41255 Results
Form:
events
events
Actions:
Description:
Ben Bradley presents how the automobile shaped how Canadians encountered their country during the 20th century. As thousands and then millions came to know Canada by motoring, their travel patterns, viewing habits, and tastes shaped and reshaped the places they passed through. Canada’s roads came to be festooned with scenic pullouts, viewpoints, and a constellation of(...)
Ben Bradley presents how the automobile shaped how Canadians encountered their country during the 20th century. As thousands and then millions came to know Canada by motoring, their travel patterns, viewing habits, and tastes shaped and reshaped the places they passed through. Canada’s roads came to be festooned with scenic pullouts, viewpoints, and a constellation of(...)
Location:
Paul Desmarais Theatre Keyword(s):
Canada, environment, Bradley, It's all happening so fast, roadside
Paul Desmarais Theatre Keyword(s):
Canada, environment, Bradley, It's all happening so fast, roadside
Date:
23 February 2017, 6pm
23 February 2017, 6pm
Title:
Making Canada a Roadside Attraction
Actions:
Description:
Ben Bradley presents how the automobile shaped how Canadians encountered their country during the 20th century. As thousands and then millions came to know Canada by motoring, their travel patterns, viewing habits, and tastes shaped and reshaped the places they passed through. Canada’s roads came to be festooned with scenic pullouts, viewpoints, and a constellation of(...)
Making Canada a Roadside Attraction
Actions:
Description:
Ben Bradley presents how the automobile shaped how Canadians encountered their country during the 20th century. As thousands and then millions came to know Canada by motoring, their travel patterns, viewing habits, and tastes shaped and reshaped the places they passed through. Canada’s roads came to be festooned with scenic pullouts, viewpoints, and a constellation of(...)
Form:
events
events
Date:
23 February 2017
6pm
23 February 2017
6pm
Location:
Paul Desmarais Theatre Keyword(s):
Canada, environment, Bradley, It's all happening so fast, roadside
Paul Desmarais Theatre Keyword(s):
Canada, environment, Bradley, It's all happening so fast, roadside
Form:
events
events
Title:
Learning from... Montréal
Learning from... Montréal
Actions:
Description:
Lance Blomgren uses his 2009 book Walkups—a novella set entirely within Montréal’s row house apartment buildings—as a springboard for an analysis of the discursive plane of fictional architecture. Looking at works by John Hejduk, Ilya Kabakov, Alice Aycock and others, Blomgren argues that contemporary modes of speculative architecture offer a vital, if ethically fraught,(...)
Lance Blomgren uses his 2009 book Walkups—a novella set entirely within Montréal’s row house apartment buildings—as a springboard for an analysis of the discursive plane of fictional architecture. Looking at works by John Hejduk, Ilya Kabakov, Alice Aycock and others, Blomgren argues that contemporary modes of speculative architecture offer a vital, if ethically fraught,(...)
Location:
Paul-Desmarais Theatre
Paul-Desmarais Theatre
Date:
2 May 2013 , 7pm
2 May 2013 , 7pm
Title:
Learning from... Montréal
Actions:
Description:
Lance Blomgren uses his 2009 book Walkups—a novella set entirely within Montréal’s row house apartment buildings—as a springboard for an analysis of the discursive plane of fictional architecture. Looking at works by John Hejduk, Ilya Kabakov, Alice Aycock and others, Blomgren argues that contemporary modes of speculative architecture offer a vital, if ethically fraught,(...)
Learning from... Montréal
Actions:
Description:
Lance Blomgren uses his 2009 book Walkups—a novella set entirely within Montréal’s row house apartment buildings—as a springboard for an analysis of the discursive plane of fictional architecture. Looking at works by John Hejduk, Ilya Kabakov, Alice Aycock and others, Blomgren argues that contemporary modes of speculative architecture offer a vital, if ethically fraught,(...)
Form:
events
events
Date:
2 May 2013
7pm
2 May 2013
7pm
Location:
Paul-Desmarais Theatre
Paul-Desmarais Theatre
Form:
textual records
textual records
Reference number:
DR1995:0188:936-1056
Description:
correspondence, and four folders that include, building programme, poster, land use application, site plans, 1966 flyer of Glasgow Fun Palace, report on Pilot Project, trust deed, report on proposed arts centre in Manchester, notes and sketches on architectural sketches, report on Fun Palace Project, drawings, minutes of meeting, cost estimate for Pilot Project, photographs, draft notes on Children's Learning Garden, financial record of Summer Fair 1974, planning application forms, sketches of temporary project at Salway and Great Eastern Roads, grant application, questionnaire, report on land redevelopment, 'Bubble City' publication by Joan Littlewood, renovation proposal for Theatre Royal, poster, kids village colouring book, and application for children's playground
DR1995:0188:936-1056
Description:
correspondence, and four folders that include, building programme, poster, land use application, site plans, 1966 flyer of Glasgow Fun Palace, report on Pilot Project, trust deed, report on proposed arts centre in Manchester, notes and sketches on architectural sketches, report on Fun Palace Project, drawings, minutes of meeting, cost estimate for Pilot Project, photographs, draft notes on Children's Learning Garden, financial record of Summer Fair 1974, planning application forms, sketches of temporary project at Salway and Great Eastern Roads, grant application, questionnaire, report on land redevelopment, 'Bubble City' publication by Joan Littlewood, renovation proposal for Theatre Royal, poster, kids village colouring book, and application for children's playground
People:
Title:
Correspondence, and four folders that include, building programme
Actions:
DR1995:0188:936-1056
Description:
correspondence, and four folders that include, building programme, poster, land use application, site plans, 1966 flyer of Glasgow Fun Palace, report on Pilot Project, trust deed, report on proposed arts centre in Manchester, notes and sketches on architectural sketches, report on Fun Palace Project, drawings, minutes of meeting, cost estimate for Pilot Project, photographs, draft notes on Children's Learning Garden, financial record of Summer Fair 1974, planning application forms, sketches of temporary project at Salway and Great Eastern Roads, grant application, questionnaire, report on land redevelopment, 'Bubble City' publication by Joan Littlewood, renovation proposal for Theatre Royal, poster, kids village colouring book, and application for children's playground
Correspondence, and four folders that include, building programme
Actions:
DR1995:0188:936-1056
Description:
correspondence, and four folders that include, building programme, poster, land use application, site plans, 1966 flyer of Glasgow Fun Palace, report on Pilot Project, trust deed, report on proposed arts centre in Manchester, notes and sketches on architectural sketches, report on Fun Palace Project, drawings, minutes of meeting, cost estimate for Pilot Project, photographs, draft notes on Children's Learning Garden, financial record of Summer Fair 1974, planning application forms, sketches of temporary project at Salway and Great Eastern Roads, grant application, questionnaire, report on land redevelopment, 'Bubble City' publication by Joan Littlewood, renovation proposal for Theatre Royal, poster, kids village colouring book, and application for children's playground
Form:
textual records
textual records
People:
Form:
drawings
Quantity:
132 drawing(s)
drawings
Quantity:
132 drawing(s)
Actions:
Reference number:
DR1994:0165:001-132
Description:
- This group of visual and textual documents from the office of Peter Eisenman includes miscellaneous unidentified drawings, mostly conceptual sketches, all by Eisenman except for eleven drawings for an unidentified project (DR1994:0165:077-087). The drawings by Eisenman include: drawings for unidentified houses, possibly House III and House VI (DR1994:0165:030-076); conceptual sketches, possibly for House IV (DR1994:0165:126-128); drawings for an unidentified house, possibly House X and diagrams prepared for an unidentified publication, possibly concerning House X (DR1994:0165:088-103); drawings for an unidentified row house (DR1994:0165:100-102); and doodles and layouts for an unidentified book (DR1994:0165:104-125).
DR1994:0165:001-132
Description:
- This group of visual and textual documents from the office of Peter Eisenman includes miscellaneous unidentified drawings, mostly conceptual sketches, all by Eisenman except for eleven drawings for an unidentified project (DR1994:0165:077-087). The drawings by Eisenman include: drawings for unidentified houses, possibly House III and House VI (DR1994:0165:030-076); conceptual sketches, possibly for House IV (DR1994:0165:126-128); drawings for an unidentified house, possibly House X and diagrams prepared for an unidentified publication, possibly concerning House X (DR1994:0165:088-103); drawings for an unidentified row house (DR1994:0165:100-102); and doodles and layouts for an unidentified book (DR1994:0165:104-125).
People:
Subject:
architecture
architecture
Date:
1951-1978
1951-1978
Title:
Visual and textual documents from the Office of Peter Eisenman
Actions:
DR1994:0165:001-132
Description:
- This group of visual and textual documents from the office of Peter Eisenman includes miscellaneous unidentified drawings, mostly conceptual sketches, all by Eisenman except for eleven drawings for an unidentified project (DR1994:0165:077-087). The drawings by Eisenman include: drawings for unidentified houses, possibly House III and House VI (DR1994:0165:030-076); conceptual sketches, possibly for House IV (DR1994:0165:126-128); drawings for an unidentified house, possibly House X and diagrams prepared for an unidentified publication, possibly concerning House X (DR1994:0165:088-103); drawings for an unidentified row house (DR1994:0165:100-102); and doodles and layouts for an unidentified book (DR1994:0165:104-125).
Visual and textual documents from the Office of Peter Eisenman
Actions:
DR1994:0165:001-132
Description:
- This group of visual and textual documents from the office of Peter Eisenman includes miscellaneous unidentified drawings, mostly conceptual sketches, all by Eisenman except for eleven drawings for an unidentified project (DR1994:0165:077-087). The drawings by Eisenman include: drawings for unidentified houses, possibly House III and House VI (DR1994:0165:030-076); conceptual sketches, possibly for House IV (DR1994:0165:126-128); drawings for an unidentified house, possibly House X and diagrams prepared for an unidentified publication, possibly concerning House X (DR1994:0165:088-103); drawings for an unidentified row house (DR1994:0165:100-102); and doodles and layouts for an unidentified book (DR1994:0165:104-125).
Form:
drawings
Quantity:
132 drawing(s)
drawings
Quantity:
132 drawing(s)
Date:
1951-1978
1951-1978
People:
Subject:
architecture
architecture
Form:
exhibitions
exhibitions
Actions:
Description:
As they fill their sketchbooks with both texts and images, architects capture initial reactions to sites; record impressions and make drawings as they travel; organise work to be done; articulate design concepts and pose solutions; draft essays, lectures, and letters; write research notes; and copy inspirational passages from their readings. The Architect’s Sketchbook:(...)
As they fill their sketchbooks with both texts and images, architects capture initial reactions to sites; record impressions and make drawings as they travel; organise work to be done; articulate design concepts and pose solutions; draft essays, lectures, and letters; write research notes; and copy inspirational passages from their readings. The Architect’s Sketchbook:(...)
Location:
Hall cases
Hall cases
Date:
26 February 1992 to 24 May 1992
26 February 1992 to 24 May 1992
Title:
The Architect's Sketchbook: Current Practice
Actions:
Description:
As they fill their sketchbooks with both texts and images, architects capture initial reactions to sites; record impressions and make drawings as they travel; organise work to be done; articulate design concepts and pose solutions; draft essays, lectures, and letters; write research notes; and copy inspirational passages from their readings. The Architect’s Sketchbook:(...)
The Architect's Sketchbook: Current Practice
Actions:
Description:
As they fill their sketchbooks with both texts and images, architects capture initial reactions to sites; record impressions and make drawings as they travel; organise work to be done; articulate design concepts and pose solutions; draft essays, lectures, and letters; write research notes; and copy inspirational passages from their readings. The Architect’s Sketchbook:(...)
Form:
exhibitions
exhibitions
Date:
26 February 1992 to
24 May 1992
26 February 1992 to
24 May 1992
Location:
Hall cases
Hall cases
Form:
exhibitions
exhibitions
Description:
This exhibition presents American architect Ben Nicholson’s search for order, meaning, and logic in a world of art, science, and mystery. The Laurentian Library in Florence, a masterwork by Michelangelo designed in 1524–25, contains fifteen pairs of terra cotta panels bearing complex geometric patterns that have been long hidden from view. Nicholson studied the panels at(...)
This exhibition presents American architect Ben Nicholson’s search for order, meaning, and logic in a world of art, science, and mystery. The Laurentian Library in Florence, a masterwork by Michelangelo designed in 1524–25, contains fifteen pairs of terra cotta panels bearing complex geometric patterns that have been long hidden from view. Nicholson studied the panels at(...)
Location:
Octagonal gallery
Octagonal gallery
Date:
11 December 1996 to 9 March 1997
11 December 1996 to 9 March 1997
Title:
Uncovering Geometry: Ben Nicholson at the Laurentian Library
Actions:
Description:
This exhibition presents American architect Ben Nicholson’s search for order, meaning, and logic in a world of art, science, and mystery. The Laurentian Library in Florence, a masterwork by Michelangelo designed in 1524–25, contains fifteen pairs of terra cotta panels bearing complex geometric patterns that have been long hidden from view. Nicholson studied the panels at(...)
Uncovering Geometry: Ben Nicholson at the Laurentian Library
Actions:
Description:
This exhibition presents American architect Ben Nicholson’s search for order, meaning, and logic in a world of art, science, and mystery. The Laurentian Library in Florence, a masterwork by Michelangelo designed in 1524–25, contains fifteen pairs of terra cotta panels bearing complex geometric patterns that have been long hidden from view. Nicholson studied the panels at(...)
Form:
exhibitions
exhibitions
Date:
11 December 1996 to
9 March 1997
11 December 1996 to
9 March 1997
Location:
Octagonal gallery
Octagonal gallery
Form:
events
events
Title:
Visiting Scholar Seminar: Aglaya Glebova
Revolution on a Human Scale: Photography and Vkhutemas
Visiting Scholar Seminar: Aglaya Glebova
Revolution on a Human Scale: Photography and Vkhutemas
Actions:
Description:
Visiting Scholar Aglaya Glebova presents her research: Vkhutemas, or Higher Art and Technical Studios, was a state-funded institute that sought to prepare a new generation of revolutionary artists and architects for the construction of a properly Soviet modernity. Dissolved under political pressure in 1930, the school never had a dedicated department of photography, but(...)
Visiting Scholar Aglaya Glebova presents her research: Vkhutemas, or Higher Art and Technical Studios, was a state-funded institute that sought to prepare a new generation of revolutionary artists and architects for the construction of a properly Soviet modernity. Dissolved under political pressure in 1930, the school never had a dedicated department of photography, but(...)
Location:
Shaughnessy House
Shaughnessy House
Date:
29 June 2017, 6pm
29 June 2017, 6pm
Title:
Visiting Scholar Seminar: Aglaya Glebova
Actions:
Description:
Visiting Scholar Aglaya Glebova presents her research: Vkhutemas, or Higher Art and Technical Studios, was a state-funded institute that sought to prepare a new generation of revolutionary artists and architects for the construction of a properly Soviet modernity. Dissolved under political pressure in 1930, the school never had a dedicated department of photography, but(...)
Visiting Scholar Seminar: Aglaya Glebova
Actions:
Description:
Visiting Scholar Aglaya Glebova presents her research: Vkhutemas, or Higher Art and Technical Studios, was a state-funded institute that sought to prepare a new generation of revolutionary artists and architects for the construction of a properly Soviet modernity. Dissolved under political pressure in 1930, the school never had a dedicated department of photography, but(...)
Form:
events
events
Date:
29 June 2017
6pm
29 June 2017
6pm
Location:
Shaughnessy House
Shaughnessy House
Form:
photographs
photographs
Title:
Our Old Home
Our Old Home
Actions:
Reference number:
PH1979:0602.01
Description:
Nathaniel Hawthorne was born in 1804 in Salem, Massachusetts. He started writing seriously in 1846 and spent the years 1853 to 1857 in England as the American Consul in Liverpool. The collection of essays that constitute 'Our Old Home' comes from the journals he kept during his stay in England. After spending two years in Italy he returned to the United States and completed his final novel, 'The Marble Faun' and 'Our Old Home'. This 279-page book comprises 16 photogravures. Title page: Our Old Home by Nathaniel Hawthorne annotated with passages from the author's note-book, and illustrated with photogravures. Volume I. Cambridge printed at the Riverside Press MDCCCXCI. Verso of title page: Copyright,1863, by Nathaniel Hawthorne. Copyright, 1870, by Sophia Hawthorne Copyright, 1883, 1890, by Houghton, Mifflin & Co. All rights reserved. Two hundred and fifty copies printed. No. 69 Contents and list of illustations: Nathaniel Hawthorne - Frontispiece CONSULAR EXPERIENCES A Street in Leamington Warwick Castle and the Country around A Devonshire Farmhouse ABOUT WARWICK Arched Bridge over the Avon, showing Warwick Castle Leicester Hospital and West Gate, Warwick RECOLLECTING OF A GIFTED WOMAN A Country Lane The room in which Shakespeare was born Delia Bacon Charlecote Hall LICHFIELD AND UTTOXETER Lichfield Cathedral from the West Statue of Dr. Johnson, St. Mary's Square, Lichfield PILGRIMAGE TO OLD BOSTON Lincoln Cathedral Salisbury Cathedral and Bishop's Palace Roman Arch, Lincoln St. Botolph's Tower, Old Boston
PH1979:0602.01
Description:
Nathaniel Hawthorne was born in 1804 in Salem, Massachusetts. He started writing seriously in 1846 and spent the years 1853 to 1857 in England as the American Consul in Liverpool. The collection of essays that constitute 'Our Old Home' comes from the journals he kept during his stay in England. After spending two years in Italy he returned to the United States and completed his final novel, 'The Marble Faun' and 'Our Old Home'. This 279-page book comprises 16 photogravures. Title page: Our Old Home by Nathaniel Hawthorne annotated with passages from the author's note-book, and illustrated with photogravures. Volume I. Cambridge printed at the Riverside Press MDCCCXCI. Verso of title page: Copyright,1863, by Nathaniel Hawthorne. Copyright, 1870, by Sophia Hawthorne Copyright, 1883, 1890, by Houghton, Mifflin & Co. All rights reserved. Two hundred and fifty copies printed. No. 69 Contents and list of illustations: Nathaniel Hawthorne - Frontispiece CONSULAR EXPERIENCES A Street in Leamington Warwick Castle and the Country around A Devonshire Farmhouse ABOUT WARWICK Arched Bridge over the Avon, showing Warwick Castle Leicester Hospital and West Gate, Warwick RECOLLECTING OF A GIFTED WOMAN A Country Lane The room in which Shakespeare was born Delia Bacon Charlecote Hall LICHFIELD AND UTTOXETER Lichfield Cathedral from the West Statue of Dr. Johnson, St. Mary's Square, Lichfield PILGRIMAGE TO OLD BOSTON Lincoln Cathedral Salisbury Cathedral and Bishop's Palace Roman Arch, Lincoln St. Botolph's Tower, Old Boston
People:
Subject:
architecture
architecture
Date:
1891
1891
Title:
Our Old Home
Actions:
PH1979:0602.01
Description:
Nathaniel Hawthorne was born in 1804 in Salem, Massachusetts. He started writing seriously in 1846 and spent the years 1853 to 1857 in England as the American Consul in Liverpool. The collection of essays that constitute 'Our Old Home' comes from the journals he kept during his stay in England. After spending two years in Italy he returned to the United States and completed his final novel, 'The Marble Faun' and 'Our Old Home'. This 279-page book comprises 16 photogravures. Title page: Our Old Home by Nathaniel Hawthorne annotated with passages from the author's note-book, and illustrated with photogravures. Volume I. Cambridge printed at the Riverside Press MDCCCXCI. Verso of title page: Copyright,1863, by Nathaniel Hawthorne. Copyright, 1870, by Sophia Hawthorne Copyright, 1883, 1890, by Houghton, Mifflin & Co. All rights reserved. Two hundred and fifty copies printed. No. 69 Contents and list of illustations: Nathaniel Hawthorne - Frontispiece CONSULAR EXPERIENCES A Street in Leamington Warwick Castle and the Country around A Devonshire Farmhouse ABOUT WARWICK Arched Bridge over the Avon, showing Warwick Castle Leicester Hospital and West Gate, Warwick RECOLLECTING OF A GIFTED WOMAN A Country Lane The room in which Shakespeare was born Delia Bacon Charlecote Hall LICHFIELD AND UTTOXETER Lichfield Cathedral from the West Statue of Dr. Johnson, St. Mary's Square, Lichfield PILGRIMAGE TO OLD BOSTON Lincoln Cathedral Salisbury Cathedral and Bishop's Palace Roman Arch, Lincoln St. Botolph's Tower, Old Boston
Our Old Home
Actions:
PH1979:0602.01
Description:
Nathaniel Hawthorne was born in 1804 in Salem, Massachusetts. He started writing seriously in 1846 and spent the years 1853 to 1857 in England as the American Consul in Liverpool. The collection of essays that constitute 'Our Old Home' comes from the journals he kept during his stay in England. After spending two years in Italy he returned to the United States and completed his final novel, 'The Marble Faun' and 'Our Old Home'. This 279-page book comprises 16 photogravures. Title page: Our Old Home by Nathaniel Hawthorne annotated with passages from the author's note-book, and illustrated with photogravures. Volume I. Cambridge printed at the Riverside Press MDCCCXCI. Verso of title page: Copyright,1863, by Nathaniel Hawthorne. Copyright, 1870, by Sophia Hawthorne Copyright, 1883, 1890, by Houghton, Mifflin & Co. All rights reserved. Two hundred and fifty copies printed. No. 69 Contents and list of illustations: Nathaniel Hawthorne - Frontispiece CONSULAR EXPERIENCES A Street in Leamington Warwick Castle and the Country around A Devonshire Farmhouse ABOUT WARWICK Arched Bridge over the Avon, showing Warwick Castle Leicester Hospital and West Gate, Warwick RECOLLECTING OF A GIFTED WOMAN A Country Lane The room in which Shakespeare was born Delia Bacon Charlecote Hall LICHFIELD AND UTTOXETER Lichfield Cathedral from the West Statue of Dr. Johnson, St. Mary's Square, Lichfield PILGRIMAGE TO OLD BOSTON Lincoln Cathedral Salisbury Cathedral and Bishop's Palace Roman Arch, Lincoln St. Botolph's Tower, Old Boston
Form:
photographs
photographs
Date:
1891
1891
People:
Subject:
architecture
architecture
Level of archival description:
Sub-series
Sub-series
Title:
Education
Education
Reference number:
CI001.S1.D1
Description:
Hubert Rohault de Fleury studied under Jean-Nicolas-Louis Durand at the École polytechnique and with Julien-David Leroy at the École des beaux-arts. The confluence of their respective pedagogies is evident in albums DR1974:0002:012:001-049 and DR1974:0002:013:001-008 where Durand's` "rationalized" methodology of design is applied to Leroy's vocabulary of antiquity(1). Hubert's two albums of student drawings for the École des Beaux-Arts (DR1974:0002:012:001-049 and DR1974:0002:013:001-008) are complimentary. The former contains competition drawings and programmes for the monthly competitions (Concours d'emulation) as well as drawing, prints, and programmes for the 1800 (2e), 1801, and 1802 (1er) Grand Prix competitions, each of which trace the entire process from "Concours d'essai" and "esquisse", up to and including, studies for final renderings. The latter album contains large-scale final renderings for the 1800, 1801, and possibly the 1798 Grand prix competitions. As in Durand's "mecanisme de la composition", Hubert proceeds from the simple to the complex, often utilizing the graph paper or hand drawn grid particular to Durand's design methodology (codified in his book 'Precis des Lecons' 1802). This process is readily apparent in both Hubert's "Concours d'emulation" drawings, and, more completely, in the drawings for the Grand Prix competitions. The studies for Hubert's winning 1802 Grand Prix entry for a'Foire' indicate that he isolated and studied different building types before combining them into the unified complex evident in his final renderings. The original final renderings of the Grand Prix winners were kept by the École des beaux-arts. Album DR1974:0002:012:001-049 contains only the prints of the final renderings. The success of Hubert in the Grand Prix competitions is not surprising. His large wash final renderings for the 1800 and 1801 competitions (DR1974:0002:013:001-008) indicate that the neo-classical simplicity then favoured by the judges at the École des beaux-arts dovetailed with the notions of economy implicit in Durand's functionalist approach to design. (1) Barry Bergdoll, "Hubert Rohault de Fleury: Architectural Education", 'CCA Research Report', n.d.
CI001.S1.D1
Description:
Hubert Rohault de Fleury studied under Jean-Nicolas-Louis Durand at the École polytechnique and with Julien-David Leroy at the École des beaux-arts. The confluence of their respective pedagogies is evident in albums DR1974:0002:012:001-049 and DR1974:0002:013:001-008 where Durand's` "rationalized" methodology of design is applied to Leroy's vocabulary of antiquity(1). Hubert's two albums of student drawings for the École des Beaux-Arts (DR1974:0002:012:001-049 and DR1974:0002:013:001-008) are complimentary. The former contains competition drawings and programmes for the monthly competitions (Concours d'emulation) as well as drawing, prints, and programmes for the 1800 (2e), 1801, and 1802 (1er) Grand Prix competitions, each of which trace the entire process from "Concours d'essai" and "esquisse", up to and including, studies for final renderings. The latter album contains large-scale final renderings for the 1800, 1801, and possibly the 1798 Grand prix competitions. As in Durand's "mecanisme de la composition", Hubert proceeds from the simple to the complex, often utilizing the graph paper or hand drawn grid particular to Durand's design methodology (codified in his book 'Precis des Lecons' 1802). This process is readily apparent in both Hubert's "Concours d'emulation" drawings, and, more completely, in the drawings for the Grand Prix competitions. The studies for Hubert's winning 1802 Grand Prix entry for a'Foire' indicate that he isolated and studied different building types before combining them into the unified complex evident in his final renderings. The original final renderings of the Grand Prix winners were kept by the École des beaux-arts. Album DR1974:0002:012:001-049 contains only the prints of the final renderings. The success of Hubert in the Grand Prix competitions is not surprising. His large wash final renderings for the 1800 and 1801 competitions (DR1974:0002:013:001-008) indicate that the neo-classical simplicity then favoured by the judges at the École des beaux-arts dovetailed with the notions of economy implicit in Durand's functionalist approach to design. (1) Barry Bergdoll, "Hubert Rohault de Fleury: Architectural Education", 'CCA Research Report', n.d.
People:
Date:
1800-1807
1800-1807
Title:
Education
CI001.S1.D1
Description:
Hubert Rohault de Fleury studied under Jean-Nicolas-Louis Durand at the École polytechnique and with Julien-David Leroy at the École des beaux-arts. The confluence of their respective pedagogies is evident in albums DR1974:0002:012:001-049 and DR1974:0002:013:001-008 where Durand's` "rationalized" methodology of design is applied to Leroy's vocabulary of antiquity(1). Hubert's two albums of student drawings for the École des Beaux-Arts (DR1974:0002:012:001-049 and DR1974:0002:013:001-008) are complimentary. The former contains competition drawings and programmes for the monthly competitions (Concours d'emulation) as well as drawing, prints, and programmes for the 1800 (2e), 1801, and 1802 (1er) Grand Prix competitions, each of which trace the entire process from "Concours d'essai" and "esquisse", up to and including, studies for final renderings. The latter album contains large-scale final renderings for the 1800, 1801, and possibly the 1798 Grand prix competitions. As in Durand's "mecanisme de la composition", Hubert proceeds from the simple to the complex, often utilizing the graph paper or hand drawn grid particular to Durand's design methodology (codified in his book 'Precis des Lecons' 1802). This process is readily apparent in both Hubert's "Concours d'emulation" drawings, and, more completely, in the drawings for the Grand Prix competitions. The studies for Hubert's winning 1802 Grand Prix entry for a'Foire' indicate that he isolated and studied different building types before combining them into the unified complex evident in his final renderings. The original final renderings of the Grand Prix winners were kept by the École des beaux-arts. Album DR1974:0002:012:001-049 contains only the prints of the final renderings. The success of Hubert in the Grand Prix competitions is not surprising. His large wash final renderings for the 1800 and 1801 competitions (DR1974:0002:013:001-008) indicate that the neo-classical simplicity then favoured by the judges at the École des beaux-arts dovetailed with the notions of economy implicit in Durand's functionalist approach to design. (1) Barry Bergdoll, "Hubert Rohault de Fleury: Architectural Education", 'CCA Research Report', n.d.
Education
CI001.S1.D1
Description:
Hubert Rohault de Fleury studied under Jean-Nicolas-Louis Durand at the École polytechnique and with Julien-David Leroy at the École des beaux-arts. The confluence of their respective pedagogies is evident in albums DR1974:0002:012:001-049 and DR1974:0002:013:001-008 where Durand's` "rationalized" methodology of design is applied to Leroy's vocabulary of antiquity(1). Hubert's two albums of student drawings for the École des Beaux-Arts (DR1974:0002:012:001-049 and DR1974:0002:013:001-008) are complimentary. The former contains competition drawings and programmes for the monthly competitions (Concours d'emulation) as well as drawing, prints, and programmes for the 1800 (2e), 1801, and 1802 (1er) Grand Prix competitions, each of which trace the entire process from "Concours d'essai" and "esquisse", up to and including, studies for final renderings. The latter album contains large-scale final renderings for the 1800, 1801, and possibly the 1798 Grand prix competitions. As in Durand's "mecanisme de la composition", Hubert proceeds from the simple to the complex, often utilizing the graph paper or hand drawn grid particular to Durand's design methodology (codified in his book 'Precis des Lecons' 1802). This process is readily apparent in both Hubert's "Concours d'emulation" drawings, and, more completely, in the drawings for the Grand Prix competitions. The studies for Hubert's winning 1802 Grand Prix entry for a'Foire' indicate that he isolated and studied different building types before combining them into the unified complex evident in his final renderings. The original final renderings of the Grand Prix winners were kept by the École des beaux-arts. Album DR1974:0002:012:001-049 contains only the prints of the final renderings. The success of Hubert in the Grand Prix competitions is not surprising. His large wash final renderings for the 1800 and 1801 competitions (DR1974:0002:013:001-008) indicate that the neo-classical simplicity then favoured by the judges at the École des beaux-arts dovetailed with the notions of economy implicit in Durand's functionalist approach to design. (1) Barry Bergdoll, "Hubert Rohault de Fleury: Architectural Education", 'CCA Research Report', n.d.
Level of archival description:
File 1
File 1
Date:
1800-1807
1800-1807
People:
Level of archival description:
Series
Series
Reference number:
AP168.S1
Description:
The Project records from Neil Denari series, 1994 – 2004, consists of records produced by Denari for his show “Interrupted Projections” at Gallery MA in Tokyo, Japan. It documents the development and final design for the principal architectural installation built on the third level of the gallery, as well as related materials displayed on the gallery’s fourth floor. The series also contains photographic and video documentation of the exhibit, the show catalogue, and promotional materials. The series includes 4003 digital files (1 GB), 53 slides, 21 transparencies, seven drawings and/or reprographic copies, two VHS video cassettes, one exhibition catalogue, and a small amount of promotional material comprising one large and two small posters, one postcard, and one t-shirt. The majority of records date from 1994-1996. Denari used a combination of physical drawings and digital modelling to draft the design for Interrupted Projections. The series contains one ink drawing and one transfer print with plans and sections of the third floor gallery space, two reprographic copies of drawings with elevations and plans of existing conditions of the third and fourth floors at Gallery MA, and three graphite hand drawings of the installation. Digital files in the series include two original Softimage databases containing full and partial 3D models of the installation, as well as one forward-migrated database containing models compiled from the two original databases. The original models were created in Softimage ’95 on Windows NT and will not open in contemporary versions of Autodesk Softimage. The forward-migrated model database was created by members of Autodesk’s Montreal office for the Archaeology of the Digital exhibition Complexity and Convention and will open in Softimage 2014. Each Softimage model database is made up of several directories that contain information necessary to render all models and their animation into a “scene” (such as textures, lighting, camera movements, etc.). When the Interrupted Projections models were migrated, the information from all directories in both original databases was compiled into the Scenes directory of a single database. These updated scene files (SCN) contain all the elements needed to render the models without the need for additional directories. Each scene file has a corresponding scene TOC file (scene table of content), which can be used to further modify the information in the scene. Scene files in the migrated database contain full and partial models for Interrupted Projections, including one animated scene that follows a camera path through the interior and exterior of the final model. These files document the various stages of design work for the project, as well as Denari’s use of animation features in Softimage to visualize and study the spatial character of his drawings. Project collaborator Duks Koschitz created additional animations of the model that were edited and shown on the fourth floor of the exhibition. A compilation of his work is included on a VHS tape in the archive. The video, which spans one minute 16 seconds, contains four animations that move around the 3D gallery space. Koschitz attempted to reflect the concerns of the project in the movements of the camera, focusing on details such as the fictional company logos or curvatures in the surface of the model. The majority of photographic materials in the series are digital renderings of the model, comprising 38 slides, 14 diapositives, and seven digital images. Photographic materials also include images of the completed show, including seven diapositives that document the built work from various views on the third floor of Gallery MA, as well as the exhibition of materials on the fourth floor. A small number of slides document the exhibit open to the public, and include images of visitors interacting with the Sony Navicam. Most of the diapositive photographs and a small number of slides were taken by Fujitsuka Mitsumasa, a photographer of architecture based in Tokyo. A second VHS tape in the archive provides in-depth documentation of the Interrupted Projections exhibition, containing 45 minutes of raw video footage that explores Gallery MA and surrounding areas of Tokyo. The Interrupted Projections book contains in print the text and images from the installation and website. It was written by Denari and designed by Michiharu Shimoda, a graphic designer and underground trip-hop artist who was also responsible for the design of the fictional logos used in the exhibit. The book acts as an extension of the content of the show, as well as exhibition catalogue, and covers Denari’s other projects represented in the show. The series also contains a small amount of promotional media for Interrupted Projections, including one large and two small posters, a postcard, and a t-shirt.
AP168.S1
Description:
The Project records from Neil Denari series, 1994 – 2004, consists of records produced by Denari for his show “Interrupted Projections” at Gallery MA in Tokyo, Japan. It documents the development and final design for the principal architectural installation built on the third level of the gallery, as well as related materials displayed on the gallery’s fourth floor. The series also contains photographic and video documentation of the exhibit, the show catalogue, and promotional materials. The series includes 4003 digital files (1 GB), 53 slides, 21 transparencies, seven drawings and/or reprographic copies, two VHS video cassettes, one exhibition catalogue, and a small amount of promotional material comprising one large and two small posters, one postcard, and one t-shirt. The majority of records date from 1994-1996. Denari used a combination of physical drawings and digital modelling to draft the design for Interrupted Projections. The series contains one ink drawing and one transfer print with plans and sections of the third floor gallery space, two reprographic copies of drawings with elevations and plans of existing conditions of the third and fourth floors at Gallery MA, and three graphite hand drawings of the installation. Digital files in the series include two original Softimage databases containing full and partial 3D models of the installation, as well as one forward-migrated database containing models compiled from the two original databases. The original models were created in Softimage ’95 on Windows NT and will not open in contemporary versions of Autodesk Softimage. The forward-migrated model database was created by members of Autodesk’s Montreal office for the Archaeology of the Digital exhibition Complexity and Convention and will open in Softimage 2014. Each Softimage model database is made up of several directories that contain information necessary to render all models and their animation into a “scene” (such as textures, lighting, camera movements, etc.). When the Interrupted Projections models were migrated, the information from all directories in both original databases was compiled into the Scenes directory of a single database. These updated scene files (SCN) contain all the elements needed to render the models without the need for additional directories. Each scene file has a corresponding scene TOC file (scene table of content), which can be used to further modify the information in the scene. Scene files in the migrated database contain full and partial models for Interrupted Projections, including one animated scene that follows a camera path through the interior and exterior of the final model. These files document the various stages of design work for the project, as well as Denari’s use of animation features in Softimage to visualize and study the spatial character of his drawings. Project collaborator Duks Koschitz created additional animations of the model that were edited and shown on the fourth floor of the exhibition. A compilation of his work is included on a VHS tape in the archive. The video, which spans one minute 16 seconds, contains four animations that move around the 3D gallery space. Koschitz attempted to reflect the concerns of the project in the movements of the camera, focusing on details such as the fictional company logos or curvatures in the surface of the model. The majority of photographic materials in the series are digital renderings of the model, comprising 38 slides, 14 diapositives, and seven digital images. Photographic materials also include images of the completed show, including seven diapositives that document the built work from various views on the third floor of Gallery MA, as well as the exhibition of materials on the fourth floor. A small number of slides document the exhibit open to the public, and include images of visitors interacting with the Sony Navicam. Most of the diapositive photographs and a small number of slides were taken by Fujitsuka Mitsumasa, a photographer of architecture based in Tokyo. A second VHS tape in the archive provides in-depth documentation of the Interrupted Projections exhibition, containing 45 minutes of raw video footage that explores Gallery MA and surrounding areas of Tokyo. The Interrupted Projections book contains in print the text and images from the installation and website. It was written by Denari and designed by Michiharu Shimoda, a graphic designer and underground trip-hop artist who was also responsible for the design of the fictional logos used in the exhibit. The book acts as an extension of the content of the show, as well as exhibition catalogue, and covers Denari’s other projects represented in the show. The series also contains a small amount of promotional media for Interrupted Projections, including one large and two small posters, a postcard, and a t-shirt.
People:
Date:
1994 - 2004
1994 - 2004
Title:
Project records from Neil Denari
Actions:
AP168.S1
Description:
The Project records from Neil Denari series, 1994 – 2004, consists of records produced by Denari for his show “Interrupted Projections” at Gallery MA in Tokyo, Japan. It documents the development and final design for the principal architectural installation built on the third level of the gallery, as well as related materials displayed on the gallery’s fourth floor. The series also contains photographic and video documentation of the exhibit, the show catalogue, and promotional materials. The series includes 4003 digital files (1 GB), 53 slides, 21 transparencies, seven drawings and/or reprographic copies, two VHS video cassettes, one exhibition catalogue, and a small amount of promotional material comprising one large and two small posters, one postcard, and one t-shirt. The majority of records date from 1994-1996. Denari used a combination of physical drawings and digital modelling to draft the design for Interrupted Projections. The series contains one ink drawing and one transfer print with plans and sections of the third floor gallery space, two reprographic copies of drawings with elevations and plans of existing conditions of the third and fourth floors at Gallery MA, and three graphite hand drawings of the installation. Digital files in the series include two original Softimage databases containing full and partial 3D models of the installation, as well as one forward-migrated database containing models compiled from the two original databases. The original models were created in Softimage ’95 on Windows NT and will not open in contemporary versions of Autodesk Softimage. The forward-migrated model database was created by members of Autodesk’s Montreal office for the Archaeology of the Digital exhibition Complexity and Convention and will open in Softimage 2014. Each Softimage model database is made up of several directories that contain information necessary to render all models and their animation into a “scene” (such as textures, lighting, camera movements, etc.). When the Interrupted Projections models were migrated, the information from all directories in both original databases was compiled into the Scenes directory of a single database. These updated scene files (SCN) contain all the elements needed to render the models without the need for additional directories. Each scene file has a corresponding scene TOC file (scene table of content), which can be used to further modify the information in the scene. Scene files in the migrated database contain full and partial models for Interrupted Projections, including one animated scene that follows a camera path through the interior and exterior of the final model. These files document the various stages of design work for the project, as well as Denari’s use of animation features in Softimage to visualize and study the spatial character of his drawings. Project collaborator Duks Koschitz created additional animations of the model that were edited and shown on the fourth floor of the exhibition. A compilation of his work is included on a VHS tape in the archive. The video, which spans one minute 16 seconds, contains four animations that move around the 3D gallery space. Koschitz attempted to reflect the concerns of the project in the movements of the camera, focusing on details such as the fictional company logos or curvatures in the surface of the model. The majority of photographic materials in the series are digital renderings of the model, comprising 38 slides, 14 diapositives, and seven digital images. Photographic materials also include images of the completed show, including seven diapositives that document the built work from various views on the third floor of Gallery MA, as well as the exhibition of materials on the fourth floor. A small number of slides document the exhibit open to the public, and include images of visitors interacting with the Sony Navicam. Most of the diapositive photographs and a small number of slides were taken by Fujitsuka Mitsumasa, a photographer of architecture based in Tokyo. A second VHS tape in the archive provides in-depth documentation of the Interrupted Projections exhibition, containing 45 minutes of raw video footage that explores Gallery MA and surrounding areas of Tokyo. The Interrupted Projections book contains in print the text and images from the installation and website. It was written by Denari and designed by Michiharu Shimoda, a graphic designer and underground trip-hop artist who was also responsible for the design of the fictional logos used in the exhibit. The book acts as an extension of the content of the show, as well as exhibition catalogue, and covers Denari’s other projects represented in the show. The series also contains a small amount of promotional media for Interrupted Projections, including one large and two small posters, a postcard, and a t-shirt.
Project records from Neil Denari
Actions:
AP168.S1
Description:
The Project records from Neil Denari series, 1994 – 2004, consists of records produced by Denari for his show “Interrupted Projections” at Gallery MA in Tokyo, Japan. It documents the development and final design for the principal architectural installation built on the third level of the gallery, as well as related materials displayed on the gallery’s fourth floor. The series also contains photographic and video documentation of the exhibit, the show catalogue, and promotional materials. The series includes 4003 digital files (1 GB), 53 slides, 21 transparencies, seven drawings and/or reprographic copies, two VHS video cassettes, one exhibition catalogue, and a small amount of promotional material comprising one large and two small posters, one postcard, and one t-shirt. The majority of records date from 1994-1996. Denari used a combination of physical drawings and digital modelling to draft the design for Interrupted Projections. The series contains one ink drawing and one transfer print with plans and sections of the third floor gallery space, two reprographic copies of drawings with elevations and plans of existing conditions of the third and fourth floors at Gallery MA, and three graphite hand drawings of the installation. Digital files in the series include two original Softimage databases containing full and partial 3D models of the installation, as well as one forward-migrated database containing models compiled from the two original databases. The original models were created in Softimage ’95 on Windows NT and will not open in contemporary versions of Autodesk Softimage. The forward-migrated model database was created by members of Autodesk’s Montreal office for the Archaeology of the Digital exhibition Complexity and Convention and will open in Softimage 2014. Each Softimage model database is made up of several directories that contain information necessary to render all models and their animation into a “scene” (such as textures, lighting, camera movements, etc.). When the Interrupted Projections models were migrated, the information from all directories in both original databases was compiled into the Scenes directory of a single database. These updated scene files (SCN) contain all the elements needed to render the models without the need for additional directories. Each scene file has a corresponding scene TOC file (scene table of content), which can be used to further modify the information in the scene. Scene files in the migrated database contain full and partial models for Interrupted Projections, including one animated scene that follows a camera path through the interior and exterior of the final model. These files document the various stages of design work for the project, as well as Denari’s use of animation features in Softimage to visualize and study the spatial character of his drawings. Project collaborator Duks Koschitz created additional animations of the model that were edited and shown on the fourth floor of the exhibition. A compilation of his work is included on a VHS tape in the archive. The video, which spans one minute 16 seconds, contains four animations that move around the 3D gallery space. Koschitz attempted to reflect the concerns of the project in the movements of the camera, focusing on details such as the fictional company logos or curvatures in the surface of the model. The majority of photographic materials in the series are digital renderings of the model, comprising 38 slides, 14 diapositives, and seven digital images. Photographic materials also include images of the completed show, including seven diapositives that document the built work from various views on the third floor of Gallery MA, as well as the exhibition of materials on the fourth floor. A small number of slides document the exhibit open to the public, and include images of visitors interacting with the Sony Navicam. Most of the diapositive photographs and a small number of slides were taken by Fujitsuka Mitsumasa, a photographer of architecture based in Tokyo. A second VHS tape in the archive provides in-depth documentation of the Interrupted Projections exhibition, containing 45 minutes of raw video footage that explores Gallery MA and surrounding areas of Tokyo. The Interrupted Projections book contains in print the text and images from the installation and website. It was written by Denari and designed by Michiharu Shimoda, a graphic designer and underground trip-hop artist who was also responsible for the design of the fictional logos used in the exhibit. The book acts as an extension of the content of the show, as well as exhibition catalogue, and covers Denari’s other projects represented in the show. The series also contains a small amount of promotional media for Interrupted Projections, including one large and two small posters, a postcard, and a t-shirt.
Level of archival description:
Series
Series
Date:
1994 - 2004
1994 - 2004
People:
