4469 Résultats
Niveau de description archivistique:
Projet
Projet
Numéro de référence:
AP018.S1.1969.PR01
Description:
This project series documents the expansion of the Art Gallery of Ontario (AGO) in Toronto from 1969-1974. The office identified the project as number 69006. This project consisted of the vast expansion of the AGO that began in 1969, which largely came about due to a multi-million dollar donation from English sculpture Henry Moore. Most prominent in this project was the design and construction of the Henry Moore Sculpture Centre, a new gallery to house the extensive artworks of Henry Moore in the AGO’s collection. This included $15 million’s worth of art that Moore donated at the start of the project. The project was made up of two phases. The first included construction of the Henry Moore Sculpture Centre, the Sam and Ayala Zacks Wing, a link to the pre-existing Grange mansion, and updates to the art gallery’s finishes. The second phase proposed additional updates to existing finishes. By the end of this project, the architects had also added a public lounge, dining room and cafeteria, a members’ lounge, lecture areas (including the Henry Moore Lecture Hall), classrooms, and spaces for the gallery’s special services. The work was further divided into 4 physical areas of the art gallery (A, B, C and D) and the drawings for this project reflect this division. Before this work had been completed, a “Stage II” to the expansion had already been approved by the owners (Stage II is also included in this fonds, see AP018.S1.1972.PR08). In the documentation, this project was originally called the Henry Moore Sculpture Centre, Art Gallery of Ontario, Expansion Phases 1 and 2. However, as multiple stages to the expansion developed later on, this project eventually became known as the Stage I Expansion. While the project contract was 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, textual records, and mounted photographs dating from 1968-1986. There are numerous original drawings showing the design development of the new galleries. Two presentation boards show photographs of the project model. The textual records consist of correspondence with contractors and clients, inspection and other site reports, specifications, contract data, consultancy records, schedules, change orders, financial documentation, conference reports, area calculations, research materials, detail planning records, and project notebooks. Box AP018.S1.1969.PR01.007 contains an index to the textual records, which was created by the office. This project series also contains one box of textual documentation that spans across multiple project series related to the AGO expansion within this fonds (see AP018.S1.1969.PR01.044). This includes press releases, newspaper articles, project proposals and studies, correspondence with Henry Moore, meeting minutes and reports.
AP018.S1.1969.PR01
Description:
This project series documents the expansion of the Art Gallery of Ontario (AGO) in Toronto from 1969-1974. The office identified the project as number 69006. This project consisted of the vast expansion of the AGO that began in 1969, which largely came about due to a multi-million dollar donation from English sculpture Henry Moore. Most prominent in this project was the design and construction of the Henry Moore Sculpture Centre, a new gallery to house the extensive artworks of Henry Moore in the AGO’s collection. This included $15 million’s worth of art that Moore donated at the start of the project. The project was made up of two phases. The first included construction of the Henry Moore Sculpture Centre, the Sam and Ayala Zacks Wing, a link to the pre-existing Grange mansion, and updates to the art gallery’s finishes. The second phase proposed additional updates to existing finishes. By the end of this project, the architects had also added a public lounge, dining room and cafeteria, a members’ lounge, lecture areas (including the Henry Moore Lecture Hall), classrooms, and spaces for the gallery’s special services. The work was further divided into 4 physical areas of the art gallery (A, B, C and D) and the drawings for this project reflect this division. Before this work had been completed, a “Stage II” to the expansion had already been approved by the owners (Stage II is also included in this fonds, see AP018.S1.1972.PR08). In the documentation, this project was originally called the Henry Moore Sculpture Centre, Art Gallery of Ontario, Expansion Phases 1 and 2. However, as multiple stages to the expansion developed later on, this project eventually became known as the Stage I Expansion. While the project contract was 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, textual records, and mounted photographs dating from 1968-1986. There are numerous original drawings showing the design development of the new galleries. Two presentation boards show photographs of the project model. The textual records consist of correspondence with contractors and clients, inspection and other site reports, specifications, contract data, consultancy records, schedules, change orders, financial documentation, conference reports, area calculations, research materials, detail planning records, and project notebooks. Box AP018.S1.1969.PR01.007 contains an index to the textual records, which was created by the office. This project series also contains one box of textual documentation that spans across multiple project series related to the AGO expansion within this fonds (see AP018.S1.1969.PR01.044). This includes press releases, newspaper articles, project proposals and studies, correspondence with Henry Moore, meeting minutes and reports.
Personnes et institutions:
Date:
1968-1986
1968-1986
Titre:
Henry Moore Sculpture Centre, Art Gallery of Ontario, Stage I Expansion, Toronto (1969-1974)
Actions:
AP018.S1.1969.PR01
Description:
This project series documents the expansion of the Art Gallery of Ontario (AGO) in Toronto from 1969-1974. The office identified the project as number 69006. This project consisted of the vast expansion of the AGO that began in 1969, which largely came about due to a multi-million dollar donation from English sculpture Henry Moore. Most prominent in this project was the design and construction of the Henry Moore Sculpture Centre, a new gallery to house the extensive artworks of Henry Moore in the AGO’s collection. This included $15 million’s worth of art that Moore donated at the start of the project. The project was made up of two phases. The first included construction of the Henry Moore Sculpture Centre, the Sam and Ayala Zacks Wing, a link to the pre-existing Grange mansion, and updates to the art gallery’s finishes. The second phase proposed additional updates to existing finishes. By the end of this project, the architects had also added a public lounge, dining room and cafeteria, a members’ lounge, lecture areas (including the Henry Moore Lecture Hall), classrooms, and spaces for the gallery’s special services. The work was further divided into 4 physical areas of the art gallery (A, B, C and D) and the drawings for this project reflect this division. Before this work had been completed, a “Stage II” to the expansion had already been approved by the owners (Stage II is also included in this fonds, see AP018.S1.1972.PR08). In the documentation, this project was originally called the Henry Moore Sculpture Centre, Art Gallery of Ontario, Expansion Phases 1 and 2. However, as multiple stages to the expansion developed later on, this project eventually became known as the Stage I Expansion. While the project contract was 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, textual records, and mounted photographs dating from 1968-1986. There are numerous original drawings showing the design development of the new galleries. Two presentation boards show photographs of the project model. The textual records consist of correspondence with contractors and clients, inspection and other site reports, specifications, contract data, consultancy records, schedules, change orders, financial documentation, conference reports, area calculations, research materials, detail planning records, and project notebooks. Box AP018.S1.1969.PR01.007 contains an index to the textual records, which was created by the office. This project series also contains one box of textual documentation that spans across multiple project series related to the AGO expansion within this fonds (see AP018.S1.1969.PR01.044). This includes press releases, newspaper articles, project proposals and studies, correspondence with Henry Moore, meeting minutes and reports.
Henry Moore Sculpture Centre, Art Gallery of Ontario, Stage I Expansion, Toronto (1969-1974)
Actions:
AP018.S1.1969.PR01
Description:
This project series documents the expansion of the Art Gallery of Ontario (AGO) in Toronto from 1969-1974. The office identified the project as number 69006. This project consisted of the vast expansion of the AGO that began in 1969, which largely came about due to a multi-million dollar donation from English sculpture Henry Moore. Most prominent in this project was the design and construction of the Henry Moore Sculpture Centre, a new gallery to house the extensive artworks of Henry Moore in the AGO’s collection. This included $15 million’s worth of art that Moore donated at the start of the project. The project was made up of two phases. The first included construction of the Henry Moore Sculpture Centre, the Sam and Ayala Zacks Wing, a link to the pre-existing Grange mansion, and updates to the art gallery’s finishes. The second phase proposed additional updates to existing finishes. By the end of this project, the architects had also added a public lounge, dining room and cafeteria, a members’ lounge, lecture areas (including the Henry Moore Lecture Hall), classrooms, and spaces for the gallery’s special services. The work was further divided into 4 physical areas of the art gallery (A, B, C and D) and the drawings for this project reflect this division. Before this work had been completed, a “Stage II” to the expansion had already been approved by the owners (Stage II is also included in this fonds, see AP018.S1.1972.PR08). In the documentation, this project was originally called the Henry Moore Sculpture Centre, Art Gallery of Ontario, Expansion Phases 1 and 2. However, as multiple stages to the expansion developed later on, this project eventually became known as the Stage I Expansion. While the project contract was 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, textual records, and mounted photographs dating from 1968-1986. There are numerous original drawings showing the design development of the new galleries. Two presentation boards show photographs of the project model. The textual records consist of correspondence with contractors and clients, inspection and other site reports, specifications, contract data, consultancy records, schedules, change orders, financial documentation, conference reports, area calculations, research materials, detail planning records, and project notebooks. Box AP018.S1.1969.PR01.007 contains an index to the textual records, which was created by the office. This project series also contains one box of textual documentation that spans across multiple project series related to the AGO expansion within this fonds (see AP018.S1.1969.PR01.044). This includes press releases, newspaper articles, project proposals and studies, correspondence with Henry Moore, meeting minutes and reports.
Niveau de description archivistique:
Project
Project
Date:
1968-1986
1968-1986
Personnes et institutions:
Classification:
archives
Niveau de description archivistique:
Fonds
archives
Niveau de description archivistique:
Fonds
Titre:
Fonds Amancio Williams
Fonds Amancio Williams
Numéro de référence:
AP205
Résumé:
The Amancio Williams fonds documents Williams' career as an architect and designer from the 1940s to the late 1980s. The fonds documents his work for over 80 architectural, urban planning and furniture design projects, as well as the administration of his architecture practice, and his professional activities through correspondence, photographic material, and promotional materials.
AP205
Résumé:
The Amancio Williams fonds documents Williams' career as an architect and designer from the 1940s to the late 1980s. The fonds documents his work for over 80 architectural, urban planning and furniture design projects, as well as the administration of his architecture practice, and his professional activities through correspondence, photographic material, and promotional materials.
Personnes et institutions:
Date:
1848-2010s
1848-2010s
Titre:
Fonds Amancio Williams
Actions:
AP205
Résumé:
The Amancio Williams fonds documents Williams' career as an architect and designer from the 1940s to the late 1980s. The fonds documents his work for over 80 architectural, urban planning and furniture design projects, as well as the administration of his architecture practice, and his professional activities through correspondence, photographic material, and promotional materials.
Fonds Amancio Williams
Actions:
AP205
Résumé:
The Amancio Williams fonds documents Williams' career as an architect and designer from the 1940s to the late 1980s. The fonds documents his work for over 80 architectural, urban planning and furniture design projects, as well as the administration of his architecture practice, and his professional activities through correspondence, photographic material, and promotional materials.
Classification:
archives
Niveau de description archivistique:
Fonds
archives
Niveau de description archivistique:
Fonds
Date:
1848-2010s
1848-2010s
Personnes et institutions:
Classification:
archives
Niveau de description archivistique:
Fonds
archives
Niveau de description archivistique:
Fonds
Numéro de référence:
AP181
Résumé:
The COOP HIMMELB(L)AU BMW Welt project records, 1994-2007, document the design of the firm’s BMW Welt project, also known as BMW World, in Munich, Germany. The archive consists of approximately 52, 400 born-digital files representing the greater part of the digital archive of the project, as well as 52 of the study models made in the earlier stages of the project.
AP181
Résumé:
The COOP HIMMELB(L)AU BMW Welt project records, 1994-2007, document the design of the firm’s BMW Welt project, also known as BMW World, in Munich, Germany. The archive consists of approximately 52, 400 born-digital files representing the greater part of the digital archive of the project, as well as 52 of the study models made in the earlier stages of the project.
Personnes et institutions:
Date:
1994-2015
1994-2015
Titre:
Documents d’archives de COOP HIMMELB(L)AU pour le projet BMW Welt
Actions:
AP181
Résumé:
The COOP HIMMELB(L)AU BMW Welt project records, 1994-2007, document the design of the firm’s BMW Welt project, also known as BMW World, in Munich, Germany. The archive consists of approximately 52, 400 born-digital files representing the greater part of the digital archive of the project, as well as 52 of the study models made in the earlier stages of the project.
Documents d’archives de COOP HIMMELB(L)AU pour le projet BMW Welt
Actions:
AP181
Résumé:
The COOP HIMMELB(L)AU BMW Welt project records, 1994-2007, document the design of the firm’s BMW Welt project, also known as BMW World, in Munich, Germany. The archive consists of approximately 52, 400 born-digital files representing the greater part of the digital archive of the project, as well as 52 of the study models made in the earlier stages of the project.
Classification:
archives
Niveau de description archivistique:
Fonds
archives
Niveau de description archivistique:
Fonds
Date:
1994-2015
1994-2015
Personnes et institutions:
Classification:
événements
événements
Titre:
Le rôle élargi: SITU
Le rôle élargi: SITU
Actions:
Description:
Bradley Samuels présente le travail récent de SITU Research et le rôle joué par la recherche au sein de la pratique de SITU dans son ensemble. Une série d’études de cas sera présentée, explorant le rôle élargi de la pratique architecturale et spatiale à travers un éventail de domaines, des droits humains à la politique publique, de la science de la terre au design(...)
Bradley Samuels présente le travail récent de SITU Research et le rôle joué par la recherche au sein de la pratique de SITU dans son ensemble. Une série d’études de cas sera présentée, explorant le rôle élargi de la pratique architecturale et spatiale à travers un éventail de domaines, des droits humains à la politique publique, de la science de la terre au design(...)
Localisation:
Théâtre Paul-Desmarais
Théâtre Paul-Desmarais
Date:
14 janvier 2016
14 janvier 2016
Titre:
Le rôle élargi: SITU
Actions:
Description:
Bradley Samuels présente le travail récent de SITU Research et le rôle joué par la recherche au sein de la pratique de SITU dans son ensemble. Une série d’études de cas sera présentée, explorant le rôle élargi de la pratique architecturale et spatiale à travers un éventail de domaines, des droits humains à la politique publique, de la science de la terre au design(...)
Le rôle élargi: SITU
Actions:
Description:
Bradley Samuels présente le travail récent de SITU Research et le rôle joué par la recherche au sein de la pratique de SITU dans son ensemble. Une série d’études de cas sera présentée, explorant le rôle élargi de la pratique architecturale et spatiale à travers un éventail de domaines, des droits humains à la politique publique, de la science de la terre au design(...)
Classification:
événements
événements
Date:
14 janvier 2016
14 janvier 2016
Localisation:
Théâtre Paul-Desmarais
Théâtre Paul-Desmarais
Classification:
archives
Niveau de description archivistique:
Fonds
archives
Niveau de description archivistique:
Fonds
Numéro de référence:
AP177
Résumé:
The RUR Architecture Kansai-kan of the National Diet Library project records, circa 1996, document the New York based firm’s competition entry for the Kansai Science City branch of Japan’s National Diet Library. Records show integration of landscape in the building’s design, exploration of the relationship between structure and surface, and a multimedia approach to building design. Records include 169 digital files, mostly CAD models and images; 42 drawings and printed renderings; and 5 models and casts.
AP177
Résumé:
The RUR Architecture Kansai-kan of the National Diet Library project records, circa 1996, document the New York based firm’s competition entry for the Kansai Science City branch of Japan’s National Diet Library. Records show integration of landscape in the building’s design, exploration of the relationship between structure and surface, and a multimedia approach to building design. Records include 169 digital files, mostly CAD models and images; 42 drawings and printed renderings; and 5 models and casts.
Personnes et institutions:
Date:
1996-2015
1996-2015
Titre:
Documents d’archives de RUR Architecture pour le projet Kansai-kan, National Diet Library
Actions:
AP177
Résumé:
The RUR Architecture Kansai-kan of the National Diet Library project records, circa 1996, document the New York based firm’s competition entry for the Kansai Science City branch of Japan’s National Diet Library. Records show integration of landscape in the building’s design, exploration of the relationship between structure and surface, and a multimedia approach to building design. Records include 169 digital files, mostly CAD models and images; 42 drawings and printed renderings; and 5 models and casts.
Documents d’archives de RUR Architecture pour le projet Kansai-kan, National Diet Library
Actions:
AP177
Résumé:
The RUR Architecture Kansai-kan of the National Diet Library project records, circa 1996, document the New York based firm’s competition entry for the Kansai Science City branch of Japan’s National Diet Library. Records show integration of landscape in the building’s design, exploration of the relationship between structure and surface, and a multimedia approach to building design. Records include 169 digital files, mostly CAD models and images; 42 drawings and printed renderings; and 5 models and casts.
Classification:
archives
Niveau de description archivistique:
Fonds
archives
Niveau de description archivistique:
Fonds
Date:
1996-2015
1996-2015
Personnes et institutions:
Classification:
événements
événements
Actions:
Description:
Conçu dans le cadre du projet annuel Ressaisir la vie, le livre Une portion du présent vise à rétablir un dialogue entre l’architecture et la société, lequel permettrait à la première de commencer à composer et à traiter avec nos normes sociales modifiées et fluctuantes. Cette publication est une réflexion sur de nouveaux comportements, rituels, valeurs et sur leurs(...)
Conçu dans le cadre du projet annuel Ressaisir la vie, le livre Une portion du présent vise à rétablir un dialogue entre l’architecture et la société, lequel permettrait à la première de commencer à composer et à traiter avec nos normes sociales modifiées et fluctuantes. Cette publication est une réflexion sur de nouveaux comportements, rituels, valeurs et sur leurs(...)
Date:
10 mars 2022, 19h30 à 20h30
10 mars 2022, 19h30 à 20h30
Titre:
Une portion du présent, Lancement du livre avec Giovanna Borasi
Actions:
Description:
Conçu dans le cadre du projet annuel Ressaisir la vie, le livre Une portion du présent vise à rétablir un dialogue entre l’architecture et la société, lequel permettrait à la première de commencer à composer et à traiter avec nos normes sociales modifiées et fluctuantes. Cette publication est une réflexion sur de nouveaux comportements, rituels, valeurs et sur leurs(...)
Une portion du présent, Lancement du livre avec Giovanna Borasi
Actions:
Description:
Conçu dans le cadre du projet annuel Ressaisir la vie, le livre Une portion du présent vise à rétablir un dialogue entre l’architecture et la société, lequel permettrait à la première de commencer à composer et à traiter avec nos normes sociales modifiées et fluctuantes. Cette publication est une réflexion sur de nouveaux comportements, rituels, valeurs et sur leurs(...)
Classification:
événements
événements
Date:
10 mars 2022
19h30 à 20h30
10 mars 2022
19h30 à 20h30
Classification:
événements
événements
Actions:
Description:
L’histoire de l’architecture traite des relations entre espace, bâtiment, géométrie urbaine et pratiques sociales – elle exprime comment l’expérience de l’espace correspond à une expérience du monde. Cette conférence présentera une analyse du débat qui, au XVIe siècle, a entouré l’achèvement de la façade de la basilique San Petronio à Bologne, construite en partie dans un(...)
L’histoire de l’architecture traite des relations entre espace, bâtiment, géométrie urbaine et pratiques sociales – elle exprime comment l’expérience de l’espace correspond à une expérience du monde. Cette conférence présentera une analyse du débat qui, au XVIe siècle, a entouré l’achèvement de la façade de la basilique San Petronio à Bologne, construite en partie dans un(...)
Localisation:
Théâtre Paul-Desmarais Mot(s)-clé(s):
Guido Beltramini, basilique San Petronio, Bologne, Andrea Palladio, Baldassare Peruzzi, Giacomo da Vignola
Théâtre Paul-Desmarais Mot(s)-clé(s):
Guido Beltramini, basilique San Petronio, Bologne, Andrea Palladio, Baldassare Peruzzi, Giacomo da Vignola
Date:
5 octobre 2017, 18h30
5 octobre 2017, 18h30
Titre:
Guido Beltramini, quel sens avait l’histoire pour les architectes et leurs mécènes à Bologne, en 1579?
Actions:
Description:
L’histoire de l’architecture traite des relations entre espace, bâtiment, géométrie urbaine et pratiques sociales – elle exprime comment l’expérience de l’espace correspond à une expérience du monde. Cette conférence présentera une analyse du débat qui, au XVIe siècle, a entouré l’achèvement de la façade de la basilique San Petronio à Bologne, construite en partie dans un(...)
Guido Beltramini, quel sens avait l’histoire pour les architectes et leurs mécènes à Bologne, en 1579?
Actions:
Description:
L’histoire de l’architecture traite des relations entre espace, bâtiment, géométrie urbaine et pratiques sociales – elle exprime comment l’expérience de l’espace correspond à une expérience du monde. Cette conférence présentera une analyse du débat qui, au XVIe siècle, a entouré l’achèvement de la façade de la basilique San Petronio à Bologne, construite en partie dans un(...)
Classification:
événements
événements
Date:
5 octobre 2017
18h30
5 octobre 2017
18h30
Localisation:
Théâtre Paul-Desmarais Mot(s)-clé(s):
Guido Beltramini, basilique San Petronio, Bologne, Andrea Palladio, Baldassare Peruzzi, Giacomo da Vignola
Théâtre Paul-Desmarais Mot(s)-clé(s):
Guido Beltramini, basilique San Petronio, Bologne, Andrea Palladio, Baldassare Peruzzi, Giacomo da Vignola
Classification:
archives
Niveau de description archivistique:
Fonds
archives
Niveau de description archivistique:
Fonds
Titre:
Fonds Gene Summers
Fonds Gene Summers
Numéro de référence:
AP114
Résumé:
The Gene Summers fonds documents primarily the later part of Gene Summers' career as an architect, developer, artist and art collector. Summer's early work with the Office of Mies van der Rohe and C.F. Murphy Associates is summarily represented by notes, sketches and photographs.
AP114
Résumé:
The Gene Summers fonds documents primarily the later part of Gene Summers' career as an architect, developer, artist and art collector. Summer's early work with the Office of Mies van der Rohe and C.F. Murphy Associates is summarily represented by notes, sketches and photographs.
Personnes et institutions:
Date:
1957 - 2004
1957 - 2004
Titre:
Fonds Gene Summers
Actions:
AP114
Résumé:
The Gene Summers fonds documents primarily the later part of Gene Summers' career as an architect, developer, artist and art collector. Summer's early work with the Office of Mies van der Rohe and C.F. Murphy Associates is summarily represented by notes, sketches and photographs.
Fonds Gene Summers
Actions:
AP114
Résumé:
The Gene Summers fonds documents primarily the later part of Gene Summers' career as an architect, developer, artist and art collector. Summer's early work with the Office of Mies van der Rohe and C.F. Murphy Associates is summarily represented by notes, sketches and photographs.
Classification:
archives
Niveau de description archivistique:
Fonds
archives
Niveau de description archivistique:
Fonds
Date:
1957 - 2004
1957 - 2004
Personnes et institutions:
Niveau de description archivistique:
Projet
Projet
Numéro de référence:
AP178.S1.1988.PR07
Description:
This project series documents the Reconstrução do Chiado in Lisbon, Portugal. The office's archives identified this project as 58/80. The office assigned the dates 1988-1998 for this project. Chiado is a historic district in the center of Lisbon, Portugal, and a linchpin between the Baixa Pombalina and the Bairro Alto Hill. After a devastating earthquake in 1755, the city was rebuilt and reorganized by military architects and engineers. The Pombaline style, specific to Lisbon, includes pre-fabricated anti-seismic structure and sober style. On August 25, 1988, a fire started in one of the oldest department stores of Lisbon, the Grandella building, damaging partially or totally seventeen buildings, between the Rua Do Carmo, Rua Nova do Almada and Rua Garret. Álvaro Siza was selected by the mayor of Lisbon, Nuno Krus Abecasis, to reorganize and rebuild the district. After public consultations, it was decided to maintain the historic image of the Chiado by restoring the façades and ornamentations. Adjustments by Siza include introducing residential and cultural functions to the district, with the exception of the Grandes Armazéns building and the Grandella building, which had their own program. As Siza said himself: "It’s not about drawing a new section of the city, but rather just introducing corrections and adjustments, reinforce the whole city." Siza started to work on the layout plan in January 1989 and presented it to the municipal authorities of Lisbon in April 1990. The reconstruction of the Chiado had several goals, but there were two general concepts behind his plan. The aesthetic aspect of the program included restorations of buildings to reinstitute the historical spirit of the district. The spatial reorganization, in a really Siza way, focused on finding architectural solutions that would bring more functionality to the city. The idea was to think of the reconstruction in relation with the urban revitalization of the Baixa Pombalina and to maintain as much as possible the patrimonial value of the district. Siza's intentions were to stimulate the commercial and residential functions of the district, which was on the decline over the last years prior to the fire. Some of the measures taken were: improving the traffic fluidity; creating parking spaces for the future residents and shopkeepers, improving the access to stores and others facilities, creating a staired passageway between Rua do Crucifixo and Rua Nova do Almada, and a pedestrian passageway between the rear of those buildings giving onto Rua Garret and Rua Do Carmo. They also studied the integration of a subway station to the district. Municipal authorities decided to rebuild or restore the original facades, reorganize the interior and improve the safety of the buildings. The biggest challenge was to convert the Grandes Armazéns do Chiado into a hotel and rebuild the Grandella with its original 20th century façade, while rethinking the interior division(s?) in order to add different functions to the building, including offices and leisure and cultural facilities. The reconstruction plan was divided into six distinct blocks: Bloco A, Bloco B, Bloco C, Bloco D, Bloco E, and Bloco F. Each Block includes several buildings and each was individually numbered. The first three blocks (A, B, C) were the most damaged, and required massive work, stonework, technical and mechanical work, replacing doors and windows, as well as repainting, repaving, and restoring decorative elements. Reconstruction for Blocks D, E, and F, which are less documented in the fonds, focused on making changes that complemented the neighboring building. Siza also worked specifically on the Edifício Castro e Melo, Câmara Chaves, Edifício Leonel, Edifício Grandella, and Recuperaçäo do Edifício dos Grandes Armazéns. The rest of the buildings were restored by other architects and firms. "Chiado" is often referring to two different things: the districts between the Baixa Pombalina and the Bairro Alto Hill, as well as a building, also known as the Hotel do Chiado. To avoid confusion, in this finding aid the term "Chiado" is always referring to the district, and the Chiado building will be referred to as the Grandes Armazéns do Chiado building. To fully understand the nature of the project, it is important to comprehend the reconstruction of the Chiado as a whole project, rather than as individual components. Siza himself saw the Chiado as one big building. Bloco A (plots 7,8,9,10,11 and 20) Bloco B (plots 12, 13, 14/15 and 16) Bloco C (plots 2, 3 and 6) Bloco D (plots 4 and 5) Bloco E (plots 1,17,18 and 19) This project series includes eleven subseries : Subseries 1) AP178.S1.1988.PR07.SS1 Master plans and exterior spaces, Reconstruction of Chiado, 2) AP178.S1.1988.PR07.SS2 Bloco A, 3) AP178.S1.1988.PR07.SS3 Edificio Camara Chaves building, 4) AP178.S1.1988.PR07.SS4 Edifício Castro e Melo, 5) AP178.S1.1988.PR07.SS5 Bloco B, 6) AP178.S1.1988.PR07.SS6– Bloco, B Chiado, Edifício Leonel, Lisboa, Portugal (1988-1998), 7) AP178.S1.1988.PR07.SS7 Bloco C, 8) AP178.S1.1988.PR07.SS8 - Bloco C, Chiado, Recuperaçäo do Edifício Grandella, 9) AP178.S1.1988.PR07.SS9 - Bloco C, Chiado, Recuperaçäo do Edifício dos Grandes Armazéns, 10) AP178.S1.1988.PR07.SS10 Ligacao Pedonal do Patio B, 11) AP178.S1.1988.PR07.SS11 Chiado, Estação de Metropolitano Baixa Chiado. It is important to note that the project AP178.S1.1994.PR08 Renovação do Elevador de Santa Justa, Chiado, 1994 is also related to the Reconstruction of the Chiado. All documentation for this project series, including the project subseries, has been kept together to maintain the office's arrangement.
AP178.S1.1988.PR07
Description:
This project series documents the Reconstrução do Chiado in Lisbon, Portugal. The office's archives identified this project as 58/80. The office assigned the dates 1988-1998 for this project. Chiado is a historic district in the center of Lisbon, Portugal, and a linchpin between the Baixa Pombalina and the Bairro Alto Hill. After a devastating earthquake in 1755, the city was rebuilt and reorganized by military architects and engineers. The Pombaline style, specific to Lisbon, includes pre-fabricated anti-seismic structure and sober style. On August 25, 1988, a fire started in one of the oldest department stores of Lisbon, the Grandella building, damaging partially or totally seventeen buildings, between the Rua Do Carmo, Rua Nova do Almada and Rua Garret. Álvaro Siza was selected by the mayor of Lisbon, Nuno Krus Abecasis, to reorganize and rebuild the district. After public consultations, it was decided to maintain the historic image of the Chiado by restoring the façades and ornamentations. Adjustments by Siza include introducing residential and cultural functions to the district, with the exception of the Grandes Armazéns building and the Grandella building, which had their own program. As Siza said himself: "It’s not about drawing a new section of the city, but rather just introducing corrections and adjustments, reinforce the whole city." Siza started to work on the layout plan in January 1989 and presented it to the municipal authorities of Lisbon in April 1990. The reconstruction of the Chiado had several goals, but there were two general concepts behind his plan. The aesthetic aspect of the program included restorations of buildings to reinstitute the historical spirit of the district. The spatial reorganization, in a really Siza way, focused on finding architectural solutions that would bring more functionality to the city. The idea was to think of the reconstruction in relation with the urban revitalization of the Baixa Pombalina and to maintain as much as possible the patrimonial value of the district. Siza's intentions were to stimulate the commercial and residential functions of the district, which was on the decline over the last years prior to the fire. Some of the measures taken were: improving the traffic fluidity; creating parking spaces for the future residents and shopkeepers, improving the access to stores and others facilities, creating a staired passageway between Rua do Crucifixo and Rua Nova do Almada, and a pedestrian passageway between the rear of those buildings giving onto Rua Garret and Rua Do Carmo. They also studied the integration of a subway station to the district. Municipal authorities decided to rebuild or restore the original facades, reorganize the interior and improve the safety of the buildings. The biggest challenge was to convert the Grandes Armazéns do Chiado into a hotel and rebuild the Grandella with its original 20th century façade, while rethinking the interior division(s?) in order to add different functions to the building, including offices and leisure and cultural facilities. The reconstruction plan was divided into six distinct blocks: Bloco A, Bloco B, Bloco C, Bloco D, Bloco E, and Bloco F. Each Block includes several buildings and each was individually numbered. The first three blocks (A, B, C) were the most damaged, and required massive work, stonework, technical and mechanical work, replacing doors and windows, as well as repainting, repaving, and restoring decorative elements. Reconstruction for Blocks D, E, and F, which are less documented in the fonds, focused on making changes that complemented the neighboring building. Siza also worked specifically on the Edifício Castro e Melo, Câmara Chaves, Edifício Leonel, Edifício Grandella, and Recuperaçäo do Edifício dos Grandes Armazéns. The rest of the buildings were restored by other architects and firms. "Chiado" is often referring to two different things: the districts between the Baixa Pombalina and the Bairro Alto Hill, as well as a building, also known as the Hotel do Chiado. To avoid confusion, in this finding aid the term "Chiado" is always referring to the district, and the Chiado building will be referred to as the Grandes Armazéns do Chiado building. To fully understand the nature of the project, it is important to comprehend the reconstruction of the Chiado as a whole project, rather than as individual components. Siza himself saw the Chiado as one big building. Bloco A (plots 7,8,9,10,11 and 20) Bloco B (plots 12, 13, 14/15 and 16) Bloco C (plots 2, 3 and 6) Bloco D (plots 4 and 5) Bloco E (plots 1,17,18 and 19) This project series includes eleven subseries : Subseries 1) AP178.S1.1988.PR07.SS1 Master plans and exterior spaces, Reconstruction of Chiado, 2) AP178.S1.1988.PR07.SS2 Bloco A, 3) AP178.S1.1988.PR07.SS3 Edificio Camara Chaves building, 4) AP178.S1.1988.PR07.SS4 Edifício Castro e Melo, 5) AP178.S1.1988.PR07.SS5 Bloco B, 6) AP178.S1.1988.PR07.SS6– Bloco, B Chiado, Edifício Leonel, Lisboa, Portugal (1988-1998), 7) AP178.S1.1988.PR07.SS7 Bloco C, 8) AP178.S1.1988.PR07.SS8 - Bloco C, Chiado, Recuperaçäo do Edifício Grandella, 9) AP178.S1.1988.PR07.SS9 - Bloco C, Chiado, Recuperaçäo do Edifício dos Grandes Armazéns, 10) AP178.S1.1988.PR07.SS10 Ligacao Pedonal do Patio B, 11) AP178.S1.1988.PR07.SS11 Chiado, Estação de Metropolitano Baixa Chiado. It is important to note that the project AP178.S1.1994.PR08 Renovação do Elevador de Santa Justa, Chiado, 1994 is also related to the Reconstruction of the Chiado. All documentation for this project series, including the project subseries, has been kept together to maintain the office's arrangement.
Personnes et institutions:
Date:
1942-2012
1942-2012
Titre:
Reconstrução do Chiado [Reconstruction of the Chiado area], Lisbon, Portugal (1988-1998)
Actions:
AP178.S1.1988.PR07
Description:
This project series documents the Reconstrução do Chiado in Lisbon, Portugal. The office's archives identified this project as 58/80. The office assigned the dates 1988-1998 for this project. Chiado is a historic district in the center of Lisbon, Portugal, and a linchpin between the Baixa Pombalina and the Bairro Alto Hill. After a devastating earthquake in 1755, the city was rebuilt and reorganized by military architects and engineers. The Pombaline style, specific to Lisbon, includes pre-fabricated anti-seismic structure and sober style. On August 25, 1988, a fire started in one of the oldest department stores of Lisbon, the Grandella building, damaging partially or totally seventeen buildings, between the Rua Do Carmo, Rua Nova do Almada and Rua Garret. Álvaro Siza was selected by the mayor of Lisbon, Nuno Krus Abecasis, to reorganize and rebuild the district. After public consultations, it was decided to maintain the historic image of the Chiado by restoring the façades and ornamentations. Adjustments by Siza include introducing residential and cultural functions to the district, with the exception of the Grandes Armazéns building and the Grandella building, which had their own program. As Siza said himself: "It’s not about drawing a new section of the city, but rather just introducing corrections and adjustments, reinforce the whole city." Siza started to work on the layout plan in January 1989 and presented it to the municipal authorities of Lisbon in April 1990. The reconstruction of the Chiado had several goals, but there were two general concepts behind his plan. The aesthetic aspect of the program included restorations of buildings to reinstitute the historical spirit of the district. The spatial reorganization, in a really Siza way, focused on finding architectural solutions that would bring more functionality to the city. The idea was to think of the reconstruction in relation with the urban revitalization of the Baixa Pombalina and to maintain as much as possible the patrimonial value of the district. Siza's intentions were to stimulate the commercial and residential functions of the district, which was on the decline over the last years prior to the fire. Some of the measures taken were: improving the traffic fluidity; creating parking spaces for the future residents and shopkeepers, improving the access to stores and others facilities, creating a staired passageway between Rua do Crucifixo and Rua Nova do Almada, and a pedestrian passageway between the rear of those buildings giving onto Rua Garret and Rua Do Carmo. They also studied the integration of a subway station to the district. Municipal authorities decided to rebuild or restore the original facades, reorganize the interior and improve the safety of the buildings. The biggest challenge was to convert the Grandes Armazéns do Chiado into a hotel and rebuild the Grandella with its original 20th century façade, while rethinking the interior division(s?) in order to add different functions to the building, including offices and leisure and cultural facilities. The reconstruction plan was divided into six distinct blocks: Bloco A, Bloco B, Bloco C, Bloco D, Bloco E, and Bloco F. Each Block includes several buildings and each was individually numbered. The first three blocks (A, B, C) were the most damaged, and required massive work, stonework, technical and mechanical work, replacing doors and windows, as well as repainting, repaving, and restoring decorative elements. Reconstruction for Blocks D, E, and F, which are less documented in the fonds, focused on making changes that complemented the neighboring building. Siza also worked specifically on the Edifício Castro e Melo, Câmara Chaves, Edifício Leonel, Edifício Grandella, and Recuperaçäo do Edifício dos Grandes Armazéns. The rest of the buildings were restored by other architects and firms. "Chiado" is often referring to two different things: the districts between the Baixa Pombalina and the Bairro Alto Hill, as well as a building, also known as the Hotel do Chiado. To avoid confusion, in this finding aid the term "Chiado" is always referring to the district, and the Chiado building will be referred to as the Grandes Armazéns do Chiado building. To fully understand the nature of the project, it is important to comprehend the reconstruction of the Chiado as a whole project, rather than as individual components. Siza himself saw the Chiado as one big building. Bloco A (plots 7,8,9,10,11 and 20) Bloco B (plots 12, 13, 14/15 and 16) Bloco C (plots 2, 3 and 6) Bloco D (plots 4 and 5) Bloco E (plots 1,17,18 and 19) This project series includes eleven subseries : Subseries 1) AP178.S1.1988.PR07.SS1 Master plans and exterior spaces, Reconstruction of Chiado, 2) AP178.S1.1988.PR07.SS2 Bloco A, 3) AP178.S1.1988.PR07.SS3 Edificio Camara Chaves building, 4) AP178.S1.1988.PR07.SS4 Edifício Castro e Melo, 5) AP178.S1.1988.PR07.SS5 Bloco B, 6) AP178.S1.1988.PR07.SS6– Bloco, B Chiado, Edifício Leonel, Lisboa, Portugal (1988-1998), 7) AP178.S1.1988.PR07.SS7 Bloco C, 8) AP178.S1.1988.PR07.SS8 - Bloco C, Chiado, Recuperaçäo do Edifício Grandella, 9) AP178.S1.1988.PR07.SS9 - Bloco C, Chiado, Recuperaçäo do Edifício dos Grandes Armazéns, 10) AP178.S1.1988.PR07.SS10 Ligacao Pedonal do Patio B, 11) AP178.S1.1988.PR07.SS11 Chiado, Estação de Metropolitano Baixa Chiado. It is important to note that the project AP178.S1.1994.PR08 Renovação do Elevador de Santa Justa, Chiado, 1994 is also related to the Reconstruction of the Chiado. All documentation for this project series, including the project subseries, has been kept together to maintain the office's arrangement.
Reconstrução do Chiado [Reconstruction of the Chiado area], Lisbon, Portugal (1988-1998)
Actions:
AP178.S1.1988.PR07
Description:
This project series documents the Reconstrução do Chiado in Lisbon, Portugal. The office's archives identified this project as 58/80. The office assigned the dates 1988-1998 for this project. Chiado is a historic district in the center of Lisbon, Portugal, and a linchpin between the Baixa Pombalina and the Bairro Alto Hill. After a devastating earthquake in 1755, the city was rebuilt and reorganized by military architects and engineers. The Pombaline style, specific to Lisbon, includes pre-fabricated anti-seismic structure and sober style. On August 25, 1988, a fire started in one of the oldest department stores of Lisbon, the Grandella building, damaging partially or totally seventeen buildings, between the Rua Do Carmo, Rua Nova do Almada and Rua Garret. Álvaro Siza was selected by the mayor of Lisbon, Nuno Krus Abecasis, to reorganize and rebuild the district. After public consultations, it was decided to maintain the historic image of the Chiado by restoring the façades and ornamentations. Adjustments by Siza include introducing residential and cultural functions to the district, with the exception of the Grandes Armazéns building and the Grandella building, which had their own program. As Siza said himself: "It’s not about drawing a new section of the city, but rather just introducing corrections and adjustments, reinforce the whole city." Siza started to work on the layout plan in January 1989 and presented it to the municipal authorities of Lisbon in April 1990. The reconstruction of the Chiado had several goals, but there were two general concepts behind his plan. The aesthetic aspect of the program included restorations of buildings to reinstitute the historical spirit of the district. The spatial reorganization, in a really Siza way, focused on finding architectural solutions that would bring more functionality to the city. The idea was to think of the reconstruction in relation with the urban revitalization of the Baixa Pombalina and to maintain as much as possible the patrimonial value of the district. Siza's intentions were to stimulate the commercial and residential functions of the district, which was on the decline over the last years prior to the fire. Some of the measures taken were: improving the traffic fluidity; creating parking spaces for the future residents and shopkeepers, improving the access to stores and others facilities, creating a staired passageway between Rua do Crucifixo and Rua Nova do Almada, and a pedestrian passageway between the rear of those buildings giving onto Rua Garret and Rua Do Carmo. They also studied the integration of a subway station to the district. Municipal authorities decided to rebuild or restore the original facades, reorganize the interior and improve the safety of the buildings. The biggest challenge was to convert the Grandes Armazéns do Chiado into a hotel and rebuild the Grandella with its original 20th century façade, while rethinking the interior division(s?) in order to add different functions to the building, including offices and leisure and cultural facilities. The reconstruction plan was divided into six distinct blocks: Bloco A, Bloco B, Bloco C, Bloco D, Bloco E, and Bloco F. Each Block includes several buildings and each was individually numbered. The first three blocks (A, B, C) were the most damaged, and required massive work, stonework, technical and mechanical work, replacing doors and windows, as well as repainting, repaving, and restoring decorative elements. Reconstruction for Blocks D, E, and F, which are less documented in the fonds, focused on making changes that complemented the neighboring building. Siza also worked specifically on the Edifício Castro e Melo, Câmara Chaves, Edifício Leonel, Edifício Grandella, and Recuperaçäo do Edifício dos Grandes Armazéns. The rest of the buildings were restored by other architects and firms. "Chiado" is often referring to two different things: the districts between the Baixa Pombalina and the Bairro Alto Hill, as well as a building, also known as the Hotel do Chiado. To avoid confusion, in this finding aid the term "Chiado" is always referring to the district, and the Chiado building will be referred to as the Grandes Armazéns do Chiado building. To fully understand the nature of the project, it is important to comprehend the reconstruction of the Chiado as a whole project, rather than as individual components. Siza himself saw the Chiado as one big building. Bloco A (plots 7,8,9,10,11 and 20) Bloco B (plots 12, 13, 14/15 and 16) Bloco C (plots 2, 3 and 6) Bloco D (plots 4 and 5) Bloco E (plots 1,17,18 and 19) This project series includes eleven subseries : Subseries 1) AP178.S1.1988.PR07.SS1 Master plans and exterior spaces, Reconstruction of Chiado, 2) AP178.S1.1988.PR07.SS2 Bloco A, 3) AP178.S1.1988.PR07.SS3 Edificio Camara Chaves building, 4) AP178.S1.1988.PR07.SS4 Edifício Castro e Melo, 5) AP178.S1.1988.PR07.SS5 Bloco B, 6) AP178.S1.1988.PR07.SS6– Bloco, B Chiado, Edifício Leonel, Lisboa, Portugal (1988-1998), 7) AP178.S1.1988.PR07.SS7 Bloco C, 8) AP178.S1.1988.PR07.SS8 - Bloco C, Chiado, Recuperaçäo do Edifício Grandella, 9) AP178.S1.1988.PR07.SS9 - Bloco C, Chiado, Recuperaçäo do Edifício dos Grandes Armazéns, 10) AP178.S1.1988.PR07.SS10 Ligacao Pedonal do Patio B, 11) AP178.S1.1988.PR07.SS11 Chiado, Estação de Metropolitano Baixa Chiado. It is important to note that the project AP178.S1.1994.PR08 Renovação do Elevador de Santa Justa, Chiado, 1994 is also related to the Reconstruction of the Chiado. All documentation for this project series, including the project subseries, has been kept together to maintain the office's arrangement.
Niveau de description archivistique:
Project
Project
Date:
1942-2012
1942-2012
Personnes et institutions:
Classification:
articles
articles
Titre:
Contrôler le confort
Contrôler le confort
Actions:
Texte de Manfredo di Robilant
Dossier:
Autres sens, autres espaces
Autres sens, autres espaces
Mot(s)-clé(s):
20th century, advertisement, air conditioning, American Iron and Steel Institute, Amérique du Nord, Architectural Forum, Architectural Review, Chrysler, climatisation, Committee on Steel Pipe Research, États-Unis, House Beautiful, Manfredo di Robilant, National Electric Products, North America, Progressive Architecture, publication, publicité, Seconde Guerre mondiale, Second World War, technologie, technology, United States, XXe siècle
20th century, advertisement, air conditioning, American Iron and Steel Institute, Amérique du Nord, Architectural Forum, Architectural Review, Chrysler, climatisation, Committee on Steel Pipe Research, États-Unis, House Beautiful, Manfredo di Robilant, National Electric Products, North America, Progressive Architecture, publication, publicité, Seconde Guerre mondiale, Second World War, technologie, technology, United States, XXe siècle
Publié:
1 octobre 2012
1 octobre 2012
Dossier:
Autres sens, autres espaces
Autres sens, autres espaces
