33383 Résultats
Classification:
documents textuels
documents textuels
Numéro de référence:
AP197.S3.011
Description:
The box is comprised of correspondence for the years of 2002-2014, organized in chronological order. The box documents Frampton’s career as Ware professor at the Graduate School of Architecture, Planning and Preservation, Columbia University and his related professional activities. Correspondence in this box includes: offers of teaching positions; requests to write articles, reviews, books and recommendation letters; invitations to teach, present, or attend at lectures/symposiums/conferences; and requests to serve on juries. Throughout this period, Frampton corresponded with various universities, architects, professors, publishers, and editors of various publications such as: Alvaro Siza; Mario Botta; Glenn Murcutt; Angelo Bucci; Kengo Kuma; Charles Correa; Rafael Moneo; Raj Rewal; Harry Wolf; Tadao Ando; and David Chipperfield. Correspondence relates to Frampton participation/involvement in: writing Richard Meier and Steven Holl essays for Electa Architecture and the Labor, Work and Architecture publication; in the Chinese translation of Studies in Tectonic Culture; in the International Committee for Documentation and Conservation of Buildings, Sites and Neighbourhoods of the Modern Movement’s (do.co,mo.mo) "The Challenge of the Modern Movement;" lecturing at the Bard Graduate Center; providing the keynote address at the Architectural Association of Ireland Symposium; acting as a jury member for the Museum of the History of Polish Jews.
AP197.S3.011
Description:
The box is comprised of correspondence for the years of 2002-2014, organized in chronological order. The box documents Frampton’s career as Ware professor at the Graduate School of Architecture, Planning and Preservation, Columbia University and his related professional activities. Correspondence in this box includes: offers of teaching positions; requests to write articles, reviews, books and recommendation letters; invitations to teach, present, or attend at lectures/symposiums/conferences; and requests to serve on juries. Throughout this period, Frampton corresponded with various universities, architects, professors, publishers, and editors of various publications such as: Alvaro Siza; Mario Botta; Glenn Murcutt; Angelo Bucci; Kengo Kuma; Charles Correa; Rafael Moneo; Raj Rewal; Harry Wolf; Tadao Ando; and David Chipperfield. Correspondence relates to Frampton participation/involvement in: writing Richard Meier and Steven Holl essays for Electa Architecture and the Labor, Work and Architecture publication; in the Chinese translation of Studies in Tectonic Culture; in the International Committee for Documentation and Conservation of Buildings, Sites and Neighbourhoods of the Modern Movement’s (do.co,mo.mo) "The Challenge of the Modern Movement;" lecturing at the Bard Graduate Center; providing the keynote address at the Architectural Association of Ireland Symposium; acting as a jury member for the Museum of the History of Polish Jews.
Personnes et institutions:
Date:
2002-2014
2002-2014
Titre:
Personal and professional correspondence from 2002-2014
Actions:
AP197.S3.011
Description:
The box is comprised of correspondence for the years of 2002-2014, organized in chronological order. The box documents Frampton’s career as Ware professor at the Graduate School of Architecture, Planning and Preservation, Columbia University and his related professional activities. Correspondence in this box includes: offers of teaching positions; requests to write articles, reviews, books and recommendation letters; invitations to teach, present, or attend at lectures/symposiums/conferences; and requests to serve on juries. Throughout this period, Frampton corresponded with various universities, architects, professors, publishers, and editors of various publications such as: Alvaro Siza; Mario Botta; Glenn Murcutt; Angelo Bucci; Kengo Kuma; Charles Correa; Rafael Moneo; Raj Rewal; Harry Wolf; Tadao Ando; and David Chipperfield. Correspondence relates to Frampton participation/involvement in: writing Richard Meier and Steven Holl essays for Electa Architecture and the Labor, Work and Architecture publication; in the Chinese translation of Studies in Tectonic Culture; in the International Committee for Documentation and Conservation of Buildings, Sites and Neighbourhoods of the Modern Movement’s (do.co,mo.mo) "The Challenge of the Modern Movement;" lecturing at the Bard Graduate Center; providing the keynote address at the Architectural Association of Ireland Symposium; acting as a jury member for the Museum of the History of Polish Jews.
Personal and professional correspondence from 2002-2014
Actions:
AP197.S3.011
Description:
The box is comprised of correspondence for the years of 2002-2014, organized in chronological order. The box documents Frampton’s career as Ware professor at the Graduate School of Architecture, Planning and Preservation, Columbia University and his related professional activities. Correspondence in this box includes: offers of teaching positions; requests to write articles, reviews, books and recommendation letters; invitations to teach, present, or attend at lectures/symposiums/conferences; and requests to serve on juries. Throughout this period, Frampton corresponded with various universities, architects, professors, publishers, and editors of various publications such as: Alvaro Siza; Mario Botta; Glenn Murcutt; Angelo Bucci; Kengo Kuma; Charles Correa; Rafael Moneo; Raj Rewal; Harry Wolf; Tadao Ando; and David Chipperfield. Correspondence relates to Frampton participation/involvement in: writing Richard Meier and Steven Holl essays for Electa Architecture and the Labor, Work and Architecture publication; in the Chinese translation of Studies in Tectonic Culture; in the International Committee for Documentation and Conservation of Buildings, Sites and Neighbourhoods of the Modern Movement’s (do.co,mo.mo) "The Challenge of the Modern Movement;" lecturing at the Bard Graduate Center; providing the keynote address at the Architectural Association of Ireland Symposium; acting as a jury member for the Museum of the History of Polish Jews.
Classification:
documents textuels
documents textuels
Date:
2002-2014
2002-2014
Personnes et institutions:
Classification:
archives
Niveau de description archivistique:
Fonds
archives
Niveau de description archivistique:
Fonds
Numéro de référence:
AP176
Résumé:
Karl Chu X PHYLUM project records, 1998-2014 (predominant 1998-2002), documents the development and design process of Chu’s project X PHYLUM. The archive consists exclusively of original born-digital material.
AP176
Résumé:
Karl Chu X PHYLUM project records, 1998-2014 (predominant 1998-2002), documents the development and design process of Chu’s project X PHYLUM. The archive consists exclusively of original born-digital material.
Personnes et institutions:
Date:
1998-2014
1998-2014
Titre:
Documents d’archives de Karl Chu pour le projet X Phylum
Actions:
AP176
Résumé:
Karl Chu X PHYLUM project records, 1998-2014 (predominant 1998-2002), documents the development and design process of Chu’s project X PHYLUM. The archive consists exclusively of original born-digital material.
Documents d’archives de Karl Chu pour le projet X Phylum
Actions:
AP176
Résumé:
Karl Chu X PHYLUM project records, 1998-2014 (predominant 1998-2002), documents the development and design process of Chu’s project X PHYLUM. The archive consists exclusively of original born-digital material.
Classification:
archives
Niveau de description archivistique:
Fonds
archives
Niveau de description archivistique:
Fonds
Date:
1998-2014
1998-2014
Personnes et institutions:
Classification:
archives
Niveau de description archivistique:
Fonds
archives
Niveau de description archivistique:
Fonds
Numéro de référence:
AP057
Résumé:
The Institute for Architecture and Urban Studies (IAUS) fonds is composed primarily of textual and photographic material which document the activities of the IAUS from its inception in 1967 until its dissolution in 1983. Those activities include the publication of three periodicals (Oppositions, October and Skyline), as well as numerous books, conferences, lectures, exhibitions and educational programming. In addition, the IAUS fonds documents the activities of the IAUS' director, architect Peter Eisenman.
AP057
Résumé:
The Institute for Architecture and Urban Studies (IAUS) fonds is composed primarily of textual and photographic material which document the activities of the IAUS from its inception in 1967 until its dissolution in 1983. Those activities include the publication of three periodicals (Oppositions, October and Skyline), as well as numerous books, conferences, lectures, exhibitions and educational programming. In addition, the IAUS fonds documents the activities of the IAUS' director, architect Peter Eisenman.
Personnes et institutions:
Date:
1965-1984
1965-1984
Titre:
Fonds Institute for Architecture and Urban Studies
Actions:
AP057
Résumé:
The Institute for Architecture and Urban Studies (IAUS) fonds is composed primarily of textual and photographic material which document the activities of the IAUS from its inception in 1967 until its dissolution in 1983. Those activities include the publication of three periodicals (Oppositions, October and Skyline), as well as numerous books, conferences, lectures, exhibitions and educational programming. In addition, the IAUS fonds documents the activities of the IAUS' director, architect Peter Eisenman.
Fonds Institute for Architecture and Urban Studies
Actions:
AP057
Résumé:
The Institute for Architecture and Urban Studies (IAUS) fonds is composed primarily of textual and photographic material which document the activities of the IAUS from its inception in 1967 until its dissolution in 1983. Those activities include the publication of three periodicals (Oppositions, October and Skyline), as well as numerous books, conferences, lectures, exhibitions and educational programming. In addition, the IAUS fonds documents the activities of the IAUS' director, architect Peter Eisenman.
Classification:
archives
Niveau de description archivistique:
Fonds
archives
Niveau de description archivistique:
Fonds
Date:
1965-1984
1965-1984
Personnes et institutions:
Classification:
dessins, documents textuels, oeuvres d'art
dessins, documents textuels, oeuvres d'art
Actions:
Numéro de référence:
DR1974:0002:002:001-094
Description:
- This album consists mainly of elevations, sections and plans for a number of domestic commissions by Charles Rohault de Fleury: a house in Cologne, a hothouse for M. Faquet-Lemaitre, two [?] apartment houses and three private houses in Paris, a house for Mme de Lescure, Royan, and the Administration générale des omnibus office building, Paris. Both the drawings for the house in Cologne and the three variant projects for a hothouse are probably presentation drawings. There are contract drawings, probably the architect's copies, for apartment houses for M. Piet and M. Le Comte, and houses for M. Moreau Chaslon, Mme la comtesse de Lubersac, Mme de Lescure and M. Waresquiel. A sheet of cost calculations attached to a preliminary site plan, are probably for M. Waresquiel's house. The first plan for Mme la comtesse de Lubersac's house (DR1974:0002:002:084), and the plans for M. Waresquiel's house are annotated with the functions of the rooms. The architect's copies of the drawings for the country house in Royan, given to the client by the architect, include drawings of the foundations and framework, larger scale elevational and sectional details of the architectural elements, profiles and joinery details. The function within the design process of the prints for the commercial building for the Administration Générale de Omnibus is unclear. The principal elevation (DR1974:0002:002:020) is rendered in watercolour, suggesting it may be a presentation print. The other prints for this building exhibit the same degree of finish as the contract drawings in this album, but the absence of the client's and contractor's signatures and the revision attached to DR1974:0002:002:022 suggests they may be part of the design development stage of the project. Also included in the album is a sheet of preliminary sketches for a tomb for Daguerre (not the photographer) and two small unbound sheets of sketches for unidentified projects (DR1974:0002:002:048 and DR1974:0002:002:028).
DR1974:0002:002:001-094
Description:
- This album consists mainly of elevations, sections and plans for a number of domestic commissions by Charles Rohault de Fleury: a house in Cologne, a hothouse for M. Faquet-Lemaitre, two [?] apartment houses and three private houses in Paris, a house for Mme de Lescure, Royan, and the Administration générale des omnibus office building, Paris. Both the drawings for the house in Cologne and the three variant projects for a hothouse are probably presentation drawings. There are contract drawings, probably the architect's copies, for apartment houses for M. Piet and M. Le Comte, and houses for M. Moreau Chaslon, Mme la comtesse de Lubersac, Mme de Lescure and M. Waresquiel. A sheet of cost calculations attached to a preliminary site plan, are probably for M. Waresquiel's house. The first plan for Mme la comtesse de Lubersac's house (DR1974:0002:002:084), and the plans for M. Waresquiel's house are annotated with the functions of the rooms. The architect's copies of the drawings for the country house in Royan, given to the client by the architect, include drawings of the foundations and framework, larger scale elevational and sectional details of the architectural elements, profiles and joinery details. The function within the design process of the prints for the commercial building for the Administration Générale de Omnibus is unclear. The principal elevation (DR1974:0002:002:020) is rendered in watercolour, suggesting it may be a presentation print. The other prints for this building exhibit the same degree of finish as the contract drawings in this album, but the absence of the client's and contractor's signatures and the revision attached to DR1974:0002:002:022 suggests they may be part of the design development stage of the project. Also included in the album is a sheet of preliminary sketches for a tomb for Daguerre (not the photographer) and two small unbound sheets of sketches for unidentified projects (DR1974:0002:002:048 and DR1974:0002:002:028).
Personnes et institutions:
Sujet:
architecture
architecture
Date:
drawings exectued between 1838 and 1854, prints executed between 1838 and 1856
drawings exectued between 1838 and 1854, prints executed between 1838 and 1856
Titre:
Album of prints and drawings for nine domestic commissions, an office building, a tomb, and a hothouse in Paris, Royan and Cologne
Actions:
DR1974:0002:002:001-094
Description:
- This album consists mainly of elevations, sections and plans for a number of domestic commissions by Charles Rohault de Fleury: a house in Cologne, a hothouse for M. Faquet-Lemaitre, two [?] apartment houses and three private houses in Paris, a house for Mme de Lescure, Royan, and the Administration générale des omnibus office building, Paris. Both the drawings for the house in Cologne and the three variant projects for a hothouse are probably presentation drawings. There are contract drawings, probably the architect's copies, for apartment houses for M. Piet and M. Le Comte, and houses for M. Moreau Chaslon, Mme la comtesse de Lubersac, Mme de Lescure and M. Waresquiel. A sheet of cost calculations attached to a preliminary site plan, are probably for M. Waresquiel's house. The first plan for Mme la comtesse de Lubersac's house (DR1974:0002:002:084), and the plans for M. Waresquiel's house are annotated with the functions of the rooms. The architect's copies of the drawings for the country house in Royan, given to the client by the architect, include drawings of the foundations and framework, larger scale elevational and sectional details of the architectural elements, profiles and joinery details. The function within the design process of the prints for the commercial building for the Administration Générale de Omnibus is unclear. The principal elevation (DR1974:0002:002:020) is rendered in watercolour, suggesting it may be a presentation print. The other prints for this building exhibit the same degree of finish as the contract drawings in this album, but the absence of the client's and contractor's signatures and the revision attached to DR1974:0002:002:022 suggests they may be part of the design development stage of the project. Also included in the album is a sheet of preliminary sketches for a tomb for Daguerre (not the photographer) and two small unbound sheets of sketches for unidentified projects (DR1974:0002:002:048 and DR1974:0002:002:028).
Album of prints and drawings for nine domestic commissions, an office building, a tomb, and a hothouse in Paris, Royan and Cologne
Actions:
DR1974:0002:002:001-094
Description:
- This album consists mainly of elevations, sections and plans for a number of domestic commissions by Charles Rohault de Fleury: a house in Cologne, a hothouse for M. Faquet-Lemaitre, two [?] apartment houses and three private houses in Paris, a house for Mme de Lescure, Royan, and the Administration générale des omnibus office building, Paris. Both the drawings for the house in Cologne and the three variant projects for a hothouse are probably presentation drawings. There are contract drawings, probably the architect's copies, for apartment houses for M. Piet and M. Le Comte, and houses for M. Moreau Chaslon, Mme la comtesse de Lubersac, Mme de Lescure and M. Waresquiel. A sheet of cost calculations attached to a preliminary site plan, are probably for M. Waresquiel's house. The first plan for Mme la comtesse de Lubersac's house (DR1974:0002:002:084), and the plans for M. Waresquiel's house are annotated with the functions of the rooms. The architect's copies of the drawings for the country house in Royan, given to the client by the architect, include drawings of the foundations and framework, larger scale elevational and sectional details of the architectural elements, profiles and joinery details. The function within the design process of the prints for the commercial building for the Administration Générale de Omnibus is unclear. The principal elevation (DR1974:0002:002:020) is rendered in watercolour, suggesting it may be a presentation print. The other prints for this building exhibit the same degree of finish as the contract drawings in this album, but the absence of the client's and contractor's signatures and the revision attached to DR1974:0002:002:022 suggests they may be part of the design development stage of the project. Also included in the album is a sheet of preliminary sketches for a tomb for Daguerre (not the photographer) and two small unbound sheets of sketches for unidentified projects (DR1974:0002:002:048 and DR1974:0002:002:028).
Classification:
dessins, documents textuels, oeuvres d'art
dessins, documents textuels, oeuvres d'art
Date:
drawings exectued between 1838 and 1854, prints executed between 1838 and 1856
drawings exectued between 1838 and 1854, prints executed between 1838 and 1856
Personnes et institutions:
Sujet:
architecture
architecture
Classification:
oeuvres d'art
oeuvres d'art
Actions:
Numéro de référence:
DR1974:0002:022:001-021
Description:
- This album contains 21 transfer lithographs of contract and working drawings for the Chambre des Notaires, Paris. The transfer lithographs of the contract drawings (DR1974:0002:022:002, DR1974:0002:022:003 and DR1974:0002:022:005 - DR1974:0002:022:011) are signed by architects Charles Rohault de Fleury and Auguste Joseph Pellechet (Hillairet, 393), and by six unidentified hands, probably those of the contractors and/or client(s). Several revisions are evident between these transfer lithographs, dated April 1855, and the transfer lithographs of the working drawings, predominantly dated June 1855 (DR1974:0002:022:001 and DR1974:0002:022:012 - DR1974:0002:022:018). Minor changes have been made in the distribution of spaces on all floors, while more significant changes have been made in the dimensions and design of the façade bays (Bergdoll). Rohault de Fleury considered three alternate elevations (DR1974:0002:022:019 - DR1974:0002:022:021) for the principal façade with different column dispositions and window designs. The basic arrangement of the façade, however, remained the same: three floors each carrying a different order, separated by prominent entablatures and surmounted by an attic roof with dormer windows. The façade as constructed most closely approximates the elevations on transfer lithographs DR1974:0002:022:001 and DR1974:0002:022:002. The floor plans, with their detailed measurements, also correspond quite closely to the building as constructed (Bergdoll). The plans are particularly informative concerning the mixed use of iron and masonry construction. The "soubassement" consists of numerous masonry supports spanned by iron beams, while the "rez-de-chaussée" and "entresol" are constructed of iron columns, beams, and lintels allowing for abundant fenestration on the side façades (DR1974:0002:022:003 - DR1974:0002:022:004). The upper stories then revert back to a construction similar to that of the "soubassement".
DR1974:0002:022:001-021
Description:
- This album contains 21 transfer lithographs of contract and working drawings for the Chambre des Notaires, Paris. The transfer lithographs of the contract drawings (DR1974:0002:022:002, DR1974:0002:022:003 and DR1974:0002:022:005 - DR1974:0002:022:011) are signed by architects Charles Rohault de Fleury and Auguste Joseph Pellechet (Hillairet, 393), and by six unidentified hands, probably those of the contractors and/or client(s). Several revisions are evident between these transfer lithographs, dated April 1855, and the transfer lithographs of the working drawings, predominantly dated June 1855 (DR1974:0002:022:001 and DR1974:0002:022:012 - DR1974:0002:022:018). Minor changes have been made in the distribution of spaces on all floors, while more significant changes have been made in the dimensions and design of the façade bays (Bergdoll). Rohault de Fleury considered three alternate elevations (DR1974:0002:022:019 - DR1974:0002:022:021) for the principal façade with different column dispositions and window designs. The basic arrangement of the façade, however, remained the same: three floors each carrying a different order, separated by prominent entablatures and surmounted by an attic roof with dormer windows. The façade as constructed most closely approximates the elevations on transfer lithographs DR1974:0002:022:001 and DR1974:0002:022:002. The floor plans, with their detailed measurements, also correspond quite closely to the building as constructed (Bergdoll). The plans are particularly informative concerning the mixed use of iron and masonry construction. The "soubassement" consists of numerous masonry supports spanned by iron beams, while the "rez-de-chaussée" and "entresol" are constructed of iron columns, beams, and lintels allowing for abundant fenestration on the side façades (DR1974:0002:022:003 - DR1974:0002:022:004). The upper stories then revert back to a construction similar to that of the "soubassement".
Personnes et institutions:
Sujet:
architecture
architecture
Date:
contracted 12 May 1855, prints executed between February and June 1855
contracted 12 May 1855, prints executed between February and June 1855
Titre:
Album of transfer lithographs of working and contract drawings for the Chambre des Notaires, place du Châtelet, Paris
Actions:
DR1974:0002:022:001-021
Description:
- This album contains 21 transfer lithographs of contract and working drawings for the Chambre des Notaires, Paris. The transfer lithographs of the contract drawings (DR1974:0002:022:002, DR1974:0002:022:003 and DR1974:0002:022:005 - DR1974:0002:022:011) are signed by architects Charles Rohault de Fleury and Auguste Joseph Pellechet (Hillairet, 393), and by six unidentified hands, probably those of the contractors and/or client(s). Several revisions are evident between these transfer lithographs, dated April 1855, and the transfer lithographs of the working drawings, predominantly dated June 1855 (DR1974:0002:022:001 and DR1974:0002:022:012 - DR1974:0002:022:018). Minor changes have been made in the distribution of spaces on all floors, while more significant changes have been made in the dimensions and design of the façade bays (Bergdoll). Rohault de Fleury considered three alternate elevations (DR1974:0002:022:019 - DR1974:0002:022:021) for the principal façade with different column dispositions and window designs. The basic arrangement of the façade, however, remained the same: three floors each carrying a different order, separated by prominent entablatures and surmounted by an attic roof with dormer windows. The façade as constructed most closely approximates the elevations on transfer lithographs DR1974:0002:022:001 and DR1974:0002:022:002. The floor plans, with their detailed measurements, also correspond quite closely to the building as constructed (Bergdoll). The plans are particularly informative concerning the mixed use of iron and masonry construction. The "soubassement" consists of numerous masonry supports spanned by iron beams, while the "rez-de-chaussée" and "entresol" are constructed of iron columns, beams, and lintels allowing for abundant fenestration on the side façades (DR1974:0002:022:003 - DR1974:0002:022:004). The upper stories then revert back to a construction similar to that of the "soubassement".
Album of transfer lithographs of working and contract drawings for the Chambre des Notaires, place du Châtelet, Paris
Actions:
DR1974:0002:022:001-021
Description:
- This album contains 21 transfer lithographs of contract and working drawings for the Chambre des Notaires, Paris. The transfer lithographs of the contract drawings (DR1974:0002:022:002, DR1974:0002:022:003 and DR1974:0002:022:005 - DR1974:0002:022:011) are signed by architects Charles Rohault de Fleury and Auguste Joseph Pellechet (Hillairet, 393), and by six unidentified hands, probably those of the contractors and/or client(s). Several revisions are evident between these transfer lithographs, dated April 1855, and the transfer lithographs of the working drawings, predominantly dated June 1855 (DR1974:0002:022:001 and DR1974:0002:022:012 - DR1974:0002:022:018). Minor changes have been made in the distribution of spaces on all floors, while more significant changes have been made in the dimensions and design of the façade bays (Bergdoll). Rohault de Fleury considered three alternate elevations (DR1974:0002:022:019 - DR1974:0002:022:021) for the principal façade with different column dispositions and window designs. The basic arrangement of the façade, however, remained the same: three floors each carrying a different order, separated by prominent entablatures and surmounted by an attic roof with dormer windows. The façade as constructed most closely approximates the elevations on transfer lithographs DR1974:0002:022:001 and DR1974:0002:022:002. The floor plans, with their detailed measurements, also correspond quite closely to the building as constructed (Bergdoll). The plans are particularly informative concerning the mixed use of iron and masonry construction. The "soubassement" consists of numerous masonry supports spanned by iron beams, while the "rez-de-chaussée" and "entresol" are constructed of iron columns, beams, and lintels allowing for abundant fenestration on the side façades (DR1974:0002:022:003 - DR1974:0002:022:004). The upper stories then revert back to a construction similar to that of the "soubassement".
Classification:
oeuvres d'art
oeuvres d'art
Date:
contracted 12 May 1855, prints executed between February and June 1855
contracted 12 May 1855, prints executed between February and June 1855
Personnes et institutions:
Sujet:
architecture
architecture
Niveau de description archivistique:
Projet
Projet
Titre:
Quinta da Bela Flor, Lisboa
Quinta da Bela Flor, Lisboa
Numéro de référence:
CD034.S1.1976.PR01
Description:
This project series contains one reproduction of a photograph displayed in the exhibit to document the Quinta da Bela Flor neighbourhood, in Lisbon, Portugal. The exhibit text explained that: Artur Rosa's project in the neighbourhood grew out of a shanty town, built on a difficult site, dating back to the 19th century, with reports of families living in hillside caves that today flank the entrance to a nearby highway. The process was based on voluntary work, and its ending presented a huge disappointment to the local brigade. In 1976 and 1977, Artur Rosa, also a practicing artist, produced three works that reflected on SAAL, its failure and the subsequent sense of persecution felt by many brigade leaders. The decision not to present the project but rather the artistic interventions aims at revealing the performative nature of the process, its poetic intensity and the way it related to its protagonists. In 1977 the architect presented a performance at the Fine Arts Society in Lisbon in which he closed the documentation of the project in a darkened room. The following year, he presented a structure with the documentation closed inside, and finally he used the project drawings in a collage with photographs on the occasion of the first public tap in Quinta da Bela-Flor. Those poetic artistic interventions are his form of publicly mourning the end of the SAAL process. (The SAAL Process, Housing in Portugal 1974–76) Artur Rosa worked for SAAL/Lisbon and Central South with Etelvina José, Hélio Oliveira, José Luís Teles Rebolo, José Miguel Fonseca, Luís Pereira, Manuel Coutinho Raposo, Maria Fernanda Carvalho, Maria Isabel Rodrigues Lobo, Nuno Blanco Bártolo, Nuno Martins and the residents' association Cooperativa de Habitação Económica Bela Flor, that was founded on February 13th, 1976. The project included 288 dwellings. The operation began in September 1976, with a construction date in December 1976. This project series contains a reproduction of a photograph of a model. The original photograph was produced around 1976 and was reproduced in 2015 for the exhibit.
CD034.S1.1976.PR01
Description:
This project series contains one reproduction of a photograph displayed in the exhibit to document the Quinta da Bela Flor neighbourhood, in Lisbon, Portugal. The exhibit text explained that: Artur Rosa's project in the neighbourhood grew out of a shanty town, built on a difficult site, dating back to the 19th century, with reports of families living in hillside caves that today flank the entrance to a nearby highway. The process was based on voluntary work, and its ending presented a huge disappointment to the local brigade. In 1976 and 1977, Artur Rosa, also a practicing artist, produced three works that reflected on SAAL, its failure and the subsequent sense of persecution felt by many brigade leaders. The decision not to present the project but rather the artistic interventions aims at revealing the performative nature of the process, its poetic intensity and the way it related to its protagonists. In 1977 the architect presented a performance at the Fine Arts Society in Lisbon in which he closed the documentation of the project in a darkened room. The following year, he presented a structure with the documentation closed inside, and finally he used the project drawings in a collage with photographs on the occasion of the first public tap in Quinta da Bela-Flor. Those poetic artistic interventions are his form of publicly mourning the end of the SAAL process. (The SAAL Process, Housing in Portugal 1974–76) Artur Rosa worked for SAAL/Lisbon and Central South with Etelvina José, Hélio Oliveira, José Luís Teles Rebolo, José Miguel Fonseca, Luís Pereira, Manuel Coutinho Raposo, Maria Fernanda Carvalho, Maria Isabel Rodrigues Lobo, Nuno Blanco Bártolo, Nuno Martins and the residents' association Cooperativa de Habitação Económica Bela Flor, that was founded on February 13th, 1976. The project included 288 dwellings. The operation began in September 1976, with a construction date in December 1976. This project series contains a reproduction of a photograph of a model. The original photograph was produced around 1976 and was reproduced in 2015 for the exhibit.
Personnes et institutions:
Date:
circa 1976
circa 1976
Titre:
Quinta da Bela Flor, Lisboa
Actions:
CD034.S1.1976.PR01
Description:
This project series contains one reproduction of a photograph displayed in the exhibit to document the Quinta da Bela Flor neighbourhood, in Lisbon, Portugal. The exhibit text explained that: Artur Rosa's project in the neighbourhood grew out of a shanty town, built on a difficult site, dating back to the 19th century, with reports of families living in hillside caves that today flank the entrance to a nearby highway. The process was based on voluntary work, and its ending presented a huge disappointment to the local brigade. In 1976 and 1977, Artur Rosa, also a practicing artist, produced three works that reflected on SAAL, its failure and the subsequent sense of persecution felt by many brigade leaders. The decision not to present the project but rather the artistic interventions aims at revealing the performative nature of the process, its poetic intensity and the way it related to its protagonists. In 1977 the architect presented a performance at the Fine Arts Society in Lisbon in which he closed the documentation of the project in a darkened room. The following year, he presented a structure with the documentation closed inside, and finally he used the project drawings in a collage with photographs on the occasion of the first public tap in Quinta da Bela-Flor. Those poetic artistic interventions are his form of publicly mourning the end of the SAAL process. (The SAAL Process, Housing in Portugal 1974–76) Artur Rosa worked for SAAL/Lisbon and Central South with Etelvina José, Hélio Oliveira, José Luís Teles Rebolo, José Miguel Fonseca, Luís Pereira, Manuel Coutinho Raposo, Maria Fernanda Carvalho, Maria Isabel Rodrigues Lobo, Nuno Blanco Bártolo, Nuno Martins and the residents' association Cooperativa de Habitação Económica Bela Flor, that was founded on February 13th, 1976. The project included 288 dwellings. The operation began in September 1976, with a construction date in December 1976. This project series contains a reproduction of a photograph of a model. The original photograph was produced around 1976 and was reproduced in 2015 for the exhibit.
Quinta da Bela Flor, Lisboa
Actions:
CD034.S1.1976.PR01
Description:
This project series contains one reproduction of a photograph displayed in the exhibit to document the Quinta da Bela Flor neighbourhood, in Lisbon, Portugal. The exhibit text explained that: Artur Rosa's project in the neighbourhood grew out of a shanty town, built on a difficult site, dating back to the 19th century, with reports of families living in hillside caves that today flank the entrance to a nearby highway. The process was based on voluntary work, and its ending presented a huge disappointment to the local brigade. In 1976 and 1977, Artur Rosa, also a practicing artist, produced three works that reflected on SAAL, its failure and the subsequent sense of persecution felt by many brigade leaders. The decision not to present the project but rather the artistic interventions aims at revealing the performative nature of the process, its poetic intensity and the way it related to its protagonists. In 1977 the architect presented a performance at the Fine Arts Society in Lisbon in which he closed the documentation of the project in a darkened room. The following year, he presented a structure with the documentation closed inside, and finally he used the project drawings in a collage with photographs on the occasion of the first public tap in Quinta da Bela-Flor. Those poetic artistic interventions are his form of publicly mourning the end of the SAAL process. (The SAAL Process, Housing in Portugal 1974–76) Artur Rosa worked for SAAL/Lisbon and Central South with Etelvina José, Hélio Oliveira, José Luís Teles Rebolo, José Miguel Fonseca, Luís Pereira, Manuel Coutinho Raposo, Maria Fernanda Carvalho, Maria Isabel Rodrigues Lobo, Nuno Blanco Bártolo, Nuno Martins and the residents' association Cooperativa de Habitação Económica Bela Flor, that was founded on February 13th, 1976. The project included 288 dwellings. The operation began in September 1976, with a construction date in December 1976. This project series contains a reproduction of a photograph of a model. The original photograph was produced around 1976 and was reproduced in 2015 for the exhibit.
Niveau de description archivistique:
Project
Project
Date:
circa 1976
circa 1976
Personnes et institutions:
Niveau de description archivistique:
Projet
Projet
Numéro de référence:
AP178.S1.1980.PR02
Description:
The project series documents Block 121, better known as Bonjour Tristesse. While the records were held in the office’s archives this project was assigned the number 2/80. This project was one of several projects Siza submitted to the International Architectural Exhibition Berlin competition (International Bauaustellung, IBA, circa 1979-1987), and was Siza’s first international built project. The IBA was an urban renewal strategy for West Berlin and received submissions from several international architects. The IBA divided West Berlin into two parts: IBA Neubau ('new building'), led by Josef Paul Kleihues and IBA Altbau ('old building') led by Hardt-Walherr Hämer. IBA Nuebau's focus was to build new buildings while IBA Altbau's was to renovate existing buildings. The project site for Block 121 was in the district of Kreuzberg, a district on the eastern side of then West Berlin. Due to low rents, there was an influx of immigrants and students to Kreuzberg in the late 1970s. Bonjour Tristesse would serve as a residential complex for a predominantly Turkish immigrant population. In 1980, Hämer invited Siza to submit an entry for this complex to be built on the east side of Kreuzberg beside the Schlesisches Tor train station. Hämer encouraged the participatory model which Siza had become known for from his work with the Servicio Ambulatorio de Apoio Local (SAAL) in Portugal. This project series is arranged in four subseries: AP178.S1.1980.PR02.SS1, Competition, Block 121 (identified as 2/80); AP178.S1.1980.PR02.SS2, Bonjour Tristesse (identified as 2/80 A); AP178.S1.1980.PR02.SS3, Kita [Kindergarten] (identified as 2/80 B); and AP178.S1.1980.PR02.SS4, Senior Club Anziani [Senior citizens’ clubhouse] (identified as 2/80 C). The office’s archivist assigned the number 2/80 to materials related to the competition phase of this project; letters (A, B, and C) were then assigned to each subsequent portion of the project following the competition. All documentation for this project series, including the project subseries, has been kept together to maintain the order of the office’s arrangement.
AP178.S1.1980.PR02
Description:
The project series documents Block 121, better known as Bonjour Tristesse. While the records were held in the office’s archives this project was assigned the number 2/80. This project was one of several projects Siza submitted to the International Architectural Exhibition Berlin competition (International Bauaustellung, IBA, circa 1979-1987), and was Siza’s first international built project. The IBA was an urban renewal strategy for West Berlin and received submissions from several international architects. The IBA divided West Berlin into two parts: IBA Neubau ('new building'), led by Josef Paul Kleihues and IBA Altbau ('old building') led by Hardt-Walherr Hämer. IBA Nuebau's focus was to build new buildings while IBA Altbau's was to renovate existing buildings. The project site for Block 121 was in the district of Kreuzberg, a district on the eastern side of then West Berlin. Due to low rents, there was an influx of immigrants and students to Kreuzberg in the late 1970s. Bonjour Tristesse would serve as a residential complex for a predominantly Turkish immigrant population. In 1980, Hämer invited Siza to submit an entry for this complex to be built on the east side of Kreuzberg beside the Schlesisches Tor train station. Hämer encouraged the participatory model which Siza had become known for from his work with the Servicio Ambulatorio de Apoio Local (SAAL) in Portugal. This project series is arranged in four subseries: AP178.S1.1980.PR02.SS1, Competition, Block 121 (identified as 2/80); AP178.S1.1980.PR02.SS2, Bonjour Tristesse (identified as 2/80 A); AP178.S1.1980.PR02.SS3, Kita [Kindergarten] (identified as 2/80 B); and AP178.S1.1980.PR02.SS4, Senior Club Anziani [Senior citizens’ clubhouse] (identified as 2/80 C). The office’s archivist assigned the number 2/80 to materials related to the competition phase of this project; letters (A, B, and C) were then assigned to each subsequent portion of the project following the competition. All documentation for this project series, including the project subseries, has been kept together to maintain the order of the office’s arrangement.
Personnes et institutions:
Date:
circa 1980-1990
circa 1980-1990
Titre:
Block 121, Schlesisches Tor [Block 121, Schlesisches Tor residential complex], Berlin, Germany (1980-1990)
Actions:
AP178.S1.1980.PR02
Description:
The project series documents Block 121, better known as Bonjour Tristesse. While the records were held in the office’s archives this project was assigned the number 2/80. This project was one of several projects Siza submitted to the International Architectural Exhibition Berlin competition (International Bauaustellung, IBA, circa 1979-1987), and was Siza’s first international built project. The IBA was an urban renewal strategy for West Berlin and received submissions from several international architects. The IBA divided West Berlin into two parts: IBA Neubau ('new building'), led by Josef Paul Kleihues and IBA Altbau ('old building') led by Hardt-Walherr Hämer. IBA Nuebau's focus was to build new buildings while IBA Altbau's was to renovate existing buildings. The project site for Block 121 was in the district of Kreuzberg, a district on the eastern side of then West Berlin. Due to low rents, there was an influx of immigrants and students to Kreuzberg in the late 1970s. Bonjour Tristesse would serve as a residential complex for a predominantly Turkish immigrant population. In 1980, Hämer invited Siza to submit an entry for this complex to be built on the east side of Kreuzberg beside the Schlesisches Tor train station. Hämer encouraged the participatory model which Siza had become known for from his work with the Servicio Ambulatorio de Apoio Local (SAAL) in Portugal. This project series is arranged in four subseries: AP178.S1.1980.PR02.SS1, Competition, Block 121 (identified as 2/80); AP178.S1.1980.PR02.SS2, Bonjour Tristesse (identified as 2/80 A); AP178.S1.1980.PR02.SS3, Kita [Kindergarten] (identified as 2/80 B); and AP178.S1.1980.PR02.SS4, Senior Club Anziani [Senior citizens’ clubhouse] (identified as 2/80 C). The office’s archivist assigned the number 2/80 to materials related to the competition phase of this project; letters (A, B, and C) were then assigned to each subsequent portion of the project following the competition. All documentation for this project series, including the project subseries, has been kept together to maintain the order of the office’s arrangement.
Block 121, Schlesisches Tor [Block 121, Schlesisches Tor residential complex], Berlin, Germany (1980-1990)
Actions:
AP178.S1.1980.PR02
Description:
The project series documents Block 121, better known as Bonjour Tristesse. While the records were held in the office’s archives this project was assigned the number 2/80. This project was one of several projects Siza submitted to the International Architectural Exhibition Berlin competition (International Bauaustellung, IBA, circa 1979-1987), and was Siza’s first international built project. The IBA was an urban renewal strategy for West Berlin and received submissions from several international architects. The IBA divided West Berlin into two parts: IBA Neubau ('new building'), led by Josef Paul Kleihues and IBA Altbau ('old building') led by Hardt-Walherr Hämer. IBA Nuebau's focus was to build new buildings while IBA Altbau's was to renovate existing buildings. The project site for Block 121 was in the district of Kreuzberg, a district on the eastern side of then West Berlin. Due to low rents, there was an influx of immigrants and students to Kreuzberg in the late 1970s. Bonjour Tristesse would serve as a residential complex for a predominantly Turkish immigrant population. In 1980, Hämer invited Siza to submit an entry for this complex to be built on the east side of Kreuzberg beside the Schlesisches Tor train station. Hämer encouraged the participatory model which Siza had become known for from his work with the Servicio Ambulatorio de Apoio Local (SAAL) in Portugal. This project series is arranged in four subseries: AP178.S1.1980.PR02.SS1, Competition, Block 121 (identified as 2/80); AP178.S1.1980.PR02.SS2, Bonjour Tristesse (identified as 2/80 A); AP178.S1.1980.PR02.SS3, Kita [Kindergarten] (identified as 2/80 B); and AP178.S1.1980.PR02.SS4, Senior Club Anziani [Senior citizens’ clubhouse] (identified as 2/80 C). The office’s archivist assigned the number 2/80 to materials related to the competition phase of this project; letters (A, B, and C) were then assigned to each subsequent portion of the project following the competition. All documentation for this project series, including the project subseries, has been kept together to maintain the order of the office’s arrangement.
Niveau de description archivistique:
Project
Project
Date:
circa 1980-1990
circa 1980-1990
Personnes et institutions:
Niveau de description archivistique:
Série(s)
Série(s)
Titre:
Dessins et tableaux
Dessins et tableaux
Numéro de référence:
AP104.S1
Description:
Series I consists of sketches, drawings and paintings, mostly created by Parizeau. From the period he spent in Europe (1923-1933), there are 11 student drawings in the standard presentation format of the École des Beaux-arts de Paris, a volume of course notes, as well as unidentified drawings, sketchbooks and paintings of primarily buildings and landscapes executed in Paris and during his travels in France. Drawings relating to Parizeau's architectural career in Montreal are represented in a number of independant projects, including a small chapel beside the St. Lawrence River, a pair of two-storey cabin-cottages outside of Montreal, and several residences in the city. The documents are mostly original preliminary studies with some reproductions of working drawings. It should be noted that there are also photographs of exterior details of the Laroque Residence and the Jarry Residence in documents CO2 in Series II. Reproductions of designs for worker housing by French architect Eugène Beaudoin in 1938 perhaps give a clue to Parizeau's relatively early employment of modernist forms. A residence in Baie D'Urfé is unlikely to be connected to Parizeau because its date, ca. 1955, is a decade after his death. Parizeau's concern with furniture and interior design is represented in the Archive with many lively perspective sketches in colour, and elevation and plan studies of several kinds of rooms and types of furniture. Some preliminary drawings for interiors were grouped with the Gillow house in Ville Mont-Royal, and the Walter Downs Residence in Montreal. The artworks by Parizeau consist of paintings and drawings of landscapes, buildings, still lifes and figure studies on loose sheets and in bound sketchbooks. These works are executed in a variety of media, including pencil, coloured pencil, watercolour on paper, and oil paint on masonite panels. Studies of buildings in Brittany and Paris are the subjects in three small sketchbooks, while larger spiral-bound drawing books contain some architectural plans, elevations and details. Most of these artworks and sketches were likely created in Europe before 1933.
AP104.S1
Description:
Series I consists of sketches, drawings and paintings, mostly created by Parizeau. From the period he spent in Europe (1923-1933), there are 11 student drawings in the standard presentation format of the École des Beaux-arts de Paris, a volume of course notes, as well as unidentified drawings, sketchbooks and paintings of primarily buildings and landscapes executed in Paris and during his travels in France. Drawings relating to Parizeau's architectural career in Montreal are represented in a number of independant projects, including a small chapel beside the St. Lawrence River, a pair of two-storey cabin-cottages outside of Montreal, and several residences in the city. The documents are mostly original preliminary studies with some reproductions of working drawings. It should be noted that there are also photographs of exterior details of the Laroque Residence and the Jarry Residence in documents CO2 in Series II. Reproductions of designs for worker housing by French architect Eugène Beaudoin in 1938 perhaps give a clue to Parizeau's relatively early employment of modernist forms. A residence in Baie D'Urfé is unlikely to be connected to Parizeau because its date, ca. 1955, is a decade after his death. Parizeau's concern with furniture and interior design is represented in the Archive with many lively perspective sketches in colour, and elevation and plan studies of several kinds of rooms and types of furniture. Some preliminary drawings for interiors were grouped with the Gillow house in Ville Mont-Royal, and the Walter Downs Residence in Montreal. The artworks by Parizeau consist of paintings and drawings of landscapes, buildings, still lifes and figure studies on loose sheets and in bound sketchbooks. These works are executed in a variety of media, including pencil, coloured pencil, watercolour on paper, and oil paint on masonite panels. Studies of buildings in Brittany and Paris are the subjects in three small sketchbooks, while larger spiral-bound drawing books contain some architectural plans, elevations and details. Most of these artworks and sketches were likely created in Europe before 1933.
Personnes et institutions:
Date:
1917-1955
1917-1955
Titre:
Dessins et tableaux
Actions:
AP104.S1
Description:
Series I consists of sketches, drawings and paintings, mostly created by Parizeau. From the period he spent in Europe (1923-1933), there are 11 student drawings in the standard presentation format of the École des Beaux-arts de Paris, a volume of course notes, as well as unidentified drawings, sketchbooks and paintings of primarily buildings and landscapes executed in Paris and during his travels in France. Drawings relating to Parizeau's architectural career in Montreal are represented in a number of independant projects, including a small chapel beside the St. Lawrence River, a pair of two-storey cabin-cottages outside of Montreal, and several residences in the city. The documents are mostly original preliminary studies with some reproductions of working drawings. It should be noted that there are also photographs of exterior details of the Laroque Residence and the Jarry Residence in documents CO2 in Series II. Reproductions of designs for worker housing by French architect Eugène Beaudoin in 1938 perhaps give a clue to Parizeau's relatively early employment of modernist forms. A residence in Baie D'Urfé is unlikely to be connected to Parizeau because its date, ca. 1955, is a decade after his death. Parizeau's concern with furniture and interior design is represented in the Archive with many lively perspective sketches in colour, and elevation and plan studies of several kinds of rooms and types of furniture. Some preliminary drawings for interiors were grouped with the Gillow house in Ville Mont-Royal, and the Walter Downs Residence in Montreal. The artworks by Parizeau consist of paintings and drawings of landscapes, buildings, still lifes and figure studies on loose sheets and in bound sketchbooks. These works are executed in a variety of media, including pencil, coloured pencil, watercolour on paper, and oil paint on masonite panels. Studies of buildings in Brittany and Paris are the subjects in three small sketchbooks, while larger spiral-bound drawing books contain some architectural plans, elevations and details. Most of these artworks and sketches were likely created in Europe before 1933.
Dessins et tableaux
Actions:
AP104.S1
Description:
Series I consists of sketches, drawings and paintings, mostly created by Parizeau. From the period he spent in Europe (1923-1933), there are 11 student drawings in the standard presentation format of the École des Beaux-arts de Paris, a volume of course notes, as well as unidentified drawings, sketchbooks and paintings of primarily buildings and landscapes executed in Paris and during his travels in France. Drawings relating to Parizeau's architectural career in Montreal are represented in a number of independant projects, including a small chapel beside the St. Lawrence River, a pair of two-storey cabin-cottages outside of Montreal, and several residences in the city. The documents are mostly original preliminary studies with some reproductions of working drawings. It should be noted that there are also photographs of exterior details of the Laroque Residence and the Jarry Residence in documents CO2 in Series II. Reproductions of designs for worker housing by French architect Eugène Beaudoin in 1938 perhaps give a clue to Parizeau's relatively early employment of modernist forms. A residence in Baie D'Urfé is unlikely to be connected to Parizeau because its date, ca. 1955, is a decade after his death. Parizeau's concern with furniture and interior design is represented in the Archive with many lively perspective sketches in colour, and elevation and plan studies of several kinds of rooms and types of furniture. Some preliminary drawings for interiors were grouped with the Gillow house in Ville Mont-Royal, and the Walter Downs Residence in Montreal. The artworks by Parizeau consist of paintings and drawings of landscapes, buildings, still lifes and figure studies on loose sheets and in bound sketchbooks. These works are executed in a variety of media, including pencil, coloured pencil, watercolour on paper, and oil paint on masonite panels. Studies of buildings in Brittany and Paris are the subjects in three small sketchbooks, while larger spiral-bound drawing books contain some architectural plans, elevations and details. Most of these artworks and sketches were likely created in Europe before 1933.
Niveau de description archivistique:
Série 1
Série 1
Date:
1917-1955
1917-1955
Personnes et institutions:
Niveau de description archivistique:
Projet
Projet
Numéro de référence:
AP018.S1.1974.PR25
Description:
This project series documents the design and construction of the Royal Ottawa Regional Rehabilitation Centre in Ottawa, Ontario from 1974-1981. The office identified the project number as 7432. The Ottawa Heath Sciences Complex, a vast hospital network encompassing institutions across the city, hired Parkin Architects Planners in 1971 to design and construct University of Ottawa buildings within the network. These campus buildings were located in the Alta Vista neighbourhood and referred to as the Health Sciences Centre. This project consists of one building in that complex, the Royal Ottawa Regional Rehabilitation Centre. The distinction between these names should be noted when viewing the materials. The two-storey rehabilitation centre was constructed directly beside the Ottawa Health Sciences Building, another hospital in the network built by Parkin (see project series AP018.S1.1974.PR01 in this fonds). The proposal conceived a 145,000 square foot hospital with 77 in-patient beds. The design included space for patient accommodation, teaching, research, administrative activities, patient care and treatment, and a concession area. Patients at the hospital would range from those with severe brain injuries, to amputees, to those with rheumatic diseases. The building was carefully designed to accommodate the specialized needs of the patients. The hospital design also included a swimming pool, sports areas, and spaces for other leisure activities thought to aid in the rehabilitation process. The project is recorded through construction photographs, drawings, and textual materials dating from 1971-1983. The textual records include correspondence, specifications, schedules, contract data, conference reports and minutes, inspection reports, predesign notes, consultancy records, financial documents, change orders, supplementary instructions, research, and deficiency lists. The majority of these textual records deal with the hospital's construction, rather than design. Most drawings are reprographic copies of detail drawings and can be found within the textual records. Box AP018.S1.1974.PR25.002 contains an index to the textual records, which was created by the office.
AP018.S1.1974.PR25
Description:
This project series documents the design and construction of the Royal Ottawa Regional Rehabilitation Centre in Ottawa, Ontario from 1974-1981. The office identified the project number as 7432. The Ottawa Heath Sciences Complex, a vast hospital network encompassing institutions across the city, hired Parkin Architects Planners in 1971 to design and construct University of Ottawa buildings within the network. These campus buildings were located in the Alta Vista neighbourhood and referred to as the Health Sciences Centre. This project consists of one building in that complex, the Royal Ottawa Regional Rehabilitation Centre. The distinction between these names should be noted when viewing the materials. The two-storey rehabilitation centre was constructed directly beside the Ottawa Health Sciences Building, another hospital in the network built by Parkin (see project series AP018.S1.1974.PR01 in this fonds). The proposal conceived a 145,000 square foot hospital with 77 in-patient beds. The design included space for patient accommodation, teaching, research, administrative activities, patient care and treatment, and a concession area. Patients at the hospital would range from those with severe brain injuries, to amputees, to those with rheumatic diseases. The building was carefully designed to accommodate the specialized needs of the patients. The hospital design also included a swimming pool, sports areas, and spaces for other leisure activities thought to aid in the rehabilitation process. The project is recorded through construction photographs, drawings, and textual materials dating from 1971-1983. The textual records include correspondence, specifications, schedules, contract data, conference reports and minutes, inspection reports, predesign notes, consultancy records, financial documents, change orders, supplementary instructions, research, and deficiency lists. The majority of these textual records deal with the hospital's construction, rather than design. Most drawings are reprographic copies of detail drawings and can be found within the textual records. Box AP018.S1.1974.PR25.002 contains an index to the textual records, which was created by the office.
Personnes et institutions:
Date:
1971-1983
1971-1983
Titre:
Royal Ottawa Regional Rehabilitation Centre, Ottawa Health Sciences Centre, Ottawa, Ontario (1974)
Actions:
AP018.S1.1974.PR25
Description:
This project series documents the design and construction of the Royal Ottawa Regional Rehabilitation Centre in Ottawa, Ontario from 1974-1981. The office identified the project number as 7432. The Ottawa Heath Sciences Complex, a vast hospital network encompassing institutions across the city, hired Parkin Architects Planners in 1971 to design and construct University of Ottawa buildings within the network. These campus buildings were located in the Alta Vista neighbourhood and referred to as the Health Sciences Centre. This project consists of one building in that complex, the Royal Ottawa Regional Rehabilitation Centre. The distinction between these names should be noted when viewing the materials. The two-storey rehabilitation centre was constructed directly beside the Ottawa Health Sciences Building, another hospital in the network built by Parkin (see project series AP018.S1.1974.PR01 in this fonds). The proposal conceived a 145,000 square foot hospital with 77 in-patient beds. The design included space for patient accommodation, teaching, research, administrative activities, patient care and treatment, and a concession area. Patients at the hospital would range from those with severe brain injuries, to amputees, to those with rheumatic diseases. The building was carefully designed to accommodate the specialized needs of the patients. The hospital design also included a swimming pool, sports areas, and spaces for other leisure activities thought to aid in the rehabilitation process. The project is recorded through construction photographs, drawings, and textual materials dating from 1971-1983. The textual records include correspondence, specifications, schedules, contract data, conference reports and minutes, inspection reports, predesign notes, consultancy records, financial documents, change orders, supplementary instructions, research, and deficiency lists. The majority of these textual records deal with the hospital's construction, rather than design. Most drawings are reprographic copies of detail drawings and can be found within the textual records. Box AP018.S1.1974.PR25.002 contains an index to the textual records, which was created by the office.
Royal Ottawa Regional Rehabilitation Centre, Ottawa Health Sciences Centre, Ottawa, Ontario (1974)
Actions:
AP018.S1.1974.PR25
Description:
This project series documents the design and construction of the Royal Ottawa Regional Rehabilitation Centre in Ottawa, Ontario from 1974-1981. The office identified the project number as 7432. The Ottawa Heath Sciences Complex, a vast hospital network encompassing institutions across the city, hired Parkin Architects Planners in 1971 to design and construct University of Ottawa buildings within the network. These campus buildings were located in the Alta Vista neighbourhood and referred to as the Health Sciences Centre. This project consists of one building in that complex, the Royal Ottawa Regional Rehabilitation Centre. The distinction between these names should be noted when viewing the materials. The two-storey rehabilitation centre was constructed directly beside the Ottawa Health Sciences Building, another hospital in the network built by Parkin (see project series AP018.S1.1974.PR01 in this fonds). The proposal conceived a 145,000 square foot hospital with 77 in-patient beds. The design included space for patient accommodation, teaching, research, administrative activities, patient care and treatment, and a concession area. Patients at the hospital would range from those with severe brain injuries, to amputees, to those with rheumatic diseases. The building was carefully designed to accommodate the specialized needs of the patients. The hospital design also included a swimming pool, sports areas, and spaces for other leisure activities thought to aid in the rehabilitation process. The project is recorded through construction photographs, drawings, and textual materials dating from 1971-1983. The textual records include correspondence, specifications, schedules, contract data, conference reports and minutes, inspection reports, predesign notes, consultancy records, financial documents, change orders, supplementary instructions, research, and deficiency lists. The majority of these textual records deal with the hospital's construction, rather than design. Most drawings are reprographic copies of detail drawings and can be found within the textual records. Box AP018.S1.1974.PR25.002 contains an index to the textual records, which was created by the office.
Niveau de description archivistique:
Project
Project
Date:
1971-1983
1971-1983
Personnes et institutions:
Titre:
Villa Weitz - Saint-François d'Assise - 1920-1924 - Salle des Fêtes - De La Croix-Rousse - 1924-1929
Villa Weitz - Saint-François d'Assise - 1920-1924 - Salle des Fêtes - De La Croix-Rousse - 1924-1929
Actions:
Numéro de référence:
PH1986:0900.02
Description:
Album PH1986:0900.02 comprises 71 photographs of projects by architect Michel Roux-Spitz including Villa Weitz (1923), Église Saint-François d'Assise, and Salle des Fêtes De La Croix-Rousse, all in Lyon, France. Photographs of Villa Weitz show the façade, loggia, wrought iron gate, interior views with the staircase and vestibule, entrance door and hallway, living room, detail of the façade loggia and hall on the garden side, details of the mosaic, a display case, ceiling lamp in alabaster, bas-reliefs, study drawing for an interior and several views of a scale model. Photographs of the Église Saint-François d'Assise show views of the dome in glass concrete, the mosaic and iron balustrade. Several photographs show views of the Salle des Fêtes De La Croix-Rousse including the basement, ground floor, first and second floor plans, longitudinal section, main façade, the building site, rear façade, the staircase, the dome with glass by the Saint-Gobain factory in Lyon, the front lobby, the promenoir on the ground and first floors, the entrance with concrete clautras, overall views of the entrance, the gallery and rest area, entrance doors, the ventilation shield on the ceiling, views of one of the two staircases with walls made of concrete mullions and cathedral glass, concrete gutters and stairs made of massive Villebois stone, overall views of the concert hall, the orchestra and the stage.
PH1986:0900.02
Description:
Album PH1986:0900.02 comprises 71 photographs of projects by architect Michel Roux-Spitz including Villa Weitz (1923), Église Saint-François d'Assise, and Salle des Fêtes De La Croix-Rousse, all in Lyon, France. Photographs of Villa Weitz show the façade, loggia, wrought iron gate, interior views with the staircase and vestibule, entrance door and hallway, living room, detail of the façade loggia and hall on the garden side, details of the mosaic, a display case, ceiling lamp in alabaster, bas-reliefs, study drawing for an interior and several views of a scale model. Photographs of the Église Saint-François d'Assise show views of the dome in glass concrete, the mosaic and iron balustrade. Several photographs show views of the Salle des Fêtes De La Croix-Rousse including the basement, ground floor, first and second floor plans, longitudinal section, main façade, the building site, rear façade, the staircase, the dome with glass by the Saint-Gobain factory in Lyon, the front lobby, the promenoir on the ground and first floors, the entrance with concrete clautras, overall views of the entrance, the gallery and rest area, entrance doors, the ventilation shield on the ceiling, views of one of the two staircases with walls made of concrete mullions and cathedral glass, concrete gutters and stairs made of massive Villebois stone, overall views of the concert hall, the orchestra and the stage.
Personnes et institutions:
Sujet:
architecture, design d'intérieur
architecture, design d'intérieur
Date:
1920-1929
1920-1929
Titre:
Villa Weitz - Saint-François d'Assise - 1920-1924 - Salle des Fêtes - De La Croix-Rousse - 1924-1929
Actions:
PH1986:0900.02
Description:
Album PH1986:0900.02 comprises 71 photographs of projects by architect Michel Roux-Spitz including Villa Weitz (1923), Église Saint-François d'Assise, and Salle des Fêtes De La Croix-Rousse, all in Lyon, France. Photographs of Villa Weitz show the façade, loggia, wrought iron gate, interior views with the staircase and vestibule, entrance door and hallway, living room, detail of the façade loggia and hall on the garden side, details of the mosaic, a display case, ceiling lamp in alabaster, bas-reliefs, study drawing for an interior and several views of a scale model. Photographs of the Église Saint-François d'Assise show views of the dome in glass concrete, the mosaic and iron balustrade. Several photographs show views of the Salle des Fêtes De La Croix-Rousse including the basement, ground floor, first and second floor plans, longitudinal section, main façade, the building site, rear façade, the staircase, the dome with glass by the Saint-Gobain factory in Lyon, the front lobby, the promenoir on the ground and first floors, the entrance with concrete clautras, overall views of the entrance, the gallery and rest area, entrance doors, the ventilation shield on the ceiling, views of one of the two staircases with walls made of concrete mullions and cathedral glass, concrete gutters and stairs made of massive Villebois stone, overall views of the concert hall, the orchestra and the stage.
Villa Weitz - Saint-François d'Assise - 1920-1924 - Salle des Fêtes - De La Croix-Rousse - 1924-1929
Actions:
PH1986:0900.02
Description:
Album PH1986:0900.02 comprises 71 photographs of projects by architect Michel Roux-Spitz including Villa Weitz (1923), Église Saint-François d'Assise, and Salle des Fêtes De La Croix-Rousse, all in Lyon, France. Photographs of Villa Weitz show the façade, loggia, wrought iron gate, interior views with the staircase and vestibule, entrance door and hallway, living room, detail of the façade loggia and hall on the garden side, details of the mosaic, a display case, ceiling lamp in alabaster, bas-reliefs, study drawing for an interior and several views of a scale model. Photographs of the Église Saint-François d'Assise show views of the dome in glass concrete, the mosaic and iron balustrade. Several photographs show views of the Salle des Fêtes De La Croix-Rousse including the basement, ground floor, first and second floor plans, longitudinal section, main façade, the building site, rear façade, the staircase, the dome with glass by the Saint-Gobain factory in Lyon, the front lobby, the promenoir on the ground and first floors, the entrance with concrete clautras, overall views of the entrance, the gallery and rest area, entrance doors, the ventilation shield on the ceiling, views of one of the two staircases with walls made of concrete mullions and cathedral glass, concrete gutters and stairs made of massive Villebois stone, overall views of the concert hall, the orchestra and the stage.
Date:
1920-1929
1920-1929
Personnes et institutions:
Sujet:
architecture, design d'intérieur
architecture, design d'intérieur
