449 Résultats
Classification:
expositions
expositions
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Description:
La bulle constitue une merveille de tension superficielle. Dans son interprétation architecturale, elle peut être comprise comme une prouesse d’ingénierie ou comme la métaphore d’un environnement hermétiquement clos. En ce sens, la bulle apparaît, selon l’architecte Cedric Price, « quelles qu’en soient la forme ou la taille », comme un puissant symbole du futur, ou(...)
La bulle constitue une merveille de tension superficielle. Dans son interprétation architecturale, elle peut être comprise comme une prouesse d’ingénierie ou comme la métaphore d’un environnement hermétiquement clos. En ce sens, la bulle apparaît, selon l’architecte Cedric Price, « quelles qu’en soient la forme ou la taille », comme un puissant symbole du futur, ou(...)
Localisation:
Vitrines
Vitrines
Date:
26 novembre 2009 au 17 janvier 2010
26 novembre 2009 au 17 janvier 2010
Titre:
Sur les traces de... la bulle
Actions:
Description:
La bulle constitue une merveille de tension superficielle. Dans son interprétation architecturale, elle peut être comprise comme une prouesse d’ingénierie ou comme la métaphore d’un environnement hermétiquement clos. En ce sens, la bulle apparaît, selon l’architecte Cedric Price, « quelles qu’en soient la forme ou la taille », comme un puissant symbole du futur, ou(...)
Sur les traces de... la bulle
Actions:
Description:
La bulle constitue une merveille de tension superficielle. Dans son interprétation architecturale, elle peut être comprise comme une prouesse d’ingénierie ou comme la métaphore d’un environnement hermétiquement clos. En ce sens, la bulle apparaît, selon l’architecte Cedric Price, « quelles qu’en soient la forme ou la taille », comme un puissant symbole du futur, ou(...)
Classification:
expositions
expositions
Date:
26 novembre 2009 au
17 janvier 2010
26 novembre 2009 au
17 janvier 2010
Localisation:
Vitrines
Vitrines
Classification:
événements
événements
Actions:
Mot(s)-clé(s):
chercheur en résidence, Pieter Uyttenhove, Le ville ouverte: De l'usage des métaphores épistémologiques en urbanisme
chercheur en résidence, Pieter Uyttenhove, Le ville ouverte: De l'usage des métaphores épistémologiques en urbanisme
Date:
21 juillet 2000
21 juillet 2000
Classification:
événements
événements
Date:
21 juillet 2000
21 juillet 2000
Classification:
photographies
Quantité:
82 photograph(s)
photographies
Quantité:
82 photograph(s)
Actions:
Numéro de référence:
PH1996:0069:001-109
Description:
Group of 109 Polaroid photographs made by Aldo Rossi with some presented in the exhibition 'Luigi Ghirri - Aldo Rossi. Things Which Are Only Themselves' held at the CCA in 1996. The photographs represent several scenes from Rossi's travels in different countries: building façades, sacred images, billboards, houses from a Shaker village, baroque façades of churches (in Lecce, Italy), shops, street scenes, lakes, ports, showcases and furniture. Rossi's photography shows the interest he shares with photographer Luigi Ghirri in the belief in the autonomous eye of the photographer and in the potential of that eye to reveal something new to the architect. Ghirri sees in Rossi's Polaroids a "concealed passion, the 'secret' images of the architect, [...] puzzles that are solved with the heart". And according to his definition of photography, "a tangle of monuments, lights, thoughts, objects, moments and metaphors forming the landscape we are searching for in our minds... as would the points of an imaginary compass, which indicates a possible direction".
PH1996:0069:001-109
Description:
Group of 109 Polaroid photographs made by Aldo Rossi with some presented in the exhibition 'Luigi Ghirri - Aldo Rossi. Things Which Are Only Themselves' held at the CCA in 1996. The photographs represent several scenes from Rossi's travels in different countries: building façades, sacred images, billboards, houses from a Shaker village, baroque façades of churches (in Lecce, Italy), shops, street scenes, lakes, ports, showcases and furniture. Rossi's photography shows the interest he shares with photographer Luigi Ghirri in the belief in the autonomous eye of the photographer and in the potential of that eye to reveal something new to the architect. Ghirri sees in Rossi's Polaroids a "concealed passion, the 'secret' images of the architect, [...] puzzles that are solved with the heart". And according to his definition of photography, "a tangle of monuments, lights, thoughts, objects, moments and metaphors forming the landscape we are searching for in our minds... as would the points of an imaginary compass, which indicates a possible direction".
Personnes et institutions:
Sujet:
architecture, ingénierie, sculpture
architecture, ingénierie, sculpture
Date:
1980s-1990s
1980s-1990s
Titre:
Group of views of architecture from Aldo Rossi's trips to Italy, France, Corsica, Greece, United States and unspecified countries
Actions:
PH1996:0069:001-109
Description:
Group of 109 Polaroid photographs made by Aldo Rossi with some presented in the exhibition 'Luigi Ghirri - Aldo Rossi. Things Which Are Only Themselves' held at the CCA in 1996. The photographs represent several scenes from Rossi's travels in different countries: building façades, sacred images, billboards, houses from a Shaker village, baroque façades of churches (in Lecce, Italy), shops, street scenes, lakes, ports, showcases and furniture. Rossi's photography shows the interest he shares with photographer Luigi Ghirri in the belief in the autonomous eye of the photographer and in the potential of that eye to reveal something new to the architect. Ghirri sees in Rossi's Polaroids a "concealed passion, the 'secret' images of the architect, [...] puzzles that are solved with the heart". And according to his definition of photography, "a tangle of monuments, lights, thoughts, objects, moments and metaphors forming the landscape we are searching for in our minds... as would the points of an imaginary compass, which indicates a possible direction".
Group of views of architecture from Aldo Rossi's trips to Italy, France, Corsica, Greece, United States and unspecified countries
Actions:
PH1996:0069:001-109
Description:
Group of 109 Polaroid photographs made by Aldo Rossi with some presented in the exhibition 'Luigi Ghirri - Aldo Rossi. Things Which Are Only Themselves' held at the CCA in 1996. The photographs represent several scenes from Rossi's travels in different countries: building façades, sacred images, billboards, houses from a Shaker village, baroque façades of churches (in Lecce, Italy), shops, street scenes, lakes, ports, showcases and furniture. Rossi's photography shows the interest he shares with photographer Luigi Ghirri in the belief in the autonomous eye of the photographer and in the potential of that eye to reveal something new to the architect. Ghirri sees in Rossi's Polaroids a "concealed passion, the 'secret' images of the architect, [...] puzzles that are solved with the heart". And according to his definition of photography, "a tangle of monuments, lights, thoughts, objects, moments and metaphors forming the landscape we are searching for in our minds... as would the points of an imaginary compass, which indicates a possible direction".
Classification:
photographies
Quantité:
82 photograph(s)
photographies
Quantité:
82 photograph(s)
Date:
1980s-1990s
1980s-1990s
Personnes et institutions:
Sujet:
architecture, ingénierie, sculpture
architecture, ingénierie, sculpture
Niveau de description archivistique:
Série(s)
Série(s)
Numéro de référence:
AP179.S3
Description:
Series 3, Tongxian Art Center, Beijing, 2000 – 2007, documents the development of a multiphase project for a public arts complex thirty miles from Beijing. Phases are distinguished when possible. Phase I of the project is the gatehouse (realized), which consists of housing and studio space for artists-in-residence. It is conceived as a brick monolith that has been shrink-wrapped or vacuumed into its shape – a metaphor for the optimization of the building’s limited space. Regional materials are incorporated through the use of local brick and native chudumu wood on the exterior. The gatehouse was completed in 2003. Phase II of the project is the art center (unrealized), which consists of public spaces, sculpture courts, administrative spaces and infrastructural needs of the institution, connected through a series of alleyways. The layout is organized to maximize interaction between inhabitants while maintaining a level of privacy. In addition to phases I and II, records in the series document a design referred to as Tongxian Gatekeeper (unrealized). Drawings, circa 2006, illustrate a building to house animals and agriculture in the southwest corner of the Tongxian Art complex grounds. The series contains sketches, drawings and reprographic copies from pre-design to construction stages of the project, two models including a wood model of the art center and a cardboard model of the gatekeeper wall, and photographic materials. The series also contains textual documents including correspondence with on-site project coordinator Timothy Clark, as well as meeting agendas, project schedules, agreements and proposals, and other project documentation. Digital material includes photographs of construction, CAD drawings, renderings, e-mail, and a video featuring the project team. The majority of material in the series relates to phase I of the project, the gatehouse. Some files include documentation about the involvement of contemporary artist Ai Wei Wei in a supervisory role for the project.
AP179.S3
Description:
Series 3, Tongxian Art Center, Beijing, 2000 – 2007, documents the development of a multiphase project for a public arts complex thirty miles from Beijing. Phases are distinguished when possible. Phase I of the project is the gatehouse (realized), which consists of housing and studio space for artists-in-residence. It is conceived as a brick monolith that has been shrink-wrapped or vacuumed into its shape – a metaphor for the optimization of the building’s limited space. Regional materials are incorporated through the use of local brick and native chudumu wood on the exterior. The gatehouse was completed in 2003. Phase II of the project is the art center (unrealized), which consists of public spaces, sculpture courts, administrative spaces and infrastructural needs of the institution, connected through a series of alleyways. The layout is organized to maximize interaction between inhabitants while maintaining a level of privacy. In addition to phases I and II, records in the series document a design referred to as Tongxian Gatekeeper (unrealized). Drawings, circa 2006, illustrate a building to house animals and agriculture in the southwest corner of the Tongxian Art complex grounds. The series contains sketches, drawings and reprographic copies from pre-design to construction stages of the project, two models including a wood model of the art center and a cardboard model of the gatekeeper wall, and photographic materials. The series also contains textual documents including correspondence with on-site project coordinator Timothy Clark, as well as meeting agendas, project schedules, agreements and proposals, and other project documentation. Digital material includes photographs of construction, CAD drawings, renderings, e-mail, and a video featuring the project team. The majority of material in the series relates to phase I of the project, the gatehouse. Some files include documentation about the involvement of contemporary artist Ai Wei Wei in a supervisory role for the project.
Personnes et institutions:
Date:
2000 - 2007
2000 - 2007
Titre:
Tongxian Art Center, Beijing, China (2000 - 2007)
Actions:
AP179.S3
Description:
Series 3, Tongxian Art Center, Beijing, 2000 – 2007, documents the development of a multiphase project for a public arts complex thirty miles from Beijing. Phases are distinguished when possible. Phase I of the project is the gatehouse (realized), which consists of housing and studio space for artists-in-residence. It is conceived as a brick monolith that has been shrink-wrapped or vacuumed into its shape – a metaphor for the optimization of the building’s limited space. Regional materials are incorporated through the use of local brick and native chudumu wood on the exterior. The gatehouse was completed in 2003. Phase II of the project is the art center (unrealized), which consists of public spaces, sculpture courts, administrative spaces and infrastructural needs of the institution, connected through a series of alleyways. The layout is organized to maximize interaction between inhabitants while maintaining a level of privacy. In addition to phases I and II, records in the series document a design referred to as Tongxian Gatekeeper (unrealized). Drawings, circa 2006, illustrate a building to house animals and agriculture in the southwest corner of the Tongxian Art complex grounds. The series contains sketches, drawings and reprographic copies from pre-design to construction stages of the project, two models including a wood model of the art center and a cardboard model of the gatekeeper wall, and photographic materials. The series also contains textual documents including correspondence with on-site project coordinator Timothy Clark, as well as meeting agendas, project schedules, agreements and proposals, and other project documentation. Digital material includes photographs of construction, CAD drawings, renderings, e-mail, and a video featuring the project team. The majority of material in the series relates to phase I of the project, the gatehouse. Some files include documentation about the involvement of contemporary artist Ai Wei Wei in a supervisory role for the project.
Tongxian Art Center, Beijing, China (2000 - 2007)
Actions:
AP179.S3
Description:
Series 3, Tongxian Art Center, Beijing, 2000 – 2007, documents the development of a multiphase project for a public arts complex thirty miles from Beijing. Phases are distinguished when possible. Phase I of the project is the gatehouse (realized), which consists of housing and studio space for artists-in-residence. It is conceived as a brick monolith that has been shrink-wrapped or vacuumed into its shape – a metaphor for the optimization of the building’s limited space. Regional materials are incorporated through the use of local brick and native chudumu wood on the exterior. The gatehouse was completed in 2003. Phase II of the project is the art center (unrealized), which consists of public spaces, sculpture courts, administrative spaces and infrastructural needs of the institution, connected through a series of alleyways. The layout is organized to maximize interaction between inhabitants while maintaining a level of privacy. In addition to phases I and II, records in the series document a design referred to as Tongxian Gatekeeper (unrealized). Drawings, circa 2006, illustrate a building to house animals and agriculture in the southwest corner of the Tongxian Art complex grounds. The series contains sketches, drawings and reprographic copies from pre-design to construction stages of the project, two models including a wood model of the art center and a cardboard model of the gatekeeper wall, and photographic materials. The series also contains textual documents including correspondence with on-site project coordinator Timothy Clark, as well as meeting agendas, project schedules, agreements and proposals, and other project documentation. Digital material includes photographs of construction, CAD drawings, renderings, e-mail, and a video featuring the project team. The majority of material in the series relates to phase I of the project, the gatehouse. Some files include documentation about the involvement of contemporary artist Ai Wei Wei in a supervisory role for the project.
Niveau de description archivistique:
Series
Series
Date:
2000 - 2007
2000 - 2007
Personnes et institutions:
Classification:
expositions
expositions
Actions:
Description:
Selon une légende chinoise connue au Japon, une variété d’arbre, le katsura géant, avait été plantée sur la lune, d’où le proverbe : « Avec les yeux on peut voir le katsura, mais on ne peut avec les mains le toucher ». Cette maxime célébrant la quête d’un absolu traduit bien l’esprit d’Embarquement pour Katsura, qui poursuit cette recherche de l’identité et de l’idéal que(...)
Selon une légende chinoise connue au Japon, une variété d’arbre, le katsura géant, avait été plantée sur la lune, d’où le proverbe : « Avec les yeux on peut voir le katsura, mais on ne peut avec les mains le toucher ». Cette maxime célébrant la quête d’un absolu traduit bien l’esprit d’Embarquement pour Katsura, qui poursuit cette recherche de l’identité et de l’idéal que(...)
Localisation:
Salle octogonale, vitrines et salle Sottsass
Salle octogonale, vitrines et salle Sottsass
Date:
9 décembre 1998 au 28 mars 1999
9 décembre 1998 au 28 mars 1999
Titre:
Embarquement pour Katsura : Irene F. Whittome au CCA
Actions:
Description:
Selon une légende chinoise connue au Japon, une variété d’arbre, le katsura géant, avait été plantée sur la lune, d’où le proverbe : « Avec les yeux on peut voir le katsura, mais on ne peut avec les mains le toucher ». Cette maxime célébrant la quête d’un absolu traduit bien l’esprit d’Embarquement pour Katsura, qui poursuit cette recherche de l’identité et de l’idéal que(...)
Embarquement pour Katsura : Irene F. Whittome au CCA
Actions:
Description:
Selon une légende chinoise connue au Japon, une variété d’arbre, le katsura géant, avait été plantée sur la lune, d’où le proverbe : « Avec les yeux on peut voir le katsura, mais on ne peut avec les mains le toucher ». Cette maxime célébrant la quête d’un absolu traduit bien l’esprit d’Embarquement pour Katsura, qui poursuit cette recherche de l’identité et de l’idéal que(...)
Classification:
expositions
expositions
Date:
9 décembre 1998 au
28 mars 1999
9 décembre 1998 au
28 mars 1999
Localisation:
Salle octogonale, vitrines et salle Sottsass
Salle octogonale, vitrines et salle Sottsass
Classification:
expositions
expositions
Titre:
Sur les traces de... rose
Sur les traces de... rose
Actions:
Description:
Le traitement de la couleur en architecture est autant lié à ses aspects matériels qu’aux qualités sensibles qui lui sont reconnues : pouvoir évocateur, création d’une ambiance particulière, effets psychologiques distincts. Issus de la collection du CCA, des photographies, dessins, nuanciers et autres recettes chromatiques représentent, communiquent et imaginent ici la(...)
Le traitement de la couleur en architecture est autant lié à ses aspects matériels qu’aux qualités sensibles qui lui sont reconnues : pouvoir évocateur, création d’une ambiance particulière, effets psychologiques distincts. Issus de la collection du CCA, des photographies, dessins, nuanciers et autres recettes chromatiques représentent, communiquent et imaginent ici la(...)
Localisation:
Vitrines
Vitrines
Date:
11 septembre 2009 au 17 janvier 2010
11 septembre 2009 au 17 janvier 2010
Titre:
Sur les traces de... rose
Actions:
Description:
Le traitement de la couleur en architecture est autant lié à ses aspects matériels qu’aux qualités sensibles qui lui sont reconnues : pouvoir évocateur, création d’une ambiance particulière, effets psychologiques distincts. Issus de la collection du CCA, des photographies, dessins, nuanciers et autres recettes chromatiques représentent, communiquent et imaginent ici la(...)
Sur les traces de... rose
Actions:
Description:
Le traitement de la couleur en architecture est autant lié à ses aspects matériels qu’aux qualités sensibles qui lui sont reconnues : pouvoir évocateur, création d’une ambiance particulière, effets psychologiques distincts. Issus de la collection du CCA, des photographies, dessins, nuanciers et autres recettes chromatiques représentent, communiquent et imaginent ici la(...)
Classification:
expositions
expositions
Date:
11 septembre 2009 au
17 janvier 2010
11 septembre 2009 au
17 janvier 2010
Localisation:
Vitrines
Vitrines
Classification:
expositions
expositions
Titre:
Miroirs / Mirrors
Miroirs / Mirrors
Actions:
Description:
Miroirs/ Mirrors prend forme à travers un dialogue indirect avec l’exposition L’histoire, par ailleurs: Go Hasegawa, Kersten Geers, David Van Severen, qui prend racine dans les références et les résonnances partagées entre les travaux de deux pratiques contemporaines mises en présence de l’histoire. Alors que L’histoire, par ailleurs se fonde sur limpression que lon a du(...)
Miroirs/ Mirrors prend forme à travers un dialogue indirect avec l’exposition L’histoire, par ailleurs: Go Hasegawa, Kersten Geers, David Van Severen, qui prend racine dans les références et les résonnances partagées entre les travaux de deux pratiques contemporaines mises en présence de l’histoire. Alors que L’histoire, par ailleurs se fonde sur limpression que lon a du(...)
Localisation:
Vitrines
Vitrines
Date:
22 juin 2017 au 14 janvier 2018
22 juin 2017 au 14 janvier 2018
Titre:
Miroirs / Mirrors
Actions:
Description:
Miroirs/ Mirrors prend forme à travers un dialogue indirect avec l’exposition L’histoire, par ailleurs: Go Hasegawa, Kersten Geers, David Van Severen, qui prend racine dans les références et les résonnances partagées entre les travaux de deux pratiques contemporaines mises en présence de l’histoire. Alors que L’histoire, par ailleurs se fonde sur limpression que lon a du(...)
Miroirs / Mirrors
Actions:
Description:
Miroirs/ Mirrors prend forme à travers un dialogue indirect avec l’exposition L’histoire, par ailleurs: Go Hasegawa, Kersten Geers, David Van Severen, qui prend racine dans les références et les résonnances partagées entre les travaux de deux pratiques contemporaines mises en présence de l’histoire. Alors que L’histoire, par ailleurs se fonde sur limpression que lon a du(...)
Classification:
expositions
expositions
Date:
22 juin 2017 au
14 janvier 2018
22 juin 2017 au
14 janvier 2018
Localisation:
Vitrines
Vitrines
Classification:
livres
livres
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Exemplaires:
Description:
184 pages : illustrations ; 24 cm.
Description:
184 pages : illustrations ; 24 cm.
Auteur:
Sujet:
Publication:
Abingdon, Oxon ; New York : Routledge, 2019., ©2019
Abingdon, Oxon ; New York : Routledge, 2019., ©2019
Titre:
Metaphor : an exploration of the metaphorical dimensions and potential of architecture / [Simon Unwin].
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Exemplaires:
Description:
184 pages : illustrations ; 24 cm.
Metaphor : an exploration of the metaphorical dimensions and potential of architecture / [Simon Unwin].
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Exemplaires:
Description:
184 pages : illustrations ; 24 cm.
Classification:
livres
livres
Publication:
Abingdon, Oxon ; New York : Routledge, 2019., ©2019
Abingdon, Oxon ; New York : Routledge, 2019., ©2019
Auteur:
Sujet:
Classification:
livres
livres
Titre:
Metaphors in architecture and urbanism : an introduction / Andri Gerber, Brent Patterson (eds.).
Metaphors in architecture and urbanism : an introduction / Andri Gerber, Brent Patterson (eds.).
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Description:
302 pages : illustrations, plans ; 23 cm.
Description:
302 pages : illustrations, plans ; 23 cm.
Auteur:
Sujet:
Publication:
Bielefeld : Transcript, ©2013.
Bielefeld : Transcript, ©2013.
Titre:
Metaphors in architecture and urbanism : an introduction / Andri Gerber, Brent Patterson (eds.).
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Description:
302 pages : illustrations, plans ; 23 cm.
Metaphors in architecture and urbanism : an introduction / Andri Gerber, Brent Patterson (eds.).
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Exemplaires:
Description:
302 pages : illustrations, plans ; 23 cm.
Classification:
livres
livres
Publication:
Bielefeld : Transcript, ©2013.
Bielefeld : Transcript, ©2013.
Auteur:
Sujet:
Classification:
livres
livres
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Description:
61 pages : chiefly illustrations (some color) ; 23 cm
Description:
61 pages : chiefly illustrations (some color) ; 23 cm
Auteur:
Sujet:
Publication:
New York : Rizzoli, 1988., ©1987
New York : Rizzoli, 1988., ©1987
Titre:
Design metaphors / Ettore Sottsass ; edited by Barbara Radice ; art director: Christoph Radl ; translated from the Italian by Huw Evans.
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Exemplaires:
Description:
61 pages : chiefly illustrations (some color) ; 23 cm
Design metaphors / Ettore Sottsass ; edited by Barbara Radice ; art director: Christoph Radl ; translated from the Italian by Huw Evans.
Actions:
Exemplaires:
Description:
61 pages : chiefly illustrations (some color) ; 23 cm
Classification:
livres
livres
Publication:
New York : Rizzoli, 1988., ©1987
New York : Rizzoli, 1988., ©1987
Auteur:
Sujet:
