5737 Résultats
Classification:
photographies
Quantité:
6 photographic material(s)
photographies
Quantité:
6 photographic material(s)
Numéro de référence:
ARCH267248
Description:
This group consists of photographs of the model and site plans for the riverfront planning project in Longueuil, Québec. There is also a photograph of an etching that represents a scene on the St. Lawrence River and a map of the occupied territory in the area of Longueuil and Montréal.
ARCH267248
Description:
This group consists of photographs of the model and site plans for the riverfront planning project in Longueuil, Québec. There is also a photograph of an etching that represents a scene on the St. Lawrence River and a map of the occupied territory in the area of Longueuil and Montréal.
Personnes et institutions:
Titre:
Photographs of the model and site plans for the riverfront planning project in Longueuil
Actions:
ARCH267248
Description:
This group consists of photographs of the model and site plans for the riverfront planning project in Longueuil, Québec. There is also a photograph of an etching that represents a scene on the St. Lawrence River and a map of the occupied territory in the area of Longueuil and Montréal.
Photographs of the model and site plans for the riverfront planning project in Longueuil
Actions:
ARCH267248
Description:
This group consists of photographs of the model and site plans for the riverfront planning project in Longueuil, Québec. There is also a photograph of an etching that represents a scene on the St. Lawrence River and a map of the occupied territory in the area of Longueuil and Montréal.
Classification:
photographies
Quantité:
6 photographic material(s)
photographies
Quantité:
6 photographic material(s)
Personnes et institutions:
Classification:
dessins, documents textuels
dessins, documents textuels
Numéro de référence:
DR1988:0022:001-010
Description:
Part of a miscellaneous group of visual and textual documents collected by Oswald Mathias Ungers, apparently to represent the work of artists/architects in Die gläserne Kette. This group includes theoretical texts and illustrations from Die gläserne Kette, as well as other correspondence. Most of the works are mimeographs.
DR1988:0022:001-010
Description:
Part of a miscellaneous group of visual and textual documents collected by Oswald Mathias Ungers, apparently to represent the work of artists/architects in Die gläserne Kette. This group includes theoretical texts and illustrations from Die gläserne Kette, as well as other correspondence. Most of the works are mimeographs.
Personnes et institutions:
Date:
1919-1920
1919-1920
Titre:
Material from Hermann Finsterlin mostly for Die gläserne Kette
Actions:
DR1988:0022:001-010
Description:
Part of a miscellaneous group of visual and textual documents collected by Oswald Mathias Ungers, apparently to represent the work of artists/architects in Die gläserne Kette. This group includes theoretical texts and illustrations from Die gläserne Kette, as well as other correspondence. Most of the works are mimeographs.
Material from Hermann Finsterlin mostly for Die gläserne Kette
Actions:
DR1988:0022:001-010
Description:
Part of a miscellaneous group of visual and textual documents collected by Oswald Mathias Ungers, apparently to represent the work of artists/architects in Die gläserne Kette. This group includes theoretical texts and illustrations from Die gläserne Kette, as well as other correspondence. Most of the works are mimeographs.
Classification:
dessins, documents textuels
dessins, documents textuels
Date:
1919-1920
1919-1920
Personnes et institutions:
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:
expositions
expositions
Actions:
Description:
À partir du travail d’architectes de renommée internationale, cetteexposition démontre la présence d’idées utopiques modernes qui auraient été rejetées au tournant de l’ère postmoderne. Selon Reinhold Martin, commissaire principal de l’exposition, presque toute la production architecturale des cinquante dernières années a été hantée par le « revenant » de l’utopie(...)
À partir du travail d’architectes de renommée internationale, cetteexposition démontre la présence d’idées utopiques modernes qui auraient été rejetées au tournant de l’ère postmoderne. Selon Reinhold Martin, commissaire principal de l’exposition, presque toute la production architecturale des cinquante dernières années a été hantée par le « revenant » de l’utopie(...)
Localisation:
Salle octogonale
Salle octogonale
Date:
28 février 2008 au 25 mai 2008
28 février 2008 au 25 mai 2008
Titre:
Le revenant de l'utopie: Le postmodernisme revisité
Actions:
Description:
À partir du travail d’architectes de renommée internationale, cetteexposition démontre la présence d’idées utopiques modernes qui auraient été rejetées au tournant de l’ère postmoderne. Selon Reinhold Martin, commissaire principal de l’exposition, presque toute la production architecturale des cinquante dernières années a été hantée par le « revenant » de l’utopie(...)
Le revenant de l'utopie: Le postmodernisme revisité
Actions:
Description:
À partir du travail d’architectes de renommée internationale, cetteexposition démontre la présence d’idées utopiques modernes qui auraient été rejetées au tournant de l’ère postmoderne. Selon Reinhold Martin, commissaire principal de l’exposition, presque toute la production architecturale des cinquante dernières années a été hantée par le « revenant » de l’utopie(...)
Classification:
expositions
expositions
Date:
28 février 2008 au
25 mai 2008
28 février 2008 au
25 mai 2008
Localisation:
Salle octogonale
Salle octogonale
Classification:
dessins
dessins
Numéro de référence:
ARCH286670
Description:
This item contains harmful materials including violent and racist imagery. The drawing illustrates an installation involving a crane on which a net filled with mannequins is suspended; the mannequins are painted black, in the words of the designers, to represent the impacts of oil spills on the global population. This image, however, suggests violence beyond environmental disasters.
ARCH286670
Description:
This item contains harmful materials including violent and racist imagery. The drawing illustrates an installation involving a crane on which a net filled with mannequins is suspended; the mannequins are painted black, in the words of the designers, to represent the impacts of oil spills on the global population. This image, however, suggests violence beyond environmental disasters.
Personnes et institutions:
Date:
circa 1999-2000
circa 1999-2000
Titre:
Drawing for an installation for the exhibition on James Wines at the Venice Biennale
Actions:
ARCH286670
Description:
This item contains harmful materials including violent and racist imagery. The drawing illustrates an installation involving a crane on which a net filled with mannequins is suspended; the mannequins are painted black, in the words of the designers, to represent the impacts of oil spills on the global population. This image, however, suggests violence beyond environmental disasters.
Drawing for an installation for the exhibition on James Wines at the Venice Biennale
Actions:
ARCH286670
Description:
This item contains harmful materials including violent and racist imagery. The drawing illustrates an installation involving a crane on which a net filled with mannequins is suspended; the mannequins are painted black, in the words of the designers, to represent the impacts of oil spills on the global population. This image, however, suggests violence beyond environmental disasters.
Classification:
dessins
dessins
Date:
circa 1999-2000
circa 1999-2000
Personnes et institutions:
Classification:
événements
événements
Description:
Mabel O. Wilson et Jordan Carver présentent le projet de plaidoyer en cours intitulé « Who Builds Your Architecture ? » (WBYA?), qui demande aux architectes et aux professionnels des disciplines associées de mieux comprendre comment la production de bâtiments lie leurs pratiques aux travailleurs migrants de la construction qui construisent leur design. WBYA?, un groupe de(...)
Mabel O. Wilson et Jordan Carver présentent le projet de plaidoyer en cours intitulé « Who Builds Your Architecture ? » (WBYA?), qui demande aux architectes et aux professionnels des disciplines associées de mieux comprendre comment la production de bâtiments lie leurs pratiques aux travailleurs migrants de la construction qui construisent leur design. WBYA?, un groupe de(...)
Date:
28 janvier 2016
28 janvier 2016
Titre:
Pratiquer le plaidoyer : Who Builds Your Architecture?
Actions:
Description:
Mabel O. Wilson et Jordan Carver présentent le projet de plaidoyer en cours intitulé « Who Builds Your Architecture ? » (WBYA?), qui demande aux architectes et aux professionnels des disciplines associées de mieux comprendre comment la production de bâtiments lie leurs pratiques aux travailleurs migrants de la construction qui construisent leur design. WBYA?, un groupe de(...)
Pratiquer le plaidoyer : Who Builds Your Architecture?
Actions:
Description:
Mabel O. Wilson et Jordan Carver présentent le projet de plaidoyer en cours intitulé « Who Builds Your Architecture ? » (WBYA?), qui demande aux architectes et aux professionnels des disciplines associées de mieux comprendre comment la production de bâtiments lie leurs pratiques aux travailleurs migrants de la construction qui construisent leur design. WBYA?, un groupe de(...)
Classification:
événements
événements
Date:
28 janvier 2016
28 janvier 2016
Classification:
photographies
photographies
Titre:
Nîmes. Fontaine
Nîmes. Fontaine
Actions:
Numéro de référence:
PH1986:0054:022
Description:
This fountain was designed by Questel, architect and sculpted by Pradier. The figures represent the rivers Gardon (Vardo), Eure (Vra) Rhône (Rhonadvs) and the Gallo-Roman city Némausa (Nemavsa). It was inaugurated on 1st of June, 1851 on the Esplanade de Nîmes. (Pieyre, Adolphe, Extrait de la Revue du Midi, 1er novembre 1899, http://www.nimausensis.com/Nimes/FontPradPieyre.htm)
PH1986:0054:022
Description:
This fountain was designed by Questel, architect and sculpted by Pradier. The figures represent the rivers Gardon (Vardo), Eure (Vra) Rhône (Rhonadvs) and the Gallo-Roman city Némausa (Nemavsa). It was inaugurated on 1st of June, 1851 on the Esplanade de Nîmes. (Pieyre, Adolphe, Extrait de la Revue du Midi, 1er novembre 1899, http://www.nimausensis.com/Nimes/FontPradPieyre.htm)
Personnes et institutions:
Sujet:
architecture, sculpture
architecture, sculpture
Date:
ca. 1861
ca. 1861
Titre:
Nîmes. Fontaine
Actions:
PH1986:0054:022
Description:
This fountain was designed by Questel, architect and sculpted by Pradier. The figures represent the rivers Gardon (Vardo), Eure (Vra) Rhône (Rhonadvs) and the Gallo-Roman city Némausa (Nemavsa). It was inaugurated on 1st of June, 1851 on the Esplanade de Nîmes. (Pieyre, Adolphe, Extrait de la Revue du Midi, 1er novembre 1899, http://www.nimausensis.com/Nimes/FontPradPieyre.htm)
Nîmes. Fontaine
Actions:
PH1986:0054:022
Description:
This fountain was designed by Questel, architect and sculpted by Pradier. The figures represent the rivers Gardon (Vardo), Eure (Vra) Rhône (Rhonadvs) and the Gallo-Roman city Némausa (Nemavsa). It was inaugurated on 1st of June, 1851 on the Esplanade de Nîmes. (Pieyre, Adolphe, Extrait de la Revue du Midi, 1er novembre 1899, http://www.nimausensis.com/Nimes/FontPradPieyre.htm)
Classification:
photographies
photographies
Date:
ca. 1861
ca. 1861
Personnes et institutions:
Sujet:
architecture, sculpture
architecture, sculpture
Niveau de description archivistique:
Projet
Projet
Numéro de référence:
AP207.S1.1989.PR02
Description:
The project series documents "Mappe Recinti Itinerari Territori", a rug made of eleven small tapestries hand-woven together. Pettena designed this rug for a special production for "Megalopoli" in 1989. Each of the tapestries represent four subjects: itineraries, territories, maps and enclosures. These subjects "are the means required for the definition of space inside or outside those “magic circles” that are the walls of a city, the beginning of a construction, as the rituals that are performed inside any enclosure take on a unique quality and role, different from whatever lies beyond this boundary." [1] The project series contains a reference photograph and photo montages of the eleven small tapestries forming the rug. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/design-itineraries-territories-1989/ (last accessed 11 December 2019).
AP207.S1.1989.PR02
Description:
The project series documents "Mappe Recinti Itinerari Territori", a rug made of eleven small tapestries hand-woven together. Pettena designed this rug for a special production for "Megalopoli" in 1989. Each of the tapestries represent four subjects: itineraries, territories, maps and enclosures. These subjects "are the means required for the definition of space inside or outside those “magic circles” that are the walls of a city, the beginning of a construction, as the rituals that are performed inside any enclosure take on a unique quality and role, different from whatever lies beyond this boundary." [1] The project series contains a reference photograph and photo montages of the eleven small tapestries forming the rug. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/design-itineraries-territories-1989/ (last accessed 11 December 2019).
Personnes et institutions:
Date:
circa 1989-2015
circa 1989-2015
Titre:
Mappe Recinti Itinerari Territori [Itineraires Territoires Maps Enclosures] (1989)
Actions:
AP207.S1.1989.PR02
Description:
The project series documents "Mappe Recinti Itinerari Territori", a rug made of eleven small tapestries hand-woven together. Pettena designed this rug for a special production for "Megalopoli" in 1989. Each of the tapestries represent four subjects: itineraries, territories, maps and enclosures. These subjects "are the means required for the definition of space inside or outside those “magic circles” that are the walls of a city, the beginning of a construction, as the rituals that are performed inside any enclosure take on a unique quality and role, different from whatever lies beyond this boundary." [1] The project series contains a reference photograph and photo montages of the eleven small tapestries forming the rug. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/design-itineraries-territories-1989/ (last accessed 11 December 2019).
Mappe Recinti Itinerari Territori [Itineraires Territoires Maps Enclosures] (1989)
Actions:
AP207.S1.1989.PR02
Description:
The project series documents "Mappe Recinti Itinerari Territori", a rug made of eleven small tapestries hand-woven together. Pettena designed this rug for a special production for "Megalopoli" in 1989. Each of the tapestries represent four subjects: itineraries, territories, maps and enclosures. These subjects "are the means required for the definition of space inside or outside those “magic circles” that are the walls of a city, the beginning of a construction, as the rituals that are performed inside any enclosure take on a unique quality and role, different from whatever lies beyond this boundary." [1] The project series contains a reference photograph and photo montages of the eleven small tapestries forming the rug. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/design-itineraries-territories-1989/ (last accessed 11 December 2019).
Niveau de description archivistique:
Project
Project
Date:
circa 1989-2015
circa 1989-2015
Personnes et institutions:
Niveau de description archivistique:
Projet
Projet
Titre:
Dreaming Architecture (2016)
Dreaming Architecture (2016)
Numéro de référence:
AP207.S1.2016.PR01
Description:
The project series documents "Dreaming Architecture", a digitally created performance by Pettena in 2016. The performance consists of a photograph of a long baroque art gallery. Added to the photograph is an image of Pettena seated with legs crossed draped in a robe. Pettena appears to be floating in the middle of room. The project is a reference to "Il Mestiere Dell'Architetto" (2002) that represents the difficulties and possible impasses in architecture. However here "the symbolic interpretation of architecture is here ideally transformed by overcoming, in the dream, the difficulties and restrictions of choices and paths, as well as the risks of mistakes and downfalls." [1] The project series contains a photograph of the performance. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/perf-dreaming-architecture-2016-1/ (last accessed 28 January 2020)
AP207.S1.2016.PR01
Description:
The project series documents "Dreaming Architecture", a digitally created performance by Pettena in 2016. The performance consists of a photograph of a long baroque art gallery. Added to the photograph is an image of Pettena seated with legs crossed draped in a robe. Pettena appears to be floating in the middle of room. The project is a reference to "Il Mestiere Dell'Architetto" (2002) that represents the difficulties and possible impasses in architecture. However here "the symbolic interpretation of architecture is here ideally transformed by overcoming, in the dream, the difficulties and restrictions of choices and paths, as well as the risks of mistakes and downfalls." [1] The project series contains a photograph of the performance. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/perf-dreaming-architecture-2016-1/ (last accessed 28 January 2020)
Personnes et institutions:
Date:
circa 2016
circa 2016
Titre:
Dreaming Architecture (2016)
Actions:
AP207.S1.2016.PR01
Description:
The project series documents "Dreaming Architecture", a digitally created performance by Pettena in 2016. The performance consists of a photograph of a long baroque art gallery. Added to the photograph is an image of Pettena seated with legs crossed draped in a robe. Pettena appears to be floating in the middle of room. The project is a reference to "Il Mestiere Dell'Architetto" (2002) that represents the difficulties and possible impasses in architecture. However here "the symbolic interpretation of architecture is here ideally transformed by overcoming, in the dream, the difficulties and restrictions of choices and paths, as well as the risks of mistakes and downfalls." [1] The project series contains a photograph of the performance. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/perf-dreaming-architecture-2016-1/ (last accessed 28 January 2020)
Dreaming Architecture (2016)
Actions:
AP207.S1.2016.PR01
Description:
The project series documents "Dreaming Architecture", a digitally created performance by Pettena in 2016. The performance consists of a photograph of a long baroque art gallery. Added to the photograph is an image of Pettena seated with legs crossed draped in a robe. Pettena appears to be floating in the middle of room. The project is a reference to "Il Mestiere Dell'Architetto" (2002) that represents the difficulties and possible impasses in architecture. However here "the symbolic interpretation of architecture is here ideally transformed by overcoming, in the dream, the difficulties and restrictions of choices and paths, as well as the risks of mistakes and downfalls." [1] The project series contains a photograph of the performance. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/perf-dreaming-architecture-2016-1/ (last accessed 28 January 2020)
Niveau de description archivistique:
Project
Project
Date:
circa 2016
circa 2016
Personnes et institutions:
Niveau de description archivistique:
Série(s)
Série(s)
Numéro de référence:
AP027.S1
Description:
The abbreviation "n.c.", which represents "no client", occasionally appears in the project descriptions. This indicates that the client is unknown for that particular project or that the project was initiated by Van Ginkel Associates. Throughout its practice, Van Ginkel Associates devoted much of its time to research and design projects that were generated and paid for by the firm itself. Several of these projects were initiated by members of the staff. Project drawings, because of the multi-disciplinary nature of the firm's work and the scale of some of its commissions, differ greatly in extent, content, format, and size. The drawings therefore have been kept in their original groupings. The original titles assigned to the material by the creators while stored in tubes was transferred to their present folders.
AP027.S1
Description:
The abbreviation "n.c.", which represents "no client", occasionally appears in the project descriptions. This indicates that the client is unknown for that particular project or that the project was initiated by Van Ginkel Associates. Throughout its practice, Van Ginkel Associates devoted much of its time to research and design projects that were generated and paid for by the firm itself. Several of these projects were initiated by members of the staff. Project drawings, because of the multi-disciplinary nature of the firm's work and the scale of some of its commissions, differ greatly in extent, content, format, and size. The drawings therefore have been kept in their original groupings. The original titles assigned to the material by the creators while stored in tubes was transferred to their present folders.
Personnes et institutions:
Date:
1957-1991
1957-1991
Titre:
Project and Proposal Documentation
Actions:
AP027.S1
Description:
The abbreviation "n.c.", which represents "no client", occasionally appears in the project descriptions. This indicates that the client is unknown for that particular project or that the project was initiated by Van Ginkel Associates. Throughout its practice, Van Ginkel Associates devoted much of its time to research and design projects that were generated and paid for by the firm itself. Several of these projects were initiated by members of the staff. Project drawings, because of the multi-disciplinary nature of the firm's work and the scale of some of its commissions, differ greatly in extent, content, format, and size. The drawings therefore have been kept in their original groupings. The original titles assigned to the material by the creators while stored in tubes was transferred to their present folders.
Project and Proposal Documentation
Actions:
AP027.S1
Description:
The abbreviation "n.c.", which represents "no client", occasionally appears in the project descriptions. This indicates that the client is unknown for that particular project or that the project was initiated by Van Ginkel Associates. Throughout its practice, Van Ginkel Associates devoted much of its time to research and design projects that were generated and paid for by the firm itself. Several of these projects were initiated by members of the staff. Project drawings, because of the multi-disciplinary nature of the firm's work and the scale of some of its commissions, differ greatly in extent, content, format, and size. The drawings therefore have been kept in their original groupings. The original titles assigned to the material by the creators while stored in tubes was transferred to their present folders.
Niveau de description archivistique:
Series
Series
Date:
1957-1991
1957-1991
Personnes et institutions:
