People:
Date:
1966-1996
1966-1996
Title:
Filing system and job lists
Actions:
DR2004:1462
Description:
includes filing system and job lists; boxes of reference cards (6 total) 'CP Ref & Article Ref/ Articles, Interviews X15/Cassettes tapes X16/ Videos... onwards /Negatives/ Photographs' (by project also) references (1 box); Boxes of reference cards 'Job cards' (3 boxes) by job nr, with contact info; Boxes of reference cards 'Memo references' (2 boxes) with list of memos by job nr with content;
Filing system and job lists
Actions:
DR2004:1462
Description:
includes filing system and job lists; boxes of reference cards (6 total) 'CP Ref & Article Ref/ Articles, Interviews X15/Cassettes tapes X16/ Videos... onwards /Negatives/ Photographs' (by project also) references (1 box); Boxes of reference cards 'Job cards' (3 boxes) by job nr, with contact info; Boxes of reference cards 'Memo references' (2 boxes) with list of memos by job nr with content;
Form:
textual records
textual records
Date:
1966-1996
1966-1996
People:
Form:
exhibitions
exhibitions
Actions:
Description:
Architecture and Its Image examines the complex relationships between drawings, photographs, prints, and other architectural representations and the buildings, landscapes, and cities they represent. The exhibition assembles images dating from the early sixteenth century to the late twentieth century from Tokyo and Rome to Mississauga and Montreal and includes maps, books,(...)
Architecture and Its Image examines the complex relationships between drawings, photographs, prints, and other architectural representations and the buildings, landscapes, and cities they represent. The exhibition assembles images dating from the early sixteenth century to the late twentieth century from Tokyo and Rome to Mississauga and Montreal and includes maps, books,(...)
Date:
7 May 1989 to 7 August 1989
7 May 1989 to 7 August 1989
Title:
Architecture and Its Image
Actions:
Description:
Architecture and Its Image examines the complex relationships between drawings, photographs, prints, and other architectural representations and the buildings, landscapes, and cities they represent. The exhibition assembles images dating from the early sixteenth century to the late twentieth century from Tokyo and Rome to Mississauga and Montreal and includes maps, books,(...)
Architecture and Its Image
Actions:
Description:
Architecture and Its Image examines the complex relationships between drawings, photographs, prints, and other architectural representations and the buildings, landscapes, and cities they represent. The exhibition assembles images dating from the early sixteenth century to the late twentieth century from Tokyo and Rome to Mississauga and Montreal and includes maps, books,(...)
Form:
exhibitions
exhibitions
Date:
7 May 1989 to
7 August 1989
7 May 1989 to
7 August 1989
Level of archival description:
Series
Series
Actions:
Reference number:
AP193.S1
Description:
Series 1, Water Flux and Scrambled Flat, 2002-2010, documents the conception and evolution of a project that was originally a farm building and later became a geology and glaciology museum and research center focused on the Swiss Alps. The project was never realized. R&Sie(n) conceptualized Scrambled Flat as an experimental farm. The project goal was to reconcile European Union’s agricultural regulations, imposing a separation between animal and human living, to the community of Évolène traditional way of living, contiguously with animals, benefiting from the resources they offer. As conceived, Scrambled Flat creates an environment where fluidity between the existence of the animals and the humans is materialized. The size of the form is also adapted from a typical local rural house and exploits the heat of the animals and the insulation of the hay. For this project, R&Sie(n) approached the mayor of the community with the design proposition. The mayor then called for a competition, while also changing the program to an ecology museum and research center illustrating the local effects of global warming and the thawing of the Alps. R&Sie(n) won the competition with Water Flux, a reinterpretation of Scrambled Flat. The project was intended to uncover and exorcise the anxieties of ecological disaster, and the principle of flux related to seasonal change and, more broadly, climate change. The firm designed rooms that reproduce the geological and meteorological environment of the high mountains making it visible and experimental, offering refrigerated spaces for art installations and scientific demonstrations. The concept was also to build with the use of new technologies such as digital modelling, point scanning, and computer numerical control (CNC), combined with ancient local knowledge of knocking on trees to decide which specific pines have the best wood for construction. The building is designed to be constructed with local lamellar wood milled by nearby CNC. The resulting parts would be used for the structure, the insulation, the waterproofing and both the interior and exterior finishes. The design includes a grille wrapping the building, reproducing the profile of traditional houses and enclosure and making it possible to hold the snow inside a typo-morphological imprint. Therefore, the transformable envelope of the building reacts to the rhythm of the seasons. In the winter, the structure would appear like a solid cut-out of ice and snow, with cavities similar to those found in glaciers. In the summer, it would resemble piles of stones used in these areas to make borders. A small pool would collect rainwater and supply it to an interior artificial snowmaking system designed for the gallery. Transformation of the water is an integral part of the design. The records contain images of plans, sections, details for the structure of the façade, renderings, plans of the engineered structure, and photographs documenting the conception of the models with the CNC machinery. The Rhino 3D modelling files are also part of the records along with AutoCAD models and a video documenting the process. The records contain two physical models: a smaller polymer model at 1:20 scale representing the whole structure of the building, and a larger 1:1 latch wood fragment representing detail of the structure in its integrality.
AP193.S1
Description:
Series 1, Water Flux and Scrambled Flat, 2002-2010, documents the conception and evolution of a project that was originally a farm building and later became a geology and glaciology museum and research center focused on the Swiss Alps. The project was never realized. R&Sie(n) conceptualized Scrambled Flat as an experimental farm. The project goal was to reconcile European Union’s agricultural regulations, imposing a separation between animal and human living, to the community of Évolène traditional way of living, contiguously with animals, benefiting from the resources they offer. As conceived, Scrambled Flat creates an environment where fluidity between the existence of the animals and the humans is materialized. The size of the form is also adapted from a typical local rural house and exploits the heat of the animals and the insulation of the hay. For this project, R&Sie(n) approached the mayor of the community with the design proposition. The mayor then called for a competition, while also changing the program to an ecology museum and research center illustrating the local effects of global warming and the thawing of the Alps. R&Sie(n) won the competition with Water Flux, a reinterpretation of Scrambled Flat. The project was intended to uncover and exorcise the anxieties of ecological disaster, and the principle of flux related to seasonal change and, more broadly, climate change. The firm designed rooms that reproduce the geological and meteorological environment of the high mountains making it visible and experimental, offering refrigerated spaces for art installations and scientific demonstrations. The concept was also to build with the use of new technologies such as digital modelling, point scanning, and computer numerical control (CNC), combined with ancient local knowledge of knocking on trees to decide which specific pines have the best wood for construction. The building is designed to be constructed with local lamellar wood milled by nearby CNC. The resulting parts would be used for the structure, the insulation, the waterproofing and both the interior and exterior finishes. The design includes a grille wrapping the building, reproducing the profile of traditional houses and enclosure and making it possible to hold the snow inside a typo-morphological imprint. Therefore, the transformable envelope of the building reacts to the rhythm of the seasons. In the winter, the structure would appear like a solid cut-out of ice and snow, with cavities similar to those found in glaciers. In the summer, it would resemble piles of stones used in these areas to make borders. A small pool would collect rainwater and supply it to an interior artificial snowmaking system designed for the gallery. Transformation of the water is an integral part of the design. The records contain images of plans, sections, details for the structure of the façade, renderings, plans of the engineered structure, and photographs documenting the conception of the models with the CNC machinery. The Rhino 3D modelling files are also part of the records along with AutoCAD models and a video documenting the process. The records contain two physical models: a smaller polymer model at 1:20 scale representing the whole structure of the building, and a larger 1:1 latch wood fragment representing detail of the structure in its integrality.
People:
Date:
2002-2010
2002-2010
Title:
Water Flux and Scrambled Flat
Actions:
AP193.S1
Description:
Series 1, Water Flux and Scrambled Flat, 2002-2010, documents the conception and evolution of a project that was originally a farm building and later became a geology and glaciology museum and research center focused on the Swiss Alps. The project was never realized. R&Sie(n) conceptualized Scrambled Flat as an experimental farm. The project goal was to reconcile European Union’s agricultural regulations, imposing a separation between animal and human living, to the community of Évolène traditional way of living, contiguously with animals, benefiting from the resources they offer. As conceived, Scrambled Flat creates an environment where fluidity between the existence of the animals and the humans is materialized. The size of the form is also adapted from a typical local rural house and exploits the heat of the animals and the insulation of the hay. For this project, R&Sie(n) approached the mayor of the community with the design proposition. The mayor then called for a competition, while also changing the program to an ecology museum and research center illustrating the local effects of global warming and the thawing of the Alps. R&Sie(n) won the competition with Water Flux, a reinterpretation of Scrambled Flat. The project was intended to uncover and exorcise the anxieties of ecological disaster, and the principle of flux related to seasonal change and, more broadly, climate change. The firm designed rooms that reproduce the geological and meteorological environment of the high mountains making it visible and experimental, offering refrigerated spaces for art installations and scientific demonstrations. The concept was also to build with the use of new technologies such as digital modelling, point scanning, and computer numerical control (CNC), combined with ancient local knowledge of knocking on trees to decide which specific pines have the best wood for construction. The building is designed to be constructed with local lamellar wood milled by nearby CNC. The resulting parts would be used for the structure, the insulation, the waterproofing and both the interior and exterior finishes. The design includes a grille wrapping the building, reproducing the profile of traditional houses and enclosure and making it possible to hold the snow inside a typo-morphological imprint. Therefore, the transformable envelope of the building reacts to the rhythm of the seasons. In the winter, the structure would appear like a solid cut-out of ice and snow, with cavities similar to those found in glaciers. In the summer, it would resemble piles of stones used in these areas to make borders. A small pool would collect rainwater and supply it to an interior artificial snowmaking system designed for the gallery. Transformation of the water is an integral part of the design. The records contain images of plans, sections, details for the structure of the façade, renderings, plans of the engineered structure, and photographs documenting the conception of the models with the CNC machinery. The Rhino 3D modelling files are also part of the records along with AutoCAD models and a video documenting the process. The records contain two physical models: a smaller polymer model at 1:20 scale representing the whole structure of the building, and a larger 1:1 latch wood fragment representing detail of the structure in its integrality.
Water Flux and Scrambled Flat
Actions:
AP193.S1
Description:
Series 1, Water Flux and Scrambled Flat, 2002-2010, documents the conception and evolution of a project that was originally a farm building and later became a geology and glaciology museum and research center focused on the Swiss Alps. The project was never realized. R&Sie(n) conceptualized Scrambled Flat as an experimental farm. The project goal was to reconcile European Union’s agricultural regulations, imposing a separation between animal and human living, to the community of Évolène traditional way of living, contiguously with animals, benefiting from the resources they offer. As conceived, Scrambled Flat creates an environment where fluidity between the existence of the animals and the humans is materialized. The size of the form is also adapted from a typical local rural house and exploits the heat of the animals and the insulation of the hay. For this project, R&Sie(n) approached the mayor of the community with the design proposition. The mayor then called for a competition, while also changing the program to an ecology museum and research center illustrating the local effects of global warming and the thawing of the Alps. R&Sie(n) won the competition with Water Flux, a reinterpretation of Scrambled Flat. The project was intended to uncover and exorcise the anxieties of ecological disaster, and the principle of flux related to seasonal change and, more broadly, climate change. The firm designed rooms that reproduce the geological and meteorological environment of the high mountains making it visible and experimental, offering refrigerated spaces for art installations and scientific demonstrations. The concept was also to build with the use of new technologies such as digital modelling, point scanning, and computer numerical control (CNC), combined with ancient local knowledge of knocking on trees to decide which specific pines have the best wood for construction. The building is designed to be constructed with local lamellar wood milled by nearby CNC. The resulting parts would be used for the structure, the insulation, the waterproofing and both the interior and exterior finishes. The design includes a grille wrapping the building, reproducing the profile of traditional houses and enclosure and making it possible to hold the snow inside a typo-morphological imprint. Therefore, the transformable envelope of the building reacts to the rhythm of the seasons. In the winter, the structure would appear like a solid cut-out of ice and snow, with cavities similar to those found in glaciers. In the summer, it would resemble piles of stones used in these areas to make borders. A small pool would collect rainwater and supply it to an interior artificial snowmaking system designed for the gallery. Transformation of the water is an integral part of the design. The records contain images of plans, sections, details for the structure of the façade, renderings, plans of the engineered structure, and photographs documenting the conception of the models with the CNC machinery. The Rhino 3D modelling files are also part of the records along with AutoCAD models and a video documenting the process. The records contain two physical models: a smaller polymer model at 1:20 scale representing the whole structure of the building, and a larger 1:1 latch wood fragment representing detail of the structure in its integrality.
Level of archival description:
Series
Series
Date:
2002-2010
2002-2010
People:
Form:
born digital
born digital
Actions:
Reference number:
AP184.S2.002
Description:
This directory chiefly contains working files related to MarkeTrac and OrderTrac. This includes a large number of renderings and other image files, as well as some related presentation files, meeting notes, and documentation. Notably, there are also a number of videos which show projectors using light to manipulate a room, possibly related to Asymptote's research into virtual reality. This material was initially located on the hard drive. Most common file formats: JPEG File Interchange Format, Adobe Photoshop, Tagged Image File Format
AP184.S2.002
Description:
This directory chiefly contains working files related to MarkeTrac and OrderTrac. This includes a large number of renderings and other image files, as well as some related presentation files, meeting notes, and documentation. Notably, there are also a number of videos which show projectors using light to manipulate a room, possibly related to Asymptote's research into virtual reality. This material was initially located on the hard drive. Most common file formats: JPEG File Interchange Format, Adobe Photoshop, Tagged Image File Format
People:
Date:
8 December 1995 - 17 October 2005
8 December 1995 - 17 October 2005
Title:
Digital presentation handout files of MarkeTrac and OrderTrac
Actions:
AP184.S2.002
Description:
This directory chiefly contains working files related to MarkeTrac and OrderTrac. This includes a large number of renderings and other image files, as well as some related presentation files, meeting notes, and documentation. Notably, there are also a number of videos which show projectors using light to manipulate a room, possibly related to Asymptote's research into virtual reality. This material was initially located on the hard drive. Most common file formats: JPEG File Interchange Format, Adobe Photoshop, Tagged Image File Format
Digital presentation handout files of MarkeTrac and OrderTrac
Actions:
AP184.S2.002
Description:
This directory chiefly contains working files related to MarkeTrac and OrderTrac. This includes a large number of renderings and other image files, as well as some related presentation files, meeting notes, and documentation. Notably, there are also a number of videos which show projectors using light to manipulate a room, possibly related to Asymptote's research into virtual reality. This material was initially located on the hard drive. Most common file formats: JPEG File Interchange Format, Adobe Photoshop, Tagged Image File Format
Form:
born digital
born digital
Date:
8 December 1995 - 17 October 2005
8 December 1995 - 17 October 2005
People:
Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Actions:
Reference number:
AP194
Synopsis:
The Johan Bettum OCEAN North projects records, 1995-2000, consist of born-digital files and a physical drawing that document three projects by the OCEAN North collective: Synthetic Landscape (1995-2000), Jyväskylä Music and Arts Centre (competition, 1997), and Tölöö Football Stadium (competition, 1997). The archive also includes a small amount of additional born-digital reference materials on 11 projects from the collective, including the three projects mentioned above.
AP194
Synopsis:
The Johan Bettum OCEAN North projects records, 1995-2000, consist of born-digital files and a physical drawing that document three projects by the OCEAN North collective: Synthetic Landscape (1995-2000), Jyväskylä Music and Arts Centre (competition, 1997), and Tölöö Football Stadium (competition, 1997). The archive also includes a small amount of additional born-digital reference materials on 11 projects from the collective, including the three projects mentioned above.
People:
Date:
1995-2000
1995-2000
Title:
Johan Bettum OCEAN North project records
Actions:
AP194
Synopsis:
The Johan Bettum OCEAN North projects records, 1995-2000, consist of born-digital files and a physical drawing that document three projects by the OCEAN North collective: Synthetic Landscape (1995-2000), Jyväskylä Music and Arts Centre (competition, 1997), and Tölöö Football Stadium (competition, 1997). The archive also includes a small amount of additional born-digital reference materials on 11 projects from the collective, including the three projects mentioned above.
Johan Bettum OCEAN North project records
Actions:
AP194
Synopsis:
The Johan Bettum OCEAN North projects records, 1995-2000, consist of born-digital files and a physical drawing that document three projects by the OCEAN North collective: Synthetic Landscape (1995-2000), Jyväskylä Music and Arts Centre (competition, 1997), and Tölöö Football Stadium (competition, 1997). The archive also includes a small amount of additional born-digital reference materials on 11 projects from the collective, including the three projects mentioned above.
Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Date:
1995-2000
1995-2000
People:
