33360 Résultats
Niveau de description archivistique:
Projet
Projet
Numéro de référence:
AP001.S6.1924.PR04
Description:
La construction de l’Université de Montréal s’est effectuée sur plusieurs années. Cormier est architecte en chef entre 1924 et 1947 et agit à titre d’architecte-conseil et d’ingénieur-conseil entre 1950 et 1961. Il semblait inévitable de diviser le cadre de classement en deux phases pour bien distinguer le rôle et l’implication de Cormier qui diffère durant ces deux périodes. La présence de deux plans d’ensembles très différents proposés en 1931 et 1961 appuie cette décision. Cette première phase s’étend sur une aussi longue période puisque le processus de construction a été parsemé de problèmes logistiques et financiers. Dès le début des travaux, le sol cause des problèmes lors de l’excavation et engendre des coûts supplémentaires en plus de retarder le processus. Avec la crise financière qui frappe en 1929, les travaux sont progressivement stoppés. De plus, les conditions météorologiques vont endommager une partie de la toiture et de la maçonnerie qui avait déjà été entamée, ce qui vient encore une fois engendrer des coûts additionnels. Suite au contexte économique particulier, l’administration de l’UdeM demande l’aide financière du gouvernement provincial pour protéger ce qui avait déjà été construit du pavillon principal. Le bâtiment sera finalement repris en 1943 et inauguré en 1947. Suite aux nombreux problèmes qui parsèmeront la première phase, le plan initial proposé par Cormier qui comprenait un stade, un aréna et la maison des animaux, sera abandonné au détriment du pavillon principal. Les projets non-réalisés sont tout de même documenté dans leurs sous-séries respectives. Il est important de prendre note que les plans produits par Cormier concernant les ailes du pavillon principal qui allaient servir de Centre Hospitalier ne seront jamais réalisés. Différents départements vont plutôt occuper l’espace.
AP001.S6.1924.PR04
Description:
La construction de l’Université de Montréal s’est effectuée sur plusieurs années. Cormier est architecte en chef entre 1924 et 1947 et agit à titre d’architecte-conseil et d’ingénieur-conseil entre 1950 et 1961. Il semblait inévitable de diviser le cadre de classement en deux phases pour bien distinguer le rôle et l’implication de Cormier qui diffère durant ces deux périodes. La présence de deux plans d’ensembles très différents proposés en 1931 et 1961 appuie cette décision. Cette première phase s’étend sur une aussi longue période puisque le processus de construction a été parsemé de problèmes logistiques et financiers. Dès le début des travaux, le sol cause des problèmes lors de l’excavation et engendre des coûts supplémentaires en plus de retarder le processus. Avec la crise financière qui frappe en 1929, les travaux sont progressivement stoppés. De plus, les conditions météorologiques vont endommager une partie de la toiture et de la maçonnerie qui avait déjà été entamée, ce qui vient encore une fois engendrer des coûts additionnels. Suite au contexte économique particulier, l’administration de l’UdeM demande l’aide financière du gouvernement provincial pour protéger ce qui avait déjà été construit du pavillon principal. Le bâtiment sera finalement repris en 1943 et inauguré en 1947. Suite aux nombreux problèmes qui parsèmeront la première phase, le plan initial proposé par Cormier qui comprenait un stade, un aréna et la maison des animaux, sera abandonné au détriment du pavillon principal. Les projets non-réalisés sont tout de même documenté dans leurs sous-séries respectives. Il est important de prendre note que les plans produits par Cormier concernant les ailes du pavillon principal qui allaient servir de Centre Hospitalier ne seront jamais réalisés. Différents départements vont plutôt occuper l’espace.
Personnes et institutions:
Date:
1924-1947
1924-1947
Titre:
Université de Montréal - Phase 1
Actions:
AP001.S6.1924.PR04
Description:
La construction de l’Université de Montréal s’est effectuée sur plusieurs années. Cormier est architecte en chef entre 1924 et 1947 et agit à titre d’architecte-conseil et d’ingénieur-conseil entre 1950 et 1961. Il semblait inévitable de diviser le cadre de classement en deux phases pour bien distinguer le rôle et l’implication de Cormier qui diffère durant ces deux périodes. La présence de deux plans d’ensembles très différents proposés en 1931 et 1961 appuie cette décision. Cette première phase s’étend sur une aussi longue période puisque le processus de construction a été parsemé de problèmes logistiques et financiers. Dès le début des travaux, le sol cause des problèmes lors de l’excavation et engendre des coûts supplémentaires en plus de retarder le processus. Avec la crise financière qui frappe en 1929, les travaux sont progressivement stoppés. De plus, les conditions météorologiques vont endommager une partie de la toiture et de la maçonnerie qui avait déjà été entamée, ce qui vient encore une fois engendrer des coûts additionnels. Suite au contexte économique particulier, l’administration de l’UdeM demande l’aide financière du gouvernement provincial pour protéger ce qui avait déjà été construit du pavillon principal. Le bâtiment sera finalement repris en 1943 et inauguré en 1947. Suite aux nombreux problèmes qui parsèmeront la première phase, le plan initial proposé par Cormier qui comprenait un stade, un aréna et la maison des animaux, sera abandonné au détriment du pavillon principal. Les projets non-réalisés sont tout de même documenté dans leurs sous-séries respectives. Il est important de prendre note que les plans produits par Cormier concernant les ailes du pavillon principal qui allaient servir de Centre Hospitalier ne seront jamais réalisés. Différents départements vont plutôt occuper l’espace.
Université de Montréal - Phase 1
Actions:
AP001.S6.1924.PR04
Description:
La construction de l’Université de Montréal s’est effectuée sur plusieurs années. Cormier est architecte en chef entre 1924 et 1947 et agit à titre d’architecte-conseil et d’ingénieur-conseil entre 1950 et 1961. Il semblait inévitable de diviser le cadre de classement en deux phases pour bien distinguer le rôle et l’implication de Cormier qui diffère durant ces deux périodes. La présence de deux plans d’ensembles très différents proposés en 1931 et 1961 appuie cette décision. Cette première phase s’étend sur une aussi longue période puisque le processus de construction a été parsemé de problèmes logistiques et financiers. Dès le début des travaux, le sol cause des problèmes lors de l’excavation et engendre des coûts supplémentaires en plus de retarder le processus. Avec la crise financière qui frappe en 1929, les travaux sont progressivement stoppés. De plus, les conditions météorologiques vont endommager une partie de la toiture et de la maçonnerie qui avait déjà été entamée, ce qui vient encore une fois engendrer des coûts additionnels. Suite au contexte économique particulier, l’administration de l’UdeM demande l’aide financière du gouvernement provincial pour protéger ce qui avait déjà été construit du pavillon principal. Le bâtiment sera finalement repris en 1943 et inauguré en 1947. Suite aux nombreux problèmes qui parsèmeront la première phase, le plan initial proposé par Cormier qui comprenait un stade, un aréna et la maison des animaux, sera abandonné au détriment du pavillon principal. Les projets non-réalisés sont tout de même documenté dans leurs sous-séries respectives. Il est important de prendre note que les plans produits par Cormier concernant les ailes du pavillon principal qui allaient servir de Centre Hospitalier ne seront jamais réalisés. Différents départements vont plutôt occuper l’espace.
Niveau de description archivistique:
Project
Project
Date:
1924-1947
1924-1947
Personnes et institutions:
Niveau de description archivistique:
Série(s)
Série(s)
Numéro de référence:
CD046.S1
Description:
The five diverse pamphlets and publications primarily document certain architecturally-related events during Vancouver's explosive growth through the 1950s. Included are a fund-raising campaign brochure for the expansion of the Vancouver Art Gallery, 1949-1951, and an invitation to the inauguration of the Frederick Lasserre Architecture and Fine Arts Building at the University of British Columbia (UBC). The building was constructed by architects Thompson, Berwick, Pratt in 1957-1958, but officially opened in 1962 after the death of Lasserre (1911-1961), UBC's first director of the school of architecture. The series also includes "Project '58", a relatively rare privately-printed pamphlet given to Rhodri Windsor-Liscombe by architect Geoffrey Massey. Written by Wells Coates, with Massey, Arthur Erickson, Peter Oberlander, and E.J. Watkins, the illustrated proposal recommended the creation of a local urban-design centre in 1958 to forestall the rise of private development through the implimentation of a master plan strategy for Vancouver. Material in this series was produced between 1946 and 1962. Series contains a pamphlet, invitation brochures and publications.
CD046.S1
Description:
The five diverse pamphlets and publications primarily document certain architecturally-related events during Vancouver's explosive growth through the 1950s. Included are a fund-raising campaign brochure for the expansion of the Vancouver Art Gallery, 1949-1951, and an invitation to the inauguration of the Frederick Lasserre Architecture and Fine Arts Building at the University of British Columbia (UBC). The building was constructed by architects Thompson, Berwick, Pratt in 1957-1958, but officially opened in 1962 after the death of Lasserre (1911-1961), UBC's first director of the school of architecture. The series also includes "Project '58", a relatively rare privately-printed pamphlet given to Rhodri Windsor-Liscombe by architect Geoffrey Massey. Written by Wells Coates, with Massey, Arthur Erickson, Peter Oberlander, and E.J. Watkins, the illustrated proposal recommended the creation of a local urban-design centre in 1958 to forestall the rise of private development through the implimentation of a master plan strategy for Vancouver. Material in this series was produced between 1946 and 1962. Series contains a pamphlet, invitation brochures and publications.
Personnes et institutions:
Date:
1946-1962
1946-1962
Titre:
Civic and Cultural Publications
Actions:
CD046.S1
Description:
The five diverse pamphlets and publications primarily document certain architecturally-related events during Vancouver's explosive growth through the 1950s. Included are a fund-raising campaign brochure for the expansion of the Vancouver Art Gallery, 1949-1951, and an invitation to the inauguration of the Frederick Lasserre Architecture and Fine Arts Building at the University of British Columbia (UBC). The building was constructed by architects Thompson, Berwick, Pratt in 1957-1958, but officially opened in 1962 after the death of Lasserre (1911-1961), UBC's first director of the school of architecture. The series also includes "Project '58", a relatively rare privately-printed pamphlet given to Rhodri Windsor-Liscombe by architect Geoffrey Massey. Written by Wells Coates, with Massey, Arthur Erickson, Peter Oberlander, and E.J. Watkins, the illustrated proposal recommended the creation of a local urban-design centre in 1958 to forestall the rise of private development through the implimentation of a master plan strategy for Vancouver. Material in this series was produced between 1946 and 1962. Series contains a pamphlet, invitation brochures and publications.
Civic and Cultural Publications
Actions:
CD046.S1
Description:
The five diverse pamphlets and publications primarily document certain architecturally-related events during Vancouver's explosive growth through the 1950s. Included are a fund-raising campaign brochure for the expansion of the Vancouver Art Gallery, 1949-1951, and an invitation to the inauguration of the Frederick Lasserre Architecture and Fine Arts Building at the University of British Columbia (UBC). The building was constructed by architects Thompson, Berwick, Pratt in 1957-1958, but officially opened in 1962 after the death of Lasserre (1911-1961), UBC's first director of the school of architecture. The series also includes "Project '58", a relatively rare privately-printed pamphlet given to Rhodri Windsor-Liscombe by architect Geoffrey Massey. Written by Wells Coates, with Massey, Arthur Erickson, Peter Oberlander, and E.J. Watkins, the illustrated proposal recommended the creation of a local urban-design centre in 1958 to forestall the rise of private development through the implimentation of a master plan strategy for Vancouver. Material in this series was produced between 1946 and 1962. Series contains a pamphlet, invitation brochures and publications.
Niveau de description archivistique:
Series
Series
Date:
1946-1962
1946-1962
Personnes et institutions:
Niveau de description archivistique:
Sous-série
Sous-série
Titre:
Maison de Verre (1965, 1969)
Maison de Verre (1965, 1969)
Numéro de référence:
AP197.S1.SS1
Description:
Located on 31 Rue St Guillaume in Paris, France, Maison de Verre was designed between 1928 and 1931 by furniture designer and architect Pierre Chareau, architect Bernard Bijvoet, and metal craftsman Louis Dalbet. Although the home was built, no original drawings exist for this project. In 1965, as Hodder Fellow at Princeton University, Kenneth Frampton along with Robert Vickery and Michael Carapetian measured the home and its details. Originally, their intention was that this research lead to a book project, but they later published their work as an article entitled "Maison de Verre" in a 1969 issue of Perspecta. This subseries includes measurement sketches and sixteen axonometric representations on vellum that were produced from this research. Photographs document Maison de Verre and provide various interior and exterior views of the house. Photographs by Michael Carapetian, published in the Perspecta article, “Maison de Verre (1969),” are also included in this subseries. Textual documentation includes drafts of the publication on Maison de Verre, as well as notes, correspondence, and various research files on Paul Nelson, Pierre Chareau, and Maison de Verre.
AP197.S1.SS1
Description:
Located on 31 Rue St Guillaume in Paris, France, Maison de Verre was designed between 1928 and 1931 by furniture designer and architect Pierre Chareau, architect Bernard Bijvoet, and metal craftsman Louis Dalbet. Although the home was built, no original drawings exist for this project. In 1965, as Hodder Fellow at Princeton University, Kenneth Frampton along with Robert Vickery and Michael Carapetian measured the home and its details. Originally, their intention was that this research lead to a book project, but they later published their work as an article entitled "Maison de Verre" in a 1969 issue of Perspecta. This subseries includes measurement sketches and sixteen axonometric representations on vellum that were produced from this research. Photographs document Maison de Verre and provide various interior and exterior views of the house. Photographs by Michael Carapetian, published in the Perspecta article, “Maison de Verre (1969),” are also included in this subseries. Textual documentation includes drafts of the publication on Maison de Verre, as well as notes, correspondence, and various research files on Paul Nelson, Pierre Chareau, and Maison de Verre.
Personnes et institutions:
Date:
1965-1981
1965-1981
Titre:
Maison de Verre (1965, 1969)
Actions:
AP197.S1.SS1
Description:
Located on 31 Rue St Guillaume in Paris, France, Maison de Verre was designed between 1928 and 1931 by furniture designer and architect Pierre Chareau, architect Bernard Bijvoet, and metal craftsman Louis Dalbet. Although the home was built, no original drawings exist for this project. In 1965, as Hodder Fellow at Princeton University, Kenneth Frampton along with Robert Vickery and Michael Carapetian measured the home and its details. Originally, their intention was that this research lead to a book project, but they later published their work as an article entitled "Maison de Verre" in a 1969 issue of Perspecta. This subseries includes measurement sketches and sixteen axonometric representations on vellum that were produced from this research. Photographs document Maison de Verre and provide various interior and exterior views of the house. Photographs by Michael Carapetian, published in the Perspecta article, “Maison de Verre (1969),” are also included in this subseries. Textual documentation includes drafts of the publication on Maison de Verre, as well as notes, correspondence, and various research files on Paul Nelson, Pierre Chareau, and Maison de Verre.
Maison de Verre (1965, 1969)
Actions:
AP197.S1.SS1
Description:
Located on 31 Rue St Guillaume in Paris, France, Maison de Verre was designed between 1928 and 1931 by furniture designer and architect Pierre Chareau, architect Bernard Bijvoet, and metal craftsman Louis Dalbet. Although the home was built, no original drawings exist for this project. In 1965, as Hodder Fellow at Princeton University, Kenneth Frampton along with Robert Vickery and Michael Carapetian measured the home and its details. Originally, their intention was that this research lead to a book project, but they later published their work as an article entitled "Maison de Verre" in a 1969 issue of Perspecta. This subseries includes measurement sketches and sixteen axonometric representations on vellum that were produced from this research. Photographs document Maison de Verre and provide various interior and exterior views of the house. Photographs by Michael Carapetian, published in the Perspecta article, “Maison de Verre (1969),” are also included in this subseries. Textual documentation includes drafts of the publication on Maison de Verre, as well as notes, correspondence, and various research files on Paul Nelson, Pierre Chareau, and Maison de Verre.
Niveau de description archivistique:
Subseries
Subseries
Date:
1965-1981
1965-1981
Personnes et institutions:
Niveau de description archivistique:
Projet
Projet
Numéro de référence:
AP018.S1.1973.PR04
Description:
This project series documents the demolition of two buildings for the Art Gallery of Ontario in Toronto from 1973-1974. The office identified the project number as 7304. This project consisted of the demolition of 246 and 248 Simcoe Street, two buildings next to the Art Gallery of Ontario. The buildings were demolished to make space for a new parking lot. Beginning in 1969, Parkin’s firm was hired as the head architects for the AGO’s massive expansion program that would span more than a decade. This is one project relating to the expansion of the art gallery. It should be noted that while AGO project contracts were originally given to John B. Parkin Associates, John C. Parkin continued the project under his new firm, Parkin Architects Planners, after parting ways with partner John B. Parkin in 1971. The project is recorded through textual records consisting of specifications, financial records, correspondence, inspection reports, and office drawing transmittal forms dating from 1973-1974. Two drawings within the textual records also show the site plan for the demolition.
AP018.S1.1973.PR04
Description:
This project series documents the demolition of two buildings for the Art Gallery of Ontario in Toronto from 1973-1974. The office identified the project number as 7304. This project consisted of the demolition of 246 and 248 Simcoe Street, two buildings next to the Art Gallery of Ontario. The buildings were demolished to make space for a new parking lot. Beginning in 1969, Parkin’s firm was hired as the head architects for the AGO’s massive expansion program that would span more than a decade. This is one project relating to the expansion of the art gallery. It should be noted that while AGO project contracts were originally given to John B. Parkin Associates, John C. Parkin continued the project under his new firm, Parkin Architects Planners, after parting ways with partner John B. Parkin in 1971. The project is recorded through textual records consisting of specifications, financial records, correspondence, inspection reports, and office drawing transmittal forms dating from 1973-1974. Two drawings within the textual records also show the site plan for the demolition.
Personnes et institutions:
Date:
1973-1974
1973-1974
Titre:
Art Gallery of Ontario, Demolition of 246 and 248 Simcoe Street, Toronto (1973-1974)
Actions:
AP018.S1.1973.PR04
Description:
This project series documents the demolition of two buildings for the Art Gallery of Ontario in Toronto from 1973-1974. The office identified the project number as 7304. This project consisted of the demolition of 246 and 248 Simcoe Street, two buildings next to the Art Gallery of Ontario. The buildings were demolished to make space for a new parking lot. Beginning in 1969, Parkin’s firm was hired as the head architects for the AGO’s massive expansion program that would span more than a decade. This is one project relating to the expansion of the art gallery. It should be noted that while AGO project contracts were originally given to John B. Parkin Associates, John C. Parkin continued the project under his new firm, Parkin Architects Planners, after parting ways with partner John B. Parkin in 1971. The project is recorded through textual records consisting of specifications, financial records, correspondence, inspection reports, and office drawing transmittal forms dating from 1973-1974. Two drawings within the textual records also show the site plan for the demolition.
Art Gallery of Ontario, Demolition of 246 and 248 Simcoe Street, Toronto (1973-1974)
Actions:
AP018.S1.1973.PR04
Description:
This project series documents the demolition of two buildings for the Art Gallery of Ontario in Toronto from 1973-1974. The office identified the project number as 7304. This project consisted of the demolition of 246 and 248 Simcoe Street, two buildings next to the Art Gallery of Ontario. The buildings were demolished to make space for a new parking lot. Beginning in 1969, Parkin’s firm was hired as the head architects for the AGO’s massive expansion program that would span more than a decade. This is one project relating to the expansion of the art gallery. It should be noted that while AGO project contracts were originally given to John B. Parkin Associates, John C. Parkin continued the project under his new firm, Parkin Architects Planners, after parting ways with partner John B. Parkin in 1971. The project is recorded through textual records consisting of specifications, financial records, correspondence, inspection reports, and office drawing transmittal forms dating from 1973-1974. Two drawings within the textual records also show the site plan for the demolition.
Niveau de description archivistique:
Project
Project
Date:
1973-1974
1973-1974
Personnes et institutions:
Niveau de description archivistique:
Projet
Projet
Numéro de référence:
AP018.S1.1984.PR02
Description:
This project series documents the expansion of the conservation labs at the Art Gallery of Ontario (AGO) in Toronto from 1984-1985. The office identified the project number as 8404. This project consisted of the addition of 2200 square feet of space to the conservation labs at the gallery. This space included a new inpainting studio for painting conservation, a paper conservation lab, and a matting and framing room for prints and drawings. Beginning in 1969, Parkin’s firm was hired as the head architects for the AGO’s massive expansion program that would span more than a decade. This is one project relating to the expansion of the art gallery. It should be noted that while AGO project contracts were originally given to John B. Parkin Associates, John C. Parkin continued the project under his new firm, Parkin Architects Planners, after parting ways with partner John B. Parkin in 1971. The project is recorded through drawings, construction photographs, building material samples and textual records dating from 1984-1985. The textual records consist of specifications, contractor correspondence and reports, invoices, and change orders.
AP018.S1.1984.PR02
Description:
This project series documents the expansion of the conservation labs at the Art Gallery of Ontario (AGO) in Toronto from 1984-1985. The office identified the project number as 8404. This project consisted of the addition of 2200 square feet of space to the conservation labs at the gallery. This space included a new inpainting studio for painting conservation, a paper conservation lab, and a matting and framing room for prints and drawings. Beginning in 1969, Parkin’s firm was hired as the head architects for the AGO’s massive expansion program that would span more than a decade. This is one project relating to the expansion of the art gallery. It should be noted that while AGO project contracts were originally given to John B. Parkin Associates, John C. Parkin continued the project under his new firm, Parkin Architects Planners, after parting ways with partner John B. Parkin in 1971. The project is recorded through drawings, construction photographs, building material samples and textual records dating from 1984-1985. The textual records consist of specifications, contractor correspondence and reports, invoices, and change orders.
Personnes et institutions:
Date:
1984-1985
1984-1985
Titre:
Art Gallery of Ontario, Conservation Expansion, Toronto (1984)
Actions:
AP018.S1.1984.PR02
Description:
This project series documents the expansion of the conservation labs at the Art Gallery of Ontario (AGO) in Toronto from 1984-1985. The office identified the project number as 8404. This project consisted of the addition of 2200 square feet of space to the conservation labs at the gallery. This space included a new inpainting studio for painting conservation, a paper conservation lab, and a matting and framing room for prints and drawings. Beginning in 1969, Parkin’s firm was hired as the head architects for the AGO’s massive expansion program that would span more than a decade. This is one project relating to the expansion of the art gallery. It should be noted that while AGO project contracts were originally given to John B. Parkin Associates, John C. Parkin continued the project under his new firm, Parkin Architects Planners, after parting ways with partner John B. Parkin in 1971. The project is recorded through drawings, construction photographs, building material samples and textual records dating from 1984-1985. The textual records consist of specifications, contractor correspondence and reports, invoices, and change orders.
Art Gallery of Ontario, Conservation Expansion, Toronto (1984)
Actions:
AP018.S1.1984.PR02
Description:
This project series documents the expansion of the conservation labs at the Art Gallery of Ontario (AGO) in Toronto from 1984-1985. The office identified the project number as 8404. This project consisted of the addition of 2200 square feet of space to the conservation labs at the gallery. This space included a new inpainting studio for painting conservation, a paper conservation lab, and a matting and framing room for prints and drawings. Beginning in 1969, Parkin’s firm was hired as the head architects for the AGO’s massive expansion program that would span more than a decade. This is one project relating to the expansion of the art gallery. It should be noted that while AGO project contracts were originally given to John B. Parkin Associates, John C. Parkin continued the project under his new firm, Parkin Architects Planners, after parting ways with partner John B. Parkin in 1971. The project is recorded through drawings, construction photographs, building material samples and textual records dating from 1984-1985. The textual records consist of specifications, contractor correspondence and reports, invoices, and change orders.
Niveau de description archivistique:
Project
Project
Date:
1984-1985
1984-1985
Personnes et institutions:
Niveau de description archivistique:
Projet
Projet
Numéro de référence:
AP018.S1.1974.PR19
Description:
This project series documents a parking structure for the Toronto International Airport in Mississauga, Ontario from 1974-1975. The office identified the project number as 7425. This project consisted of a five-level, above ground parking garage with a capacity of approximately 5000 vehicles. The parking structure was designed for Terminal Two at the airport (now known as Toronto Pearson International Airport) and would connect departing and arriving passengers from the airport to the structure via tunnels. Parkin Architect Planners were hired as the consulting architects for this project by Fenco-Barton Engineers. Fenco Barton was awarded with the Prestressed Concrete Institute Award in 1979 to for excellence in architectural and engineering design using precast and prestressed concrete. The project is recorded through drawings, photographic materials and textual records dating from 1974-1975. The drawings are mostly original sketches of the design. Photographs and negatives show research on other parking structures. The textual records consist of correspondence, conference reports, interoffice letters and project notes. Box AP018.S1.1974.PR19.009 contains an index to the textual records, which was created by the office
AP018.S1.1974.PR19
Description:
This project series documents a parking structure for the Toronto International Airport in Mississauga, Ontario from 1974-1975. The office identified the project number as 7425. This project consisted of a five-level, above ground parking garage with a capacity of approximately 5000 vehicles. The parking structure was designed for Terminal Two at the airport (now known as Toronto Pearson International Airport) and would connect departing and arriving passengers from the airport to the structure via tunnels. Parkin Architect Planners were hired as the consulting architects for this project by Fenco-Barton Engineers. Fenco Barton was awarded with the Prestressed Concrete Institute Award in 1979 to for excellence in architectural and engineering design using precast and prestressed concrete. The project is recorded through drawings, photographic materials and textual records dating from 1974-1975. The drawings are mostly original sketches of the design. Photographs and negatives show research on other parking structures. The textual records consist of correspondence, conference reports, interoffice letters and project notes. Box AP018.S1.1974.PR19.009 contains an index to the textual records, which was created by the office
Personnes et institutions:
Date:
1974-1975
1974-1975
Titre:
Toronto International Airport, Terminal Two Parking Structures, Mississauga, Ontario (1974-1975)
Actions:
AP018.S1.1974.PR19
Description:
This project series documents a parking structure for the Toronto International Airport in Mississauga, Ontario from 1974-1975. The office identified the project number as 7425. This project consisted of a five-level, above ground parking garage with a capacity of approximately 5000 vehicles. The parking structure was designed for Terminal Two at the airport (now known as Toronto Pearson International Airport) and would connect departing and arriving passengers from the airport to the structure via tunnels. Parkin Architect Planners were hired as the consulting architects for this project by Fenco-Barton Engineers. Fenco Barton was awarded with the Prestressed Concrete Institute Award in 1979 to for excellence in architectural and engineering design using precast and prestressed concrete. The project is recorded through drawings, photographic materials and textual records dating from 1974-1975. The drawings are mostly original sketches of the design. Photographs and negatives show research on other parking structures. The textual records consist of correspondence, conference reports, interoffice letters and project notes. Box AP018.S1.1974.PR19.009 contains an index to the textual records, which was created by the office
Toronto International Airport, Terminal Two Parking Structures, Mississauga, Ontario (1974-1975)
Actions:
AP018.S1.1974.PR19
Description:
This project series documents a parking structure for the Toronto International Airport in Mississauga, Ontario from 1974-1975. The office identified the project number as 7425. This project consisted of a five-level, above ground parking garage with a capacity of approximately 5000 vehicles. The parking structure was designed for Terminal Two at the airport (now known as Toronto Pearson International Airport) and would connect departing and arriving passengers from the airport to the structure via tunnels. Parkin Architect Planners were hired as the consulting architects for this project by Fenco-Barton Engineers. Fenco Barton was awarded with the Prestressed Concrete Institute Award in 1979 to for excellence in architectural and engineering design using precast and prestressed concrete. The project is recorded through drawings, photographic materials and textual records dating from 1974-1975. The drawings are mostly original sketches of the design. Photographs and negatives show research on other parking structures. The textual records consist of correspondence, conference reports, interoffice letters and project notes. Box AP018.S1.1974.PR19.009 contains an index to the textual records, which was created by the office
Niveau de description archivistique:
Project
Project
Date:
1974-1975
1974-1975
Personnes et institutions:
Niveau de description archivistique:
Projet
Projet
Numéro de référence:
AP075.S1.1990.PR10
Description:
Project series documents Cornelia Hahn Oberlander's landscape project for Hugo Eppich Residence on Groveland Road, near the corner with Evremount Drive, in West Vancouver, British Columbia. Oberlander worked on this project in 1984-1987 with architect Arthur Erickson. The concept for this project was to create a garden on sloped property and include a water feature. Oberlander designed a wooded area with pathways to wander in and a reflecting pond with water lilies at the bottom of the property, just under the house terrace. The project was completed in 1987. The project series contains design development drawings, such as landscape plans, planting plans, site plans and grading plans, and site plans used for reference. The project is also documented throught concept notes by Oberlander, correspondence with clients, architects and contractors, meetings notes, plant lists, and photographs of the landscaping work and the digging of the pond. The project series also contains a digital recording of the TV show "Homes by Design" with an interview about Hugo Eppich Residence and Arthur Erickson's work.
AP075.S1.1990.PR10
Description:
Project series documents Cornelia Hahn Oberlander's landscape project for Hugo Eppich Residence on Groveland Road, near the corner with Evremount Drive, in West Vancouver, British Columbia. Oberlander worked on this project in 1984-1987 with architect Arthur Erickson. The concept for this project was to create a garden on sloped property and include a water feature. Oberlander designed a wooded area with pathways to wander in and a reflecting pond with water lilies at the bottom of the property, just under the house terrace. The project was completed in 1987. The project series contains design development drawings, such as landscape plans, planting plans, site plans and grading plans, and site plans used for reference. The project is also documented throught concept notes by Oberlander, correspondence with clients, architects and contractors, meetings notes, plant lists, and photographs of the landscaping work and the digging of the pond. The project series also contains a digital recording of the TV show "Homes by Design" with an interview about Hugo Eppich Residence and Arthur Erickson's work.
Personnes et institutions:
Date:
1984-2006
1984-2006
Titre:
Hugo Eppich Residence, West Vancouver, British Columbia (1990)
Actions:
AP075.S1.1990.PR10
Description:
Project series documents Cornelia Hahn Oberlander's landscape project for Hugo Eppich Residence on Groveland Road, near the corner with Evremount Drive, in West Vancouver, British Columbia. Oberlander worked on this project in 1984-1987 with architect Arthur Erickson. The concept for this project was to create a garden on sloped property and include a water feature. Oberlander designed a wooded area with pathways to wander in and a reflecting pond with water lilies at the bottom of the property, just under the house terrace. The project was completed in 1987. The project series contains design development drawings, such as landscape plans, planting plans, site plans and grading plans, and site plans used for reference. The project is also documented throught concept notes by Oberlander, correspondence with clients, architects and contractors, meetings notes, plant lists, and photographs of the landscaping work and the digging of the pond. The project series also contains a digital recording of the TV show "Homes by Design" with an interview about Hugo Eppich Residence and Arthur Erickson's work.
Hugo Eppich Residence, West Vancouver, British Columbia (1990)
Actions:
AP075.S1.1990.PR10
Description:
Project series documents Cornelia Hahn Oberlander's landscape project for Hugo Eppich Residence on Groveland Road, near the corner with Evremount Drive, in West Vancouver, British Columbia. Oberlander worked on this project in 1984-1987 with architect Arthur Erickson. The concept for this project was to create a garden on sloped property and include a water feature. Oberlander designed a wooded area with pathways to wander in and a reflecting pond with water lilies at the bottom of the property, just under the house terrace. The project was completed in 1987. The project series contains design development drawings, such as landscape plans, planting plans, site plans and grading plans, and site plans used for reference. The project is also documented throught concept notes by Oberlander, correspondence with clients, architects and contractors, meetings notes, plant lists, and photographs of the landscaping work and the digging of the pond. The project series also contains a digital recording of the TV show "Homes by Design" with an interview about Hugo Eppich Residence and Arthur Erickson's work.
Niveau de description archivistique:
Project
Project
Date:
1984-2006
1984-2006
Personnes et institutions:
Niveau de description archivistique:
Projet
Projet
Numéro de référence:
AP018.S1.1971.PR11
Description:
This project series documents the design and purchase of equipment and furnishings for the Art Gallery of Ontario in Toronto in 1971. The office identified the project number as 7118. Beginning in 1969, Parkin’s firm was hired as the head architects for the AGO’s massive expansion program that would span more than a decade. This is one project relating to the expansion of the art gallery. It consisted of the furnishings and equipment for the newly expanded gallery, which included benches, lecture hall seating, carpets, desks, and fabrics. It should be noted that while AGO project contracts were originally given to John B. Parkin Associates, John C. Parkin continued the project under his new firm, Parkin Architects Planners, after parting ways with partner John B. Parkin in 1971. The project is recorded through drawings and textual records dating from around 1971-1979. The textual records show the planning and purchase of furnishings through correspondence, financial records, meeting minutes, and specifications. The drawings show the proposed layouts and design of the gallery furnishings.
AP018.S1.1971.PR11
Description:
This project series documents the design and purchase of equipment and furnishings for the Art Gallery of Ontario in Toronto in 1971. The office identified the project number as 7118. Beginning in 1969, Parkin’s firm was hired as the head architects for the AGO’s massive expansion program that would span more than a decade. This is one project relating to the expansion of the art gallery. It consisted of the furnishings and equipment for the newly expanded gallery, which included benches, lecture hall seating, carpets, desks, and fabrics. It should be noted that while AGO project contracts were originally given to John B. Parkin Associates, John C. Parkin continued the project under his new firm, Parkin Architects Planners, after parting ways with partner John B. Parkin in 1971. The project is recorded through drawings and textual records dating from around 1971-1979. The textual records show the planning and purchase of furnishings through correspondence, financial records, meeting minutes, and specifications. The drawings show the proposed layouts and design of the gallery furnishings.
Personnes et institutions:
Date:
circa 1971-1979
circa 1971-1979
Titre:
Art Gallery of Ontario, Furnishings and Equipment, Toronto (1971)
Actions:
AP018.S1.1971.PR11
Description:
This project series documents the design and purchase of equipment and furnishings for the Art Gallery of Ontario in Toronto in 1971. The office identified the project number as 7118. Beginning in 1969, Parkin’s firm was hired as the head architects for the AGO’s massive expansion program that would span more than a decade. This is one project relating to the expansion of the art gallery. It consisted of the furnishings and equipment for the newly expanded gallery, which included benches, lecture hall seating, carpets, desks, and fabrics. It should be noted that while AGO project contracts were originally given to John B. Parkin Associates, John C. Parkin continued the project under his new firm, Parkin Architects Planners, after parting ways with partner John B. Parkin in 1971. The project is recorded through drawings and textual records dating from around 1971-1979. The textual records show the planning and purchase of furnishings through correspondence, financial records, meeting minutes, and specifications. The drawings show the proposed layouts and design of the gallery furnishings.
Art Gallery of Ontario, Furnishings and Equipment, Toronto (1971)
Actions:
AP018.S1.1971.PR11
Description:
This project series documents the design and purchase of equipment and furnishings for the Art Gallery of Ontario in Toronto in 1971. The office identified the project number as 7118. Beginning in 1969, Parkin’s firm was hired as the head architects for the AGO’s massive expansion program that would span more than a decade. This is one project relating to the expansion of the art gallery. It consisted of the furnishings and equipment for the newly expanded gallery, which included benches, lecture hall seating, carpets, desks, and fabrics. It should be noted that while AGO project contracts were originally given to John B. Parkin Associates, John C. Parkin continued the project under his new firm, Parkin Architects Planners, after parting ways with partner John B. Parkin in 1971. The project is recorded through drawings and textual records dating from around 1971-1979. The textual records show the planning and purchase of furnishings through correspondence, financial records, meeting minutes, and specifications. The drawings show the proposed layouts and design of the gallery furnishings.
Niveau de description archivistique:
Project
Project
Date:
circa 1971-1979
circa 1971-1979
Personnes et institutions:
Niveau de description archivistique:
Série(s)
Série(s)
Titre:
Hans and Wassili Luckhardt
Hans and Wassili Luckhardt
Numéro de référence:
AP162.S6
Description:
Series documents the contribution of architects Hans Luckhardt and Wasilli Luckhardt to the correspondence circle of Die gläserne Kette, with each writing under the pseudonyms Angkor and Zachen respectively. Born in Berlin in 1880, Hans Luckhardt studied architecture at the Technische Hochschule at Karlsruhe, Germany. In 1919, he joined the Novembergruppe, an exhibiting group of painters, sculptors, architects and musicians, and the Arbeitsrat für Kunst, lead by Bruno Taut. These two groups merged in November 1919. The same year, Luckhardt exhibitied his work at the Ausstellung für unbekannte Architekten and contributed to the organization of the Neues Bauen exhibition the next year. In 1921, Hans Luckhardt began his working collaboration with his brother Wassili. Born in Berlin in 1989, Wassili Luckhardt studied archictecture at the Technische Hochschule at Berlin-Charlottenburg and at the Technische Hochschule in Dresden. He undertook his military service from 1914 to 1918. Like his brother Hans, Wasilli joined the Novembergruppeand the Arbeitsrat für Kunst in 1919 and exhibited his work at the Ausstellung für unbekannte Architekten. During their collaboration, the Luckhardt brothers worked on designs for private commisions and competition schemes including some for Berlin and Hanover (1951-1952). Hans Luckhardt died in 1954 in Bad Wiessee. Wassili Luckhardt continued his work as an architect on various architectural projects. He died in 1972 in Berlin. (Source: Ian Boyd Whyte, Bruno Taut and the Architecture of Activism. Cambridge: Cambridge University Press, 1982) The series comprises part of the correspondence of Hans and Wasilli Luckhardt to the Die gläserne Kette circle, along with related drawings and photographs. The series also includes a photograph of a architectural model for a project by the Luckhart brothers.
AP162.S6
Description:
Series documents the contribution of architects Hans Luckhardt and Wasilli Luckhardt to the correspondence circle of Die gläserne Kette, with each writing under the pseudonyms Angkor and Zachen respectively. Born in Berlin in 1880, Hans Luckhardt studied architecture at the Technische Hochschule at Karlsruhe, Germany. In 1919, he joined the Novembergruppe, an exhibiting group of painters, sculptors, architects and musicians, and the Arbeitsrat für Kunst, lead by Bruno Taut. These two groups merged in November 1919. The same year, Luckhardt exhibitied his work at the Ausstellung für unbekannte Architekten and contributed to the organization of the Neues Bauen exhibition the next year. In 1921, Hans Luckhardt began his working collaboration with his brother Wassili. Born in Berlin in 1989, Wassili Luckhardt studied archictecture at the Technische Hochschule at Berlin-Charlottenburg and at the Technische Hochschule in Dresden. He undertook his military service from 1914 to 1918. Like his brother Hans, Wasilli joined the Novembergruppeand the Arbeitsrat für Kunst in 1919 and exhibited his work at the Ausstellung für unbekannte Architekten. During their collaboration, the Luckhardt brothers worked on designs for private commisions and competition schemes including some for Berlin and Hanover (1951-1952). Hans Luckhardt died in 1954 in Bad Wiessee. Wassili Luckhardt continued his work as an architect on various architectural projects. He died in 1972 in Berlin. (Source: Ian Boyd Whyte, Bruno Taut and the Architecture of Activism. Cambridge: Cambridge University Press, 1982) The series comprises part of the correspondence of Hans and Wasilli Luckhardt to the Die gläserne Kette circle, along with related drawings and photographs. The series also includes a photograph of a architectural model for a project by the Luckhart brothers.
Personnes et institutions:
Date:
1919-1920
1919-1920
Titre:
Hans and Wassili Luckhardt
Actions:
AP162.S6
Description:
Series documents the contribution of architects Hans Luckhardt and Wasilli Luckhardt to the correspondence circle of Die gläserne Kette, with each writing under the pseudonyms Angkor and Zachen respectively. Born in Berlin in 1880, Hans Luckhardt studied architecture at the Technische Hochschule at Karlsruhe, Germany. In 1919, he joined the Novembergruppe, an exhibiting group of painters, sculptors, architects and musicians, and the Arbeitsrat für Kunst, lead by Bruno Taut. These two groups merged in November 1919. The same year, Luckhardt exhibitied his work at the Ausstellung für unbekannte Architekten and contributed to the organization of the Neues Bauen exhibition the next year. In 1921, Hans Luckhardt began his working collaboration with his brother Wassili. Born in Berlin in 1989, Wassili Luckhardt studied archictecture at the Technische Hochschule at Berlin-Charlottenburg and at the Technische Hochschule in Dresden. He undertook his military service from 1914 to 1918. Like his brother Hans, Wasilli joined the Novembergruppeand the Arbeitsrat für Kunst in 1919 and exhibited his work at the Ausstellung für unbekannte Architekten. During their collaboration, the Luckhardt brothers worked on designs for private commisions and competition schemes including some for Berlin and Hanover (1951-1952). Hans Luckhardt died in 1954 in Bad Wiessee. Wassili Luckhardt continued his work as an architect on various architectural projects. He died in 1972 in Berlin. (Source: Ian Boyd Whyte, Bruno Taut and the Architecture of Activism. Cambridge: Cambridge University Press, 1982) The series comprises part of the correspondence of Hans and Wasilli Luckhardt to the Die gläserne Kette circle, along with related drawings and photographs. The series also includes a photograph of a architectural model for a project by the Luckhart brothers.
Hans and Wassili Luckhardt
Actions:
AP162.S6
Description:
Series documents the contribution of architects Hans Luckhardt and Wasilli Luckhardt to the correspondence circle of Die gläserne Kette, with each writing under the pseudonyms Angkor and Zachen respectively. Born in Berlin in 1880, Hans Luckhardt studied architecture at the Technische Hochschule at Karlsruhe, Germany. In 1919, he joined the Novembergruppe, an exhibiting group of painters, sculptors, architects and musicians, and the Arbeitsrat für Kunst, lead by Bruno Taut. These two groups merged in November 1919. The same year, Luckhardt exhibitied his work at the Ausstellung für unbekannte Architekten and contributed to the organization of the Neues Bauen exhibition the next year. In 1921, Hans Luckhardt began his working collaboration with his brother Wassili. Born in Berlin in 1989, Wassili Luckhardt studied archictecture at the Technische Hochschule at Berlin-Charlottenburg and at the Technische Hochschule in Dresden. He undertook his military service from 1914 to 1918. Like his brother Hans, Wasilli joined the Novembergruppeand the Arbeitsrat für Kunst in 1919 and exhibited his work at the Ausstellung für unbekannte Architekten. During their collaboration, the Luckhardt brothers worked on designs for private commisions and competition schemes including some for Berlin and Hanover (1951-1952). Hans Luckhardt died in 1954 in Bad Wiessee. Wassili Luckhardt continued his work as an architect on various architectural projects. He died in 1972 in Berlin. (Source: Ian Boyd Whyte, Bruno Taut and the Architecture of Activism. Cambridge: Cambridge University Press, 1982) The series comprises part of the correspondence of Hans and Wasilli Luckhardt to the Die gläserne Kette circle, along with related drawings and photographs. The series also includes a photograph of a architectural model for a project by the Luckhart brothers.
Niveau de description archivistique:
series
series
Date:
1919-1920
1919-1920
Personnes et institutions:
Niveau de description archivistique:
Projet
Projet
Numéro de référence:
AP075.S1.1997.PR02
Description:
Project series documents Cornelia Hahn Oberlander's landscape project for the Waterfall Building on West 2nd Avenue, near the entrance of Granville Island, in Vancouver, British Columbia. Oberlander worked on this project in 1998-2001 with architect Arthur Erickson and architectural firm Nick Milkovich Architects, who designed the building. The building consists in five separated structures to accomodate studios spaces as well as split-level residences. It also included a courtyard and roof gardens on all five building structures for which Oberlander was responsible of the design. The courtyard, formed by in the roof of the underground parking space, consists "a simple tapestry of pavers, ground cover, trees and a small reflecting basin [...]." [1] The roofs garden included planting of white roses at the edge of the building and ornemental grass. The rooftops serve as communal patio for the residents and was accesible to the public. The project was completed in 2001. The Waterfall Building was the last project Oberlander realized in collaboration with Arthur Erickson. The project series includes sketches, design development drawings, including planting plans for the courtyard and the rooftops, working drawings, such as landscape plans for the courtyard and planting plans. The drawings in this series also includes drawings of the building used as reference. The project is also documented through research material for the project, specifications, plant lists, correspondence, including correspondence with architects and client, meeting notes, reports, financial document, a promotional poster on the project, and photographs of the landscaping work and plant selection. Source: [1] Herrington, Susan. Cornelia Hahn Oberlander: Making the Modern Landscape, University of Virginia Press, 2014, 304 pages. p. 142.
AP075.S1.1997.PR02
Description:
Project series documents Cornelia Hahn Oberlander's landscape project for the Waterfall Building on West 2nd Avenue, near the entrance of Granville Island, in Vancouver, British Columbia. Oberlander worked on this project in 1998-2001 with architect Arthur Erickson and architectural firm Nick Milkovich Architects, who designed the building. The building consists in five separated structures to accomodate studios spaces as well as split-level residences. It also included a courtyard and roof gardens on all five building structures for which Oberlander was responsible of the design. The courtyard, formed by in the roof of the underground parking space, consists "a simple tapestry of pavers, ground cover, trees and a small reflecting basin [...]." [1] The roofs garden included planting of white roses at the edge of the building and ornemental grass. The rooftops serve as communal patio for the residents and was accesible to the public. The project was completed in 2001. The Waterfall Building was the last project Oberlander realized in collaboration with Arthur Erickson. The project series includes sketches, design development drawings, including planting plans for the courtyard and the rooftops, working drawings, such as landscape plans for the courtyard and planting plans. The drawings in this series also includes drawings of the building used as reference. The project is also documented through research material for the project, specifications, plant lists, correspondence, including correspondence with architects and client, meeting notes, reports, financial document, a promotional poster on the project, and photographs of the landscaping work and plant selection. Source: [1] Herrington, Susan. Cornelia Hahn Oberlander: Making the Modern Landscape, University of Virginia Press, 2014, 304 pages. p. 142.
Personnes et institutions:
Date:
1997-2001
1997-2001
Titre:
The Waterfall Building, Vancouver, British Columbia (1997)
Actions:
AP075.S1.1997.PR02
Description:
Project series documents Cornelia Hahn Oberlander's landscape project for the Waterfall Building on West 2nd Avenue, near the entrance of Granville Island, in Vancouver, British Columbia. Oberlander worked on this project in 1998-2001 with architect Arthur Erickson and architectural firm Nick Milkovich Architects, who designed the building. The building consists in five separated structures to accomodate studios spaces as well as split-level residences. It also included a courtyard and roof gardens on all five building structures for which Oberlander was responsible of the design. The courtyard, formed by in the roof of the underground parking space, consists "a simple tapestry of pavers, ground cover, trees and a small reflecting basin [...]." [1] The roofs garden included planting of white roses at the edge of the building and ornemental grass. The rooftops serve as communal patio for the residents and was accesible to the public. The project was completed in 2001. The Waterfall Building was the last project Oberlander realized in collaboration with Arthur Erickson. The project series includes sketches, design development drawings, including planting plans for the courtyard and the rooftops, working drawings, such as landscape plans for the courtyard and planting plans. The drawings in this series also includes drawings of the building used as reference. The project is also documented through research material for the project, specifications, plant lists, correspondence, including correspondence with architects and client, meeting notes, reports, financial document, a promotional poster on the project, and photographs of the landscaping work and plant selection. Source: [1] Herrington, Susan. Cornelia Hahn Oberlander: Making the Modern Landscape, University of Virginia Press, 2014, 304 pages. p. 142.
The Waterfall Building, Vancouver, British Columbia (1997)
Actions:
AP075.S1.1997.PR02
Description:
Project series documents Cornelia Hahn Oberlander's landscape project for the Waterfall Building on West 2nd Avenue, near the entrance of Granville Island, in Vancouver, British Columbia. Oberlander worked on this project in 1998-2001 with architect Arthur Erickson and architectural firm Nick Milkovich Architects, who designed the building. The building consists in five separated structures to accomodate studios spaces as well as split-level residences. It also included a courtyard and roof gardens on all five building structures for which Oberlander was responsible of the design. The courtyard, formed by in the roof of the underground parking space, consists "a simple tapestry of pavers, ground cover, trees and a small reflecting basin [...]." [1] The roofs garden included planting of white roses at the edge of the building and ornemental grass. The rooftops serve as communal patio for the residents and was accesible to the public. The project was completed in 2001. The Waterfall Building was the last project Oberlander realized in collaboration with Arthur Erickson. The project series includes sketches, design development drawings, including planting plans for the courtyard and the rooftops, working drawings, such as landscape plans for the courtyard and planting plans. The drawings in this series also includes drawings of the building used as reference. The project is also documented through research material for the project, specifications, plant lists, correspondence, including correspondence with architects and client, meeting notes, reports, financial document, a promotional poster on the project, and photographs of the landscaping work and plant selection. Source: [1] Herrington, Susan. Cornelia Hahn Oberlander: Making the Modern Landscape, University of Virginia Press, 2014, 304 pages. p. 142.
Niveau de description archivistique:
Project
Project
Date:
1997-2001
1997-2001
Personnes et institutions:
