5712 Résultats
Classification:
documents textuels
Quantité:
7 file
documents textuels
Quantité:
7 file
Numéro de référence:
ARCH241243
Description:
Introduction, CCD (Cynthia Davidson) A Guide to Anywhere Japanese Transcriptions Japanese questions and letters Anywhere Letters Presentation and Discussion Transcripts (3 files)
ARCH241243
Description:
Introduction, CCD (Cynthia Davidson) A Guide to Anywhere Japanese Transcriptions Japanese questions and letters Anywhere Letters Presentation and Discussion Transcripts (3 files)
Personnes et institutions:
Date:
1992
1992
Titre:
A Guide to Anywhere
Actions:
ARCH241243
Description:
Introduction, CCD (Cynthia Davidson) A Guide to Anywhere Japanese Transcriptions Japanese questions and letters Anywhere Letters Presentation and Discussion Transcripts (3 files)
A Guide to Anywhere
Actions:
ARCH241243
Description:
Introduction, CCD (Cynthia Davidson) A Guide to Anywhere Japanese Transcriptions Japanese questions and letters Anywhere Letters Presentation and Discussion Transcripts (3 files)
Classification:
documents textuels
Quantité:
7 file
documents textuels
Quantité:
7 file
Date:
1992
1992
Personnes et institutions:
Classification:
documents textuels
documents textuels
Numéro de référence:
AP197.S3.010
Description:
The box is comprised of correspondence for the year 2001. The box documents Frampton’s career as Ware professor at the Graduate School of Architecture, Planning and Preservation, Columbia University and his related professional activities. Correspondence in this box includes: offers of teaching positions; requests to write articles, reviews, books and recommendation letters; invitations to teach, present, or attend at lectures/symposiums/conferences; and requests to serve on juries. Throughout this period, Frampton corresponded with various universities, architects, professors, publishers, and editors of various publications such as: Yale University; Université de Montréal; Patkau Architects; Tadao Ando; Manuel de Sola-Morales; the Royal Institute of British Architects; ArquitecturaViva; Maki and Associates; and Kisho Kurakawa. Included in this box is correspondence with Oscar Niemeyer and Alvaro Siza in relation to the Michael Blackwood production on both these architects; correspondence about the Aga Khan Award; correspondence about writing an introduction essay to the publication Tadao Ando Light & Water; and correspondence about Frampton’s trip and itinerary to Japan and to meet with Tadao Ando.
AP197.S3.010
Description:
The box is comprised of correspondence for the year 2001. The box documents Frampton’s career as Ware professor at the Graduate School of Architecture, Planning and Preservation, Columbia University and his related professional activities. Correspondence in this box includes: offers of teaching positions; requests to write articles, reviews, books and recommendation letters; invitations to teach, present, or attend at lectures/symposiums/conferences; and requests to serve on juries. Throughout this period, Frampton corresponded with various universities, architects, professors, publishers, and editors of various publications such as: Yale University; Université de Montréal; Patkau Architects; Tadao Ando; Manuel de Sola-Morales; the Royal Institute of British Architects; ArquitecturaViva; Maki and Associates; and Kisho Kurakawa. Included in this box is correspondence with Oscar Niemeyer and Alvaro Siza in relation to the Michael Blackwood production on both these architects; correspondence about the Aga Khan Award; correspondence about writing an introduction essay to the publication Tadao Ando Light & Water; and correspondence about Frampton’s trip and itinerary to Japan and to meet with Tadao Ando.
Personnes et institutions:
Date:
2001
2001
Titre:
Personal and professional correspondence from 2001
Actions:
AP197.S3.010
Description:
The box is comprised of correspondence for the year 2001. The box documents Frampton’s career as Ware professor at the Graduate School of Architecture, Planning and Preservation, Columbia University and his related professional activities. Correspondence in this box includes: offers of teaching positions; requests to write articles, reviews, books and recommendation letters; invitations to teach, present, or attend at lectures/symposiums/conferences; and requests to serve on juries. Throughout this period, Frampton corresponded with various universities, architects, professors, publishers, and editors of various publications such as: Yale University; Université de Montréal; Patkau Architects; Tadao Ando; Manuel de Sola-Morales; the Royal Institute of British Architects; ArquitecturaViva; Maki and Associates; and Kisho Kurakawa. Included in this box is correspondence with Oscar Niemeyer and Alvaro Siza in relation to the Michael Blackwood production on both these architects; correspondence about the Aga Khan Award; correspondence about writing an introduction essay to the publication Tadao Ando Light & Water; and correspondence about Frampton’s trip and itinerary to Japan and to meet with Tadao Ando.
Personal and professional correspondence from 2001
Actions:
AP197.S3.010
Description:
The box is comprised of correspondence for the year 2001. The box documents Frampton’s career as Ware professor at the Graduate School of Architecture, Planning and Preservation, Columbia University and his related professional activities. Correspondence in this box includes: offers of teaching positions; requests to write articles, reviews, books and recommendation letters; invitations to teach, present, or attend at lectures/symposiums/conferences; and requests to serve on juries. Throughout this period, Frampton corresponded with various universities, architects, professors, publishers, and editors of various publications such as: Yale University; Université de Montréal; Patkau Architects; Tadao Ando; Manuel de Sola-Morales; the Royal Institute of British Architects; ArquitecturaViva; Maki and Associates; and Kisho Kurakawa. Included in this box is correspondence with Oscar Niemeyer and Alvaro Siza in relation to the Michael Blackwood production on both these architects; correspondence about the Aga Khan Award; correspondence about writing an introduction essay to the publication Tadao Ando Light & Water; and correspondence about Frampton’s trip and itinerary to Japan and to meet with Tadao Ando.
Classification:
documents textuels
documents textuels
Date:
2001
2001
Personnes et institutions:
Niveau de description archivistique:
Projet
Projet
Titre:
Weavers' Studio
Weavers' Studio
Numéro de référence:
AP182.S1.2013.D2
Description:
File documents a project for a live-work complex in Dehradun, Uttarakhand, India. Commissioned by Chiaki Maki, a Japanese textile weaver who spends a portion of each year in northern India, this complex in the Himalayan foothills provides working space for a studio of twenty-five weavers from all over the country. It is conceived as a cyclical, self-sufficient farm system that integrates all aspects of the weaving process, from cultivating indigo and henna for dye to gathering silk from cocoons and spinning wool. The site had been previously cultivated, and the design works with the landscape's existing pathways, terraces, and mango groves. Nearly all construction materials--including the brick, limestone, and phosphorescent river stones used in the foundation and to treat the brick walls--come from within a two-kilometre radius of the studio. The five-sided building occupying the centre of the site is the workshop itself, which frames a courtyard for gatherings (of weavers, children, etc.). A gallery in the complex displays the weavers' work, while the linear buildings accommodate motorcycle parking, a guest house, and residences for Maki and her partner as well as the site caretaker and his family. File contains artefacts and realia, models, photographs, drawings, site reports, and a video recording.
AP182.S1.2013.D2
Description:
File documents a project for a live-work complex in Dehradun, Uttarakhand, India. Commissioned by Chiaki Maki, a Japanese textile weaver who spends a portion of each year in northern India, this complex in the Himalayan foothills provides working space for a studio of twenty-five weavers from all over the country. It is conceived as a cyclical, self-sufficient farm system that integrates all aspects of the weaving process, from cultivating indigo and henna for dye to gathering silk from cocoons and spinning wool. The site had been previously cultivated, and the design works with the landscape's existing pathways, terraces, and mango groves. Nearly all construction materials--including the brick, limestone, and phosphorescent river stones used in the foundation and to treat the brick walls--come from within a two-kilometre radius of the studio. The five-sided building occupying the centre of the site is the workshop itself, which frames a courtyard for gatherings (of weavers, children, etc.). A gallery in the complex displays the weavers' work, while the linear buildings accommodate motorcycle parking, a guest house, and residences for Maki and her partner as well as the site caretaker and his family. File contains artefacts and realia, models, photographs, drawings, site reports, and a video recording.
Personnes et institutions:
Date:
2012-2015
2012-2015
Titre:
Weavers' Studio
Actions:
AP182.S1.2013.D2
Description:
File documents a project for a live-work complex in Dehradun, Uttarakhand, India. Commissioned by Chiaki Maki, a Japanese textile weaver who spends a portion of each year in northern India, this complex in the Himalayan foothills provides working space for a studio of twenty-five weavers from all over the country. It is conceived as a cyclical, self-sufficient farm system that integrates all aspects of the weaving process, from cultivating indigo and henna for dye to gathering silk from cocoons and spinning wool. The site had been previously cultivated, and the design works with the landscape's existing pathways, terraces, and mango groves. Nearly all construction materials--including the brick, limestone, and phosphorescent river stones used in the foundation and to treat the brick walls--come from within a two-kilometre radius of the studio. The five-sided building occupying the centre of the site is the workshop itself, which frames a courtyard for gatherings (of weavers, children, etc.). A gallery in the complex displays the weavers' work, while the linear buildings accommodate motorcycle parking, a guest house, and residences for Maki and her partner as well as the site caretaker and his family. File contains artefacts and realia, models, photographs, drawings, site reports, and a video recording.
Weavers' Studio
Actions:
AP182.S1.2013.D2
Description:
File documents a project for a live-work complex in Dehradun, Uttarakhand, India. Commissioned by Chiaki Maki, a Japanese textile weaver who spends a portion of each year in northern India, this complex in the Himalayan foothills provides working space for a studio of twenty-five weavers from all over the country. It is conceived as a cyclical, self-sufficient farm system that integrates all aspects of the weaving process, from cultivating indigo and henna for dye to gathering silk from cocoons and spinning wool. The site had been previously cultivated, and the design works with the landscape's existing pathways, terraces, and mango groves. Nearly all construction materials--including the brick, limestone, and phosphorescent river stones used in the foundation and to treat the brick walls--come from within a two-kilometre radius of the studio. The five-sided building occupying the centre of the site is the workshop itself, which frames a courtyard for gatherings (of weavers, children, etc.). A gallery in the complex displays the weavers' work, while the linear buildings accommodate motorcycle parking, a guest house, and residences for Maki and her partner as well as the site caretaker and his family. File contains artefacts and realia, models, photographs, drawings, site reports, and a video recording.
Niveau de description archivistique:
Project
Project
Date:
2012-2015
2012-2015
Personnes et institutions:
Classification:
archives
Niveau de description archivistique:
Fonds
archives
Niveau de description archivistique:
Fonds
Titre:
Fonds Anyone Corporation
Fonds Anyone Corporation
Numéro de référence:
AP116
Résumé:
The Anyone Corporation fonds is composed primarily of textual and photographic records which document the activities of the Anyone Corporation over the course of its planned ten year life span from 1990 to 2001. The non-profit, New York City based organization, was founded by Peter Eisenman, Cynthia Davidson, Arata Isozaki, and Ignasi de Solà-Morales Rubio in order to stimulate a fruitful dialogue between architecture and general culture at the dawn of the new millennium. To this end, ANY (acronym for Architecture New York) organised ten international conferences and numerous public seminars, as well as publishing conference journals, a series of architecture related books, and ANY, a theory driven bi-monthly magazine.
AP116
Résumé:
The Anyone Corporation fonds is composed primarily of textual and photographic records which document the activities of the Anyone Corporation over the course of its planned ten year life span from 1990 to 2001. The non-profit, New York City based organization, was founded by Peter Eisenman, Cynthia Davidson, Arata Isozaki, and Ignasi de Solà-Morales Rubio in order to stimulate a fruitful dialogue between architecture and general culture at the dawn of the new millennium. To this end, ANY (acronym for Architecture New York) organised ten international conferences and numerous public seminars, as well as publishing conference journals, a series of architecture related books, and ANY, a theory driven bi-monthly magazine.
Personnes et institutions:
Date:
1990-2001
1990-2001
Titre:
Fonds Anyone Corporation
Actions:
AP116
Résumé:
The Anyone Corporation fonds is composed primarily of textual and photographic records which document the activities of the Anyone Corporation over the course of its planned ten year life span from 1990 to 2001. The non-profit, New York City based organization, was founded by Peter Eisenman, Cynthia Davidson, Arata Isozaki, and Ignasi de Solà-Morales Rubio in order to stimulate a fruitful dialogue between architecture and general culture at the dawn of the new millennium. To this end, ANY (acronym for Architecture New York) organised ten international conferences and numerous public seminars, as well as publishing conference journals, a series of architecture related books, and ANY, a theory driven bi-monthly magazine.
Fonds Anyone Corporation
Actions:
AP116
Résumé:
The Anyone Corporation fonds is composed primarily of textual and photographic records which document the activities of the Anyone Corporation over the course of its planned ten year life span from 1990 to 2001. The non-profit, New York City based organization, was founded by Peter Eisenman, Cynthia Davidson, Arata Isozaki, and Ignasi de Solà-Morales Rubio in order to stimulate a fruitful dialogue between architecture and general culture at the dawn of the new millennium. To this end, ANY (acronym for Architecture New York) organised ten international conferences and numerous public seminars, as well as publishing conference journals, a series of architecture related books, and ANY, a theory driven bi-monthly magazine.
Classification:
archives
Niveau de description archivistique:
Fonds
archives
Niveau de description archivistique:
Fonds
Date:
1990-2001
1990-2001
Personnes et institutions:
Classification:
événements
événements
Description:
David Howes, professeur d’anthropologie et directeur du Centre for Sensory Studies de l’université Concordia, aborde de façon sensorielle l’étude d’une série d’intérieurs qu’il a observés au cours de ses recherches anthropologiques et archivistiques. Elles vont de la maison des hommes dans la région du fleuve Sepik en Papouasie-Nouvelle-Guinée à lintérieur exclusivement(...)
David Howes, professeur d’anthropologie et directeur du Centre for Sensory Studies de l’université Concordia, aborde de façon sensorielle l’étude d’une série d’intérieurs qu’il a observés au cours de ses recherches anthropologiques et archivistiques. Elles vont de la maison des hommes dans la région du fleuve Sepik en Papouasie-Nouvelle-Guinée à lintérieur exclusivement(...)
Localisation:
Maison Shaughnessy
Maison Shaughnessy
Date:
26 février 2015 , 18h
26 février 2015 , 18h
Titre:
L’intérieur sensoriel
Actions:
Description:
David Howes, professeur d’anthropologie et directeur du Centre for Sensory Studies de l’université Concordia, aborde de façon sensorielle l’étude d’une série d’intérieurs qu’il a observés au cours de ses recherches anthropologiques et archivistiques. Elles vont de la maison des hommes dans la région du fleuve Sepik en Papouasie-Nouvelle-Guinée à lintérieur exclusivement(...)
L’intérieur sensoriel
Actions:
Description:
David Howes, professeur d’anthropologie et directeur du Centre for Sensory Studies de l’université Concordia, aborde de façon sensorielle l’étude d’une série d’intérieurs qu’il a observés au cours de ses recherches anthropologiques et archivistiques. Elles vont de la maison des hommes dans la région du fleuve Sepik en Papouasie-Nouvelle-Guinée à lintérieur exclusivement(...)
Classification:
événements
événements
Date:
26 février 2015
18h
26 février 2015
18h
Localisation:
Maison Shaughnessy
Maison Shaughnessy
Classification:
événements
événements
Actions:
Description:
L’architecte japonais Ryue Nishizawa discute de son œuvre et de l’exposition Perspectives de vie à Londres et à Tokyo imaginées par Stephen Taylor et Ryue Nishizawa tenue au CCA en 2008. L’exposition marque la première présentation en Amérique du Nord des projets résidentiels de Taylor et Nishizawa et dévoile les solutions originales qu’ils apportent aux défis de la(...)
L’architecte japonais Ryue Nishizawa discute de son œuvre et de l’exposition Perspectives de vie à Londres et à Tokyo imaginées par Stephen Taylor et Ryue Nishizawa tenue au CCA en 2008. L’exposition marque la première présentation en Amérique du Nord des projets résidentiels de Taylor et Nishizawa et dévoile les solutions originales qu’ils apportent aux défis de la(...)
Localisation:
Théâtre Paul-Desmarais
Théâtre Paul-Desmarais
Date:
14 mai 2008
14 mai 2008
Titre:
Ryue Nishizawa : Some Ideas on Living
Actions:
Description:
L’architecte japonais Ryue Nishizawa discute de son œuvre et de l’exposition Perspectives de vie à Londres et à Tokyo imaginées par Stephen Taylor et Ryue Nishizawa tenue au CCA en 2008. L’exposition marque la première présentation en Amérique du Nord des projets résidentiels de Taylor et Nishizawa et dévoile les solutions originales qu’ils apportent aux défis de la(...)
Ryue Nishizawa : Some Ideas on Living
Actions:
Description:
L’architecte japonais Ryue Nishizawa discute de son œuvre et de l’exposition Perspectives de vie à Londres et à Tokyo imaginées par Stephen Taylor et Ryue Nishizawa tenue au CCA en 2008. L’exposition marque la première présentation en Amérique du Nord des projets résidentiels de Taylor et Nishizawa et dévoile les solutions originales qu’ils apportent aux défis de la(...)
Classification:
événements
événements
Date:
14 mai 2008
14 mai 2008
Localisation:
Théâtre Paul-Desmarais
Théâtre Paul-Desmarais
Niveau de description archivistique:
Série(s)
Série(s)
Numéro de référence:
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
Personnes et institutions:
Date:
2004-2006
2004-2006
Titre:
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
Niveau de description archivistique:
Series
Series
Date:
2004-2006
2004-2006
Personnes et institutions:
Classification:
documents textuels
documents textuels
Numéro de référence:
ARCH273342
Description:
Also contains a typsecript titled, "Japanese Art" from the artist Hokusai.
ARCH273342
Description:
Also contains a typsecript titled, "Japanese Art" from the artist Hokusai.
Personnes et institutions:
Date:
ca.1965- ca.1970
ca.1965- ca.1970
Titre:
Newspaper clippings and some magazines (periodicals).
Actions:
ARCH273342
Description:
Also contains a typsecript titled, "Japanese Art" from the artist Hokusai.
Newspaper clippings and some magazines (periodicals).
Actions:
ARCH273342
Description:
Also contains a typsecript titled, "Japanese Art" from the artist Hokusai.
Classification:
documents textuels
documents textuels
Date:
ca.1965- ca.1970
ca.1965- ca.1970
Personnes et institutions:
Classification:
événements
événements
Titre:
Images parlantes
Images parlantes
Actions:
Description:
Sophie Dars et Carlo Menon, Stefano Graziani et Yasufumi Nakamori présentent des stratégies pour réinventer et employer des formats visuels tels le reportage photo, le roman photo et l’exposition de photos. L’événement s’inscrit dans le cadre d’un projet de recherche en cours au CCA portant sur la relation entre architecture et photographie, soutenu par la fondation(...)
Sophie Dars et Carlo Menon, Stefano Graziani et Yasufumi Nakamori présentent des stratégies pour réinventer et employer des formats visuels tels le reportage photo, le roman photo et l’exposition de photos. L’événement s’inscrit dans le cadre d’un projet de recherche en cours au CCA portant sur la relation entre architecture et photographie, soutenu par la fondation(...)
Date:
13 octobre 2016, 18h
13 octobre 2016, 18h
Titre:
Images parlantes
Actions:
Description:
Sophie Dars et Carlo Menon, Stefano Graziani et Yasufumi Nakamori présentent des stratégies pour réinventer et employer des formats visuels tels le reportage photo, le roman photo et l’exposition de photos. L’événement s’inscrit dans le cadre d’un projet de recherche en cours au CCA portant sur la relation entre architecture et photographie, soutenu par la fondation(...)
Images parlantes
Actions:
Description:
Sophie Dars et Carlo Menon, Stefano Graziani et Yasufumi Nakamori présentent des stratégies pour réinventer et employer des formats visuels tels le reportage photo, le roman photo et l’exposition de photos. L’événement s’inscrit dans le cadre d’un projet de recherche en cours au CCA portant sur la relation entre architecture et photographie, soutenu par la fondation(...)
Classification:
événements
événements
Date:
13 octobre 2016
18h
13 octobre 2016
18h
Niveau de description archivistique:
Projet
Projet
Numéro de référence:
AP194.S1.1995.PR01
Description:
Project records consist of records documenting the three phases of the Synthetic Landscape project (1995-2000) as worked on by Johan Bettum and OCEAN North. The project was initially developed and submitted in 1995 for the Membrane Design International Competition held in Japan by the Taiyo Kogyo Corporation. The entry showcases a children’s playscape in the setting of Oslo’s Tøyen Park, joining both its urban surroundings and its natural landscape into a synthetic space. Afterwards, the project was exhibited at the Architecture Association (AA) in London, where Johan Bettum and Kivi Sotamaa met. This eventually led to Bettum and Sotamaa collaborating on projects, along with their respective OCEAN teams in Oslo and Helsinki. The Synthetic Landscape project continued as a research project, with a second phase in 1996 and a third phase which ran from 1997 through 2000 and integrated design methods (particle streaming, Channelling Systems) from the work made on the Töölö and Jyväskylä projects. In the third phase, a pavilion was also added to the setting. Aside from one drawing, all records for this project are in a digital format. Drawings and models from phase 1 show parts or the whole of a shell-like structure. A color scheme seems to be associated to the different components of the structure. A report on phases 1 and 2 discusses the use of synthetic and composite materials for the structure, explaining the concept for the site. Phase 2 textual records include a working plan, site charts and program. Additional drawings and models show an evolution in the shape of the landscape. Most records are related to the third phase of Synthetic Landscape. They are largely drawings and models showing textures and coloured grafts used in the design process, section and surfaces studies, as well as site plans. Other files of the third phase consist of animated renderings of Channelling Systems studies within the Synthetic Landscape topology, saved as Quicktime MOV files. Additionally, the third phase of Synthetic Landscape has files related to the FEM (finite element method) analysis process utilized in the project’s engineering. This particular section includes raster images showing vectorial drawings and data appearing to be surface studies. These were likely created with the software Mathematica. The bulk of textual documentation on the project’s scope and outcomes may be found in AP194.S1.1995.PR01.001 for phases 1 and 2, and in AP194.S1.1995.PR01.005 for phase 3. The latter file also contains documentation related to a grant application to The Research Council of Norway; a proposal for a conference and exhibition at the AA; and administrative records such as budgets, correspondence, invoices, progress reports, meeting agendas and minutes. For all project phases, records related to the design process consist of CAD models saved in a variety of modelling formats (iges, fmz, dgn, 3dm, dxf) as well as raster or vector images (tiff, jpeg, png, eps, pict, etc.). In some cases, only these raster or vector images of the original CAD drawings are present in the archive.
AP194.S1.1995.PR01
Description:
Project records consist of records documenting the three phases of the Synthetic Landscape project (1995-2000) as worked on by Johan Bettum and OCEAN North. The project was initially developed and submitted in 1995 for the Membrane Design International Competition held in Japan by the Taiyo Kogyo Corporation. The entry showcases a children’s playscape in the setting of Oslo’s Tøyen Park, joining both its urban surroundings and its natural landscape into a synthetic space. Afterwards, the project was exhibited at the Architecture Association (AA) in London, where Johan Bettum and Kivi Sotamaa met. This eventually led to Bettum and Sotamaa collaborating on projects, along with their respective OCEAN teams in Oslo and Helsinki. The Synthetic Landscape project continued as a research project, with a second phase in 1996 and a third phase which ran from 1997 through 2000 and integrated design methods (particle streaming, Channelling Systems) from the work made on the Töölö and Jyväskylä projects. In the third phase, a pavilion was also added to the setting. Aside from one drawing, all records for this project are in a digital format. Drawings and models from phase 1 show parts or the whole of a shell-like structure. A color scheme seems to be associated to the different components of the structure. A report on phases 1 and 2 discusses the use of synthetic and composite materials for the structure, explaining the concept for the site. Phase 2 textual records include a working plan, site charts and program. Additional drawings and models show an evolution in the shape of the landscape. Most records are related to the third phase of Synthetic Landscape. They are largely drawings and models showing textures and coloured grafts used in the design process, section and surfaces studies, as well as site plans. Other files of the third phase consist of animated renderings of Channelling Systems studies within the Synthetic Landscape topology, saved as Quicktime MOV files. Additionally, the third phase of Synthetic Landscape has files related to the FEM (finite element method) analysis process utilized in the project’s engineering. This particular section includes raster images showing vectorial drawings and data appearing to be surface studies. These were likely created with the software Mathematica. The bulk of textual documentation on the project’s scope and outcomes may be found in AP194.S1.1995.PR01.001 for phases 1 and 2, and in AP194.S1.1995.PR01.005 for phase 3. The latter file also contains documentation related to a grant application to The Research Council of Norway; a proposal for a conference and exhibition at the AA; and administrative records such as budgets, correspondence, invoices, progress reports, meeting agendas and minutes. For all project phases, records related to the design process consist of CAD models saved in a variety of modelling formats (iges, fmz, dgn, 3dm, dxf) as well as raster or vector images (tiff, jpeg, png, eps, pict, etc.). In some cases, only these raster or vector images of the original CAD drawings are present in the archive.
Personnes et institutions:
Date:
1995-2000
1995-2000
Titre:
Synthetic Landscape research project, Oslo, Norway (1995-2000)
Actions:
AP194.S1.1995.PR01
Description:
Project records consist of records documenting the three phases of the Synthetic Landscape project (1995-2000) as worked on by Johan Bettum and OCEAN North. The project was initially developed and submitted in 1995 for the Membrane Design International Competition held in Japan by the Taiyo Kogyo Corporation. The entry showcases a children’s playscape in the setting of Oslo’s Tøyen Park, joining both its urban surroundings and its natural landscape into a synthetic space. Afterwards, the project was exhibited at the Architecture Association (AA) in London, where Johan Bettum and Kivi Sotamaa met. This eventually led to Bettum and Sotamaa collaborating on projects, along with their respective OCEAN teams in Oslo and Helsinki. The Synthetic Landscape project continued as a research project, with a second phase in 1996 and a third phase which ran from 1997 through 2000 and integrated design methods (particle streaming, Channelling Systems) from the work made on the Töölö and Jyväskylä projects. In the third phase, a pavilion was also added to the setting. Aside from one drawing, all records for this project are in a digital format. Drawings and models from phase 1 show parts or the whole of a shell-like structure. A color scheme seems to be associated to the different components of the structure. A report on phases 1 and 2 discusses the use of synthetic and composite materials for the structure, explaining the concept for the site. Phase 2 textual records include a working plan, site charts and program. Additional drawings and models show an evolution in the shape of the landscape. Most records are related to the third phase of Synthetic Landscape. They are largely drawings and models showing textures and coloured grafts used in the design process, section and surfaces studies, as well as site plans. Other files of the third phase consist of animated renderings of Channelling Systems studies within the Synthetic Landscape topology, saved as Quicktime MOV files. Additionally, the third phase of Synthetic Landscape has files related to the FEM (finite element method) analysis process utilized in the project’s engineering. This particular section includes raster images showing vectorial drawings and data appearing to be surface studies. These were likely created with the software Mathematica. The bulk of textual documentation on the project’s scope and outcomes may be found in AP194.S1.1995.PR01.001 for phases 1 and 2, and in AP194.S1.1995.PR01.005 for phase 3. The latter file also contains documentation related to a grant application to The Research Council of Norway; a proposal for a conference and exhibition at the AA; and administrative records such as budgets, correspondence, invoices, progress reports, meeting agendas and minutes. For all project phases, records related to the design process consist of CAD models saved in a variety of modelling formats (iges, fmz, dgn, 3dm, dxf) as well as raster or vector images (tiff, jpeg, png, eps, pict, etc.). In some cases, only these raster or vector images of the original CAD drawings are present in the archive.
Synthetic Landscape research project, Oslo, Norway (1995-2000)
Actions:
AP194.S1.1995.PR01
Description:
Project records consist of records documenting the three phases of the Synthetic Landscape project (1995-2000) as worked on by Johan Bettum and OCEAN North. The project was initially developed and submitted in 1995 for the Membrane Design International Competition held in Japan by the Taiyo Kogyo Corporation. The entry showcases a children’s playscape in the setting of Oslo’s Tøyen Park, joining both its urban surroundings and its natural landscape into a synthetic space. Afterwards, the project was exhibited at the Architecture Association (AA) in London, where Johan Bettum and Kivi Sotamaa met. This eventually led to Bettum and Sotamaa collaborating on projects, along with their respective OCEAN teams in Oslo and Helsinki. The Synthetic Landscape project continued as a research project, with a second phase in 1996 and a third phase which ran from 1997 through 2000 and integrated design methods (particle streaming, Channelling Systems) from the work made on the Töölö and Jyväskylä projects. In the third phase, a pavilion was also added to the setting. Aside from one drawing, all records for this project are in a digital format. Drawings and models from phase 1 show parts or the whole of a shell-like structure. A color scheme seems to be associated to the different components of the structure. A report on phases 1 and 2 discusses the use of synthetic and composite materials for the structure, explaining the concept for the site. Phase 2 textual records include a working plan, site charts and program. Additional drawings and models show an evolution in the shape of the landscape. Most records are related to the third phase of Synthetic Landscape. They are largely drawings and models showing textures and coloured grafts used in the design process, section and surfaces studies, as well as site plans. Other files of the third phase consist of animated renderings of Channelling Systems studies within the Synthetic Landscape topology, saved as Quicktime MOV files. Additionally, the third phase of Synthetic Landscape has files related to the FEM (finite element method) analysis process utilized in the project’s engineering. This particular section includes raster images showing vectorial drawings and data appearing to be surface studies. These were likely created with the software Mathematica. The bulk of textual documentation on the project’s scope and outcomes may be found in AP194.S1.1995.PR01.001 for phases 1 and 2, and in AP194.S1.1995.PR01.005 for phase 3. The latter file also contains documentation related to a grant application to The Research Council of Norway; a proposal for a conference and exhibition at the AA; and administrative records such as budgets, correspondence, invoices, progress reports, meeting agendas and minutes. For all project phases, records related to the design process consist of CAD models saved in a variety of modelling formats (iges, fmz, dgn, 3dm, dxf) as well as raster or vector images (tiff, jpeg, png, eps, pict, etc.). In some cases, only these raster or vector images of the original CAD drawings are present in the archive.
Niveau de description archivistique:
Project
Project
Date:
1995-2000
1995-2000
Personnes et institutions:
