13025 Résultats
Classification:
dessins, documents textuels
dessins, documents textuels
Numéro de référence:
AP206.S1.1969.PR01.007
Description:
These materials were originally housed in a binder labelled "J&K Academy of Art, Culture and Languages, File No. 2 (Acoustics and Lighting)."
AP206.S1.1969.PR01.007
Description:
These materials were originally housed in a binder labelled "J&K Academy of Art, Culture and Languages, File No. 2 (Acoustics and Lighting)."
Personnes et institutions:
Date:
1971
1971
Titre:
Correspondence on acoustics and lighting, Theatre for J&K Academy of Art, Culture and Languages, Jammu, India
Actions:
AP206.S1.1969.PR01.007
Description:
These materials were originally housed in a binder labelled "J&K Academy of Art, Culture and Languages, File No. 2 (Acoustics and Lighting)."
Correspondence on acoustics and lighting, Theatre for J&K Academy of Art, Culture and Languages, Jammu, India
Actions:
AP206.S1.1969.PR01.007
Description:
These materials were originally housed in a binder labelled "J&K Academy of Art, Culture and Languages, File No. 2 (Acoustics and Lighting)."
Classification:
dessins, documents textuels
dessins, documents textuels
Date:
1971
1971
Personnes et institutions:
Niveau de description archivistique:
Sous-série
Sous-série
Titre:
Maison de Verre (1965, 1969)
Maison de Verre (1965, 1969)
Numéro de référence:
AP197.S1.SS1
Description:
Located on 31 Rue St Guillaume in Paris, France, Maison de Verre was designed between 1928 and 1931 by furniture designer and architect Pierre Chareau, architect Bernard Bijvoet, and metal craftsman Louis Dalbet. Although the home was built, no original drawings exist for this project. In 1965, as Hodder Fellow at Princeton University, Kenneth Frampton along with Robert Vickery and Michael Carapetian measured the home and its details. Originally, their intention was that this research lead to a book project, but they later published their work as an article entitled "Maison de Verre" in a 1969 issue of Perspecta. This subseries includes measurement sketches and sixteen axonometric representations on vellum that were produced from this research. Photographs document Maison de Verre and provide various interior and exterior views of the house. Photographs by Michael Carapetian, published in the Perspecta article, “Maison de Verre (1969),” are also included in this subseries. Textual documentation includes drafts of the publication on Maison de Verre, as well as notes, correspondence, and various research files on Paul Nelson, Pierre Chareau, and Maison de Verre.
AP197.S1.SS1
Description:
Located on 31 Rue St Guillaume in Paris, France, Maison de Verre was designed between 1928 and 1931 by furniture designer and architect Pierre Chareau, architect Bernard Bijvoet, and metal craftsman Louis Dalbet. Although the home was built, no original drawings exist for this project. In 1965, as Hodder Fellow at Princeton University, Kenneth Frampton along with Robert Vickery and Michael Carapetian measured the home and its details. Originally, their intention was that this research lead to a book project, but they later published their work as an article entitled "Maison de Verre" in a 1969 issue of Perspecta. This subseries includes measurement sketches and sixteen axonometric representations on vellum that were produced from this research. Photographs document Maison de Verre and provide various interior and exterior views of the house. Photographs by Michael Carapetian, published in the Perspecta article, “Maison de Verre (1969),” are also included in this subseries. Textual documentation includes drafts of the publication on Maison de Verre, as well as notes, correspondence, and various research files on Paul Nelson, Pierre Chareau, and Maison de Verre.
Personnes et institutions:
Date:
1965-1981
1965-1981
Titre:
Maison de Verre (1965, 1969)
Actions:
AP197.S1.SS1
Description:
Located on 31 Rue St Guillaume in Paris, France, Maison de Verre was designed between 1928 and 1931 by furniture designer and architect Pierre Chareau, architect Bernard Bijvoet, and metal craftsman Louis Dalbet. Although the home was built, no original drawings exist for this project. In 1965, as Hodder Fellow at Princeton University, Kenneth Frampton along with Robert Vickery and Michael Carapetian measured the home and its details. Originally, their intention was that this research lead to a book project, but they later published their work as an article entitled "Maison de Verre" in a 1969 issue of Perspecta. This subseries includes measurement sketches and sixteen axonometric representations on vellum that were produced from this research. Photographs document Maison de Verre and provide various interior and exterior views of the house. Photographs by Michael Carapetian, published in the Perspecta article, “Maison de Verre (1969),” are also included in this subseries. Textual documentation includes drafts of the publication on Maison de Verre, as well as notes, correspondence, and various research files on Paul Nelson, Pierre Chareau, and Maison de Verre.
Maison de Verre (1965, 1969)
Actions:
AP197.S1.SS1
Description:
Located on 31 Rue St Guillaume in Paris, France, Maison de Verre was designed between 1928 and 1931 by furniture designer and architect Pierre Chareau, architect Bernard Bijvoet, and metal craftsman Louis Dalbet. Although the home was built, no original drawings exist for this project. In 1965, as Hodder Fellow at Princeton University, Kenneth Frampton along with Robert Vickery and Michael Carapetian measured the home and its details. Originally, their intention was that this research lead to a book project, but they later published their work as an article entitled "Maison de Verre" in a 1969 issue of Perspecta. This subseries includes measurement sketches and sixteen axonometric representations on vellum that were produced from this research. Photographs document Maison de Verre and provide various interior and exterior views of the house. Photographs by Michael Carapetian, published in the Perspecta article, “Maison de Verre (1969),” are also included in this subseries. Textual documentation includes drafts of the publication on Maison de Verre, as well as notes, correspondence, and various research files on Paul Nelson, Pierre Chareau, and Maison de Verre.
Niveau de description archivistique:
Subseries
Subseries
Date:
1965-1981
1965-1981
Personnes et institutions:
Niveau de description archivistique:
Projet
Projet
Titre:
Weavers' Studio
Weavers' Studio
Numéro de référence:
AP182.S1.2013.D2
Description:
File documents a project for a live-work complex in Dehradun, Uttarakhand, India. Commissioned by Chiaki Maki, a Japanese textile weaver who spends a portion of each year in northern India, this complex in the Himalayan foothills provides working space for a studio of twenty-five weavers from all over the country. It is conceived as a cyclical, self-sufficient farm system that integrates all aspects of the weaving process, from cultivating indigo and henna for dye to gathering silk from cocoons and spinning wool. The site had been previously cultivated, and the design works with the landscape's existing pathways, terraces, and mango groves. Nearly all construction materials--including the brick, limestone, and phosphorescent river stones used in the foundation and to treat the brick walls--come from within a two-kilometre radius of the studio. The five-sided building occupying the centre of the site is the workshop itself, which frames a courtyard for gatherings (of weavers, children, etc.). A gallery in the complex displays the weavers' work, while the linear buildings accommodate motorcycle parking, a guest house, and residences for Maki and her partner as well as the site caretaker and his family. File contains artefacts and realia, models, photographs, drawings, site reports, and a video recording.
AP182.S1.2013.D2
Description:
File documents a project for a live-work complex in Dehradun, Uttarakhand, India. Commissioned by Chiaki Maki, a Japanese textile weaver who spends a portion of each year in northern India, this complex in the Himalayan foothills provides working space for a studio of twenty-five weavers from all over the country. It is conceived as a cyclical, self-sufficient farm system that integrates all aspects of the weaving process, from cultivating indigo and henna for dye to gathering silk from cocoons and spinning wool. The site had been previously cultivated, and the design works with the landscape's existing pathways, terraces, and mango groves. Nearly all construction materials--including the brick, limestone, and phosphorescent river stones used in the foundation and to treat the brick walls--come from within a two-kilometre radius of the studio. The five-sided building occupying the centre of the site is the workshop itself, which frames a courtyard for gatherings (of weavers, children, etc.). A gallery in the complex displays the weavers' work, while the linear buildings accommodate motorcycle parking, a guest house, and residences for Maki and her partner as well as the site caretaker and his family. File contains artefacts and realia, models, photographs, drawings, site reports, and a video recording.
Personnes et institutions:
Date:
2012-2015
2012-2015
Titre:
Weavers' Studio
Actions:
AP182.S1.2013.D2
Description:
File documents a project for a live-work complex in Dehradun, Uttarakhand, India. Commissioned by Chiaki Maki, a Japanese textile weaver who spends a portion of each year in northern India, this complex in the Himalayan foothills provides working space for a studio of twenty-five weavers from all over the country. It is conceived as a cyclical, self-sufficient farm system that integrates all aspects of the weaving process, from cultivating indigo and henna for dye to gathering silk from cocoons and spinning wool. The site had been previously cultivated, and the design works with the landscape's existing pathways, terraces, and mango groves. Nearly all construction materials--including the brick, limestone, and phosphorescent river stones used in the foundation and to treat the brick walls--come from within a two-kilometre radius of the studio. The five-sided building occupying the centre of the site is the workshop itself, which frames a courtyard for gatherings (of weavers, children, etc.). A gallery in the complex displays the weavers' work, while the linear buildings accommodate motorcycle parking, a guest house, and residences for Maki and her partner as well as the site caretaker and his family. File contains artefacts and realia, models, photographs, drawings, site reports, and a video recording.
Weavers' Studio
Actions:
AP182.S1.2013.D2
Description:
File documents a project for a live-work complex in Dehradun, Uttarakhand, India. Commissioned by Chiaki Maki, a Japanese textile weaver who spends a portion of each year in northern India, this complex in the Himalayan foothills provides working space for a studio of twenty-five weavers from all over the country. It is conceived as a cyclical, self-sufficient farm system that integrates all aspects of the weaving process, from cultivating indigo and henna for dye to gathering silk from cocoons and spinning wool. The site had been previously cultivated, and the design works with the landscape's existing pathways, terraces, and mango groves. Nearly all construction materials--including the brick, limestone, and phosphorescent river stones used in the foundation and to treat the brick walls--come from within a two-kilometre radius of the studio. The five-sided building occupying the centre of the site is the workshop itself, which frames a courtyard for gatherings (of weavers, children, etc.). A gallery in the complex displays the weavers' work, while the linear buildings accommodate motorcycle parking, a guest house, and residences for Maki and her partner as well as the site caretaker and his family. File contains artefacts and realia, models, photographs, drawings, site reports, and a video recording.
Niveau de description archivistique:
Project
Project
Date:
2012-2015
2012-2015
Personnes et institutions:
Niveau de description archivistique:
Projet
Projet
Titre:
University Art Museum
University Art Museum
Numéro de référence:
AP143.S4.D65
Description:
File documents the unexecuted project for the University Art Museum, Long Beach, California. Material in this file was produced between 1986 and 1988. California State University, Long Beach (CSULB), commissioned Eisenman/Robertson Architects to design an art museum adjacent to the main campus entrance. The 67,500-square-foot building was to comprise four galleries, a black-box theater, an auditorium, a cafe, conference rooms, a library, offices, preparation spaces, and storage vaults. The project, sited on a 23-acre arboretum, included landscaping; terraced sculpture courtyards, botanical gardens, and a two-acre pond. Eisenman linked the northern and southern parts of the arboretum by an elevated public walkway through the museum. Sets of drawings were presented on 8 and 30 April, 2 June, and 5 Aug. In the first design phase Eisenman explores the cartographic figures which form the basis of his artificial excavation when superposed: a series of sketches establishes the analogical relationships which fix the relative scales of the plans and produce the superpositions; another series contextualizes the superposed figures by placing them within the museum site (DR1987:0859:087-090). The second phase concerns the building; the working model shows the building carved out of a square pit, from which spring an oil derrick and a reconstruction of a recreational pier (Rainbow Pier, 1920s) used here as circulatory bridge (DR1987:0859:160). In the third phase the architect systematizes his archeological procedure by using five significant cartographic dates - 1849, 1889, 1949, 1989, 2049 - each corresponding to a specific superposition (see DR1987:0859:274-277). In the fourth phase, Eisenman simplifies the superposition of 2049 to a few iconic colour-coded forms: ranch (green), ranch house (blue), campus site (red), and water forms (river and pond) (gold). Material for the fourth phase includes three relief models, four presentation drawings, and a model (property of the CSULB) (relief models: DR1987:0859:001-003; drawings: DR1987:0859:004-008). Eisenman "inhabits" his artifical archeology by detailed planning of interior spaces, and gives substance to the cartographic traces in a series of sketch sections, perspectives, and working models. Working models reveal how the central "canal" area gradually became the museum's access point (DR1987:0859:484-490); the museum, galleries, offices, and preparation areas are on one side of this deep cut, while the cafeteria and black-box theater are on the other. The upper level was to house offices, meeting rooms, and the library. File contains audiovisual material, conceptual drawings, design development drawings, presentation drawings, reference drawings, working drawings, photographic materials, and textual records.
AP143.S4.D65
Description:
File documents the unexecuted project for the University Art Museum, Long Beach, California. Material in this file was produced between 1986 and 1988. California State University, Long Beach (CSULB), commissioned Eisenman/Robertson Architects to design an art museum adjacent to the main campus entrance. The 67,500-square-foot building was to comprise four galleries, a black-box theater, an auditorium, a cafe, conference rooms, a library, offices, preparation spaces, and storage vaults. The project, sited on a 23-acre arboretum, included landscaping; terraced sculpture courtyards, botanical gardens, and a two-acre pond. Eisenman linked the northern and southern parts of the arboretum by an elevated public walkway through the museum. Sets of drawings were presented on 8 and 30 April, 2 June, and 5 Aug. In the first design phase Eisenman explores the cartographic figures which form the basis of his artificial excavation when superposed: a series of sketches establishes the analogical relationships which fix the relative scales of the plans and produce the superpositions; another series contextualizes the superposed figures by placing them within the museum site (DR1987:0859:087-090). The second phase concerns the building; the working model shows the building carved out of a square pit, from which spring an oil derrick and a reconstruction of a recreational pier (Rainbow Pier, 1920s) used here as circulatory bridge (DR1987:0859:160). In the third phase the architect systematizes his archeological procedure by using five significant cartographic dates - 1849, 1889, 1949, 1989, 2049 - each corresponding to a specific superposition (see DR1987:0859:274-277). In the fourth phase, Eisenman simplifies the superposition of 2049 to a few iconic colour-coded forms: ranch (green), ranch house (blue), campus site (red), and water forms (river and pond) (gold). Material for the fourth phase includes three relief models, four presentation drawings, and a model (property of the CSULB) (relief models: DR1987:0859:001-003; drawings: DR1987:0859:004-008). Eisenman "inhabits" his artifical archeology by detailed planning of interior spaces, and gives substance to the cartographic traces in a series of sketch sections, perspectives, and working models. Working models reveal how the central "canal" area gradually became the museum's access point (DR1987:0859:484-490); the museum, galleries, offices, and preparation areas are on one side of this deep cut, while the cafeteria and black-box theater are on the other. The upper level was to house offices, meeting rooms, and the library. File contains audiovisual material, conceptual drawings, design development drawings, presentation drawings, reference drawings, working drawings, photographic materials, and textual records.
Personnes et institutions:
Date:
1986-1988
1986-1988
Titre:
University Art Museum
Actions:
AP143.S4.D65
Description:
File documents the unexecuted project for the University Art Museum, Long Beach, California. Material in this file was produced between 1986 and 1988. California State University, Long Beach (CSULB), commissioned Eisenman/Robertson Architects to design an art museum adjacent to the main campus entrance. The 67,500-square-foot building was to comprise four galleries, a black-box theater, an auditorium, a cafe, conference rooms, a library, offices, preparation spaces, and storage vaults. The project, sited on a 23-acre arboretum, included landscaping; terraced sculpture courtyards, botanical gardens, and a two-acre pond. Eisenman linked the northern and southern parts of the arboretum by an elevated public walkway through the museum. Sets of drawings were presented on 8 and 30 April, 2 June, and 5 Aug. In the first design phase Eisenman explores the cartographic figures which form the basis of his artificial excavation when superposed: a series of sketches establishes the analogical relationships which fix the relative scales of the plans and produce the superpositions; another series contextualizes the superposed figures by placing them within the museum site (DR1987:0859:087-090). The second phase concerns the building; the working model shows the building carved out of a square pit, from which spring an oil derrick and a reconstruction of a recreational pier (Rainbow Pier, 1920s) used here as circulatory bridge (DR1987:0859:160). In the third phase the architect systematizes his archeological procedure by using five significant cartographic dates - 1849, 1889, 1949, 1989, 2049 - each corresponding to a specific superposition (see DR1987:0859:274-277). In the fourth phase, Eisenman simplifies the superposition of 2049 to a few iconic colour-coded forms: ranch (green), ranch house (blue), campus site (red), and water forms (river and pond) (gold). Material for the fourth phase includes three relief models, four presentation drawings, and a model (property of the CSULB) (relief models: DR1987:0859:001-003; drawings: DR1987:0859:004-008). Eisenman "inhabits" his artifical archeology by detailed planning of interior spaces, and gives substance to the cartographic traces in a series of sketch sections, perspectives, and working models. Working models reveal how the central "canal" area gradually became the museum's access point (DR1987:0859:484-490); the museum, galleries, offices, and preparation areas are on one side of this deep cut, while the cafeteria and black-box theater are on the other. The upper level was to house offices, meeting rooms, and the library. File contains audiovisual material, conceptual drawings, design development drawings, presentation drawings, reference drawings, working drawings, photographic materials, and textual records.
University Art Museum
Actions:
AP143.S4.D65
Description:
File documents the unexecuted project for the University Art Museum, Long Beach, California. Material in this file was produced between 1986 and 1988. California State University, Long Beach (CSULB), commissioned Eisenman/Robertson Architects to design an art museum adjacent to the main campus entrance. The 67,500-square-foot building was to comprise four galleries, a black-box theater, an auditorium, a cafe, conference rooms, a library, offices, preparation spaces, and storage vaults. The project, sited on a 23-acre arboretum, included landscaping; terraced sculpture courtyards, botanical gardens, and a two-acre pond. Eisenman linked the northern and southern parts of the arboretum by an elevated public walkway through the museum. Sets of drawings were presented on 8 and 30 April, 2 June, and 5 Aug. In the first design phase Eisenman explores the cartographic figures which form the basis of his artificial excavation when superposed: a series of sketches establishes the analogical relationships which fix the relative scales of the plans and produce the superpositions; another series contextualizes the superposed figures by placing them within the museum site (DR1987:0859:087-090). The second phase concerns the building; the working model shows the building carved out of a square pit, from which spring an oil derrick and a reconstruction of a recreational pier (Rainbow Pier, 1920s) used here as circulatory bridge (DR1987:0859:160). In the third phase the architect systematizes his archeological procedure by using five significant cartographic dates - 1849, 1889, 1949, 1989, 2049 - each corresponding to a specific superposition (see DR1987:0859:274-277). In the fourth phase, Eisenman simplifies the superposition of 2049 to a few iconic colour-coded forms: ranch (green), ranch house (blue), campus site (red), and water forms (river and pond) (gold). Material for the fourth phase includes three relief models, four presentation drawings, and a model (property of the CSULB) (relief models: DR1987:0859:001-003; drawings: DR1987:0859:004-008). Eisenman "inhabits" his artifical archeology by detailed planning of interior spaces, and gives substance to the cartographic traces in a series of sketch sections, perspectives, and working models. Working models reveal how the central "canal" area gradually became the museum's access point (DR1987:0859:484-490); the museum, galleries, offices, and preparation areas are on one side of this deep cut, while the cafeteria and black-box theater are on the other. The upper level was to house offices, meeting rooms, and the library. File contains audiovisual material, conceptual drawings, design development drawings, presentation drawings, reference drawings, working drawings, photographic materials, and textual records.
Niveau de description archivistique:
File 65
File 65
Date:
1986-1988
1986-1988
Personnes et institutions:
Classification:
archives
Niveau de description archivistique:
Fonds
archives
Niveau de description archivistique:
Fonds
Titre:
Fonds Robert Duchesnay
Fonds Robert Duchesnay
Numéro de référence:
AP115
Résumé:
Le Fonds Robert Duchesnay consiste en une série de photographies montrant les divers structure (principalement des dômes géodésiques) conçus ou influencée par R. Buckminster Fuller. Les photographies, prises par l'artiste et photographe montréalais Robert Duchesnay, ont été créées entre 1985 et 1992.
AP115
Résumé:
Le Fonds Robert Duchesnay consiste en une série de photographies montrant les divers structure (principalement des dômes géodésiques) conçus ou influencée par R. Buckminster Fuller. Les photographies, prises par l'artiste et photographe montréalais Robert Duchesnay, ont été créées entre 1985 et 1992.
Personnes et institutions:
Date:
1985-1992
1985-1992
Titre:
Fonds Robert Duchesnay
Actions:
AP115
Résumé:
Le Fonds Robert Duchesnay consiste en une série de photographies montrant les divers structure (principalement des dômes géodésiques) conçus ou influencée par R. Buckminster Fuller. Les photographies, prises par l'artiste et photographe montréalais Robert Duchesnay, ont été créées entre 1985 et 1992.
Fonds Robert Duchesnay
Actions:
AP115
Résumé:
Le Fonds Robert Duchesnay consiste en une série de photographies montrant les divers structure (principalement des dômes géodésiques) conçus ou influencée par R. Buckminster Fuller. Les photographies, prises par l'artiste et photographe montréalais Robert Duchesnay, ont été créées entre 1985 et 1992.
Classification:
archives
Niveau de description archivistique:
Fonds
archives
Niveau de description archivistique:
Fonds
Date:
1985-1992
1985-1992
Personnes et institutions:
Classification:
dessins
dessins
Numéro de référence:
DR2012:0012:019:002
Description:
Consists of plans, elevations and studies for "Streetwork". Material was originally housed in a tube labelled "Streetwork, AGO 1978/ Edifice, MAC 1979".
DR2012:0012:019:002
Description:
Consists of plans, elevations and studies for "Streetwork". Material was originally housed in a tube labelled "Streetwork, AGO 1978/ Edifice, MAC 1979".
Personnes et institutions:
Date:
1978
1978
Titre:
Plans, elevations and studies for "Streetwork"
Actions:
DR2012:0012:019:002
Description:
Consists of plans, elevations and studies for "Streetwork". Material was originally housed in a tube labelled "Streetwork, AGO 1978/ Edifice, MAC 1979".
Plans, elevations and studies for "Streetwork"
Actions:
DR2012:0012:019:002
Description:
Consists of plans, elevations and studies for "Streetwork". Material was originally housed in a tube labelled "Streetwork, AGO 1978/ Edifice, MAC 1979".
Classification:
dessins
dessins
Date:
1978
1978
Personnes et institutions:
Niveau de description archivistique:
Projet
Projet
Numéro de référence:
AP018.S1.1974.PR18
Description:
This project series documents additions to the Minaki Lodge in Minaki, Ontario from 1974-1977. The office identified the project number as 7423. The Minaki Lodge, owned by the Government of Ontario at the time of this project, was located on the banks of the Winnipeg River and was originally built in 1914 by the Grand Trunk Pacific Railway. The site included an X-shaped main lodge, a motor lodge and power house, a ski chalet and Holst Point on a nearby island. This project, which was phase II of the work, consisted of the addition of a new convention hall and approximately 200 new guest rooms to the lodge. Different schemes were proposed for the locations of these new buildings, including attaching them to the existing structure, or building them separately near the main lodge. Phase I of this work began under a different project number, assigned by the office (see project series AP018.S1.1974.PR17 in this fonds). The project is recorded through drawings and textual records dating from 1974-1977. Some drawings in this project series include reprographic copies dating from 1925, which were prepared by the Canadian National Railways. Textual records include conference reports and correspondence.
AP018.S1.1974.PR18
Description:
This project series documents additions to the Minaki Lodge in Minaki, Ontario from 1974-1977. The office identified the project number as 7423. The Minaki Lodge, owned by the Government of Ontario at the time of this project, was located on the banks of the Winnipeg River and was originally built in 1914 by the Grand Trunk Pacific Railway. The site included an X-shaped main lodge, a motor lodge and power house, a ski chalet and Holst Point on a nearby island. This project, which was phase II of the work, consisted of the addition of a new convention hall and approximately 200 new guest rooms to the lodge. Different schemes were proposed for the locations of these new buildings, including attaching them to the existing structure, or building them separately near the main lodge. Phase I of this work began under a different project number, assigned by the office (see project series AP018.S1.1974.PR17 in this fonds). The project is recorded through drawings and textual records dating from 1974-1977. Some drawings in this project series include reprographic copies dating from 1925, which were prepared by the Canadian National Railways. Textual records include conference reports and correspondence.
Personnes et institutions:
Date:
1974-1975
1974-1975
Titre:
Minaki Lodge, New Building, Minaki, Ontario (1974-1977)
Actions:
AP018.S1.1974.PR18
Description:
This project series documents additions to the Minaki Lodge in Minaki, Ontario from 1974-1977. The office identified the project number as 7423. The Minaki Lodge, owned by the Government of Ontario at the time of this project, was located on the banks of the Winnipeg River and was originally built in 1914 by the Grand Trunk Pacific Railway. The site included an X-shaped main lodge, a motor lodge and power house, a ski chalet and Holst Point on a nearby island. This project, which was phase II of the work, consisted of the addition of a new convention hall and approximately 200 new guest rooms to the lodge. Different schemes were proposed for the locations of these new buildings, including attaching them to the existing structure, or building them separately near the main lodge. Phase I of this work began under a different project number, assigned by the office (see project series AP018.S1.1974.PR17 in this fonds). The project is recorded through drawings and textual records dating from 1974-1977. Some drawings in this project series include reprographic copies dating from 1925, which were prepared by the Canadian National Railways. Textual records include conference reports and correspondence.
Minaki Lodge, New Building, Minaki, Ontario (1974-1977)
Actions:
AP018.S1.1974.PR18
Description:
This project series documents additions to the Minaki Lodge in Minaki, Ontario from 1974-1977. The office identified the project number as 7423. The Minaki Lodge, owned by the Government of Ontario at the time of this project, was located on the banks of the Winnipeg River and was originally built in 1914 by the Grand Trunk Pacific Railway. The site included an X-shaped main lodge, a motor lodge and power house, a ski chalet and Holst Point on a nearby island. This project, which was phase II of the work, consisted of the addition of a new convention hall and approximately 200 new guest rooms to the lodge. Different schemes were proposed for the locations of these new buildings, including attaching them to the existing structure, or building them separately near the main lodge. Phase I of this work began under a different project number, assigned by the office (see project series AP018.S1.1974.PR17 in this fonds). The project is recorded through drawings and textual records dating from 1974-1977. Some drawings in this project series include reprographic copies dating from 1925, which were prepared by the Canadian National Railways. Textual records include conference reports and correspondence.
Niveau de description archivistique:
Project
Project
Date:
1974-1975
1974-1975
Personnes et institutions:
Classification:
documents textuels
documents textuels
Numéro de référence:
ARCH276270
Description:
46 files - Group contains subject and project files, many relating to Arthur Erickson Architectural Corporation, Vancouver. Files are arranged alphabetically (D-Z) and include: Dance Center; Ferris, MO; Frank Lloyd Wright Foundation; Greater Vancouver Transportation Centre; Hangzhou; I.A.A.; Iraq claim; Indonesia; Keller; Kitimat; Kirkor Architects; Kuwait; Michigan House; NATO; PEMB; Photographers; Potential Projects; Proposals; Qatar; Qui, Kang; Qui, Jiang; Presentations; Robson Revitalization; Saudi Embassy, Ottawa; SFU Housing; Silverlink; Sitkum Loidge, Victoria; Stichler; Stockton & Bush; Streetcars; Social Correspondence; Technical info; "New Modernist Group" - Richard Snibbe; Tokyo Embassy; Transvision; UBC Pres. Committee; University of Guelph; U.S. Immigration - Arthur; Walter/Mills Residence; Wang, A; Washington Chancery; Zecha Holdings.
ARCH276270
Description:
46 files - Group contains subject and project files, many relating to Arthur Erickson Architectural Corporation, Vancouver. Files are arranged alphabetically (D-Z) and include: Dance Center; Ferris, MO; Frank Lloyd Wright Foundation; Greater Vancouver Transportation Centre; Hangzhou; I.A.A.; Iraq claim; Indonesia; Keller; Kitimat; Kirkor Architects; Kuwait; Michigan House; NATO; PEMB; Photographers; Potential Projects; Proposals; Qatar; Qui, Kang; Qui, Jiang; Presentations; Robson Revitalization; Saudi Embassy, Ottawa; SFU Housing; Silverlink; Sitkum Loidge, Victoria; Stichler; Stockton & Bush; Streetcars; Social Correspondence; Technical info; "New Modernist Group" - Richard Snibbe; Tokyo Embassy; Transvision; UBC Pres. Committee; University of Guelph; U.S. Immigration - Arthur; Walter/Mills Residence; Wang, A; Washington Chancery; Zecha Holdings.
Personnes et institutions:
Date:
1983-2001
1983-2001
Titre:
Correspondence, project files from Erickson's office
Actions:
ARCH276270
Description:
46 files - Group contains subject and project files, many relating to Arthur Erickson Architectural Corporation, Vancouver. Files are arranged alphabetically (D-Z) and include: Dance Center; Ferris, MO; Frank Lloyd Wright Foundation; Greater Vancouver Transportation Centre; Hangzhou; I.A.A.; Iraq claim; Indonesia; Keller; Kitimat; Kirkor Architects; Kuwait; Michigan House; NATO; PEMB; Photographers; Potential Projects; Proposals; Qatar; Qui, Kang; Qui, Jiang; Presentations; Robson Revitalization; Saudi Embassy, Ottawa; SFU Housing; Silverlink; Sitkum Loidge, Victoria; Stichler; Stockton & Bush; Streetcars; Social Correspondence; Technical info; "New Modernist Group" - Richard Snibbe; Tokyo Embassy; Transvision; UBC Pres. Committee; University of Guelph; U.S. Immigration - Arthur; Walter/Mills Residence; Wang, A; Washington Chancery; Zecha Holdings.
Correspondence, project files from Erickson's office
Actions:
ARCH276270
Description:
46 files - Group contains subject and project files, many relating to Arthur Erickson Architectural Corporation, Vancouver. Files are arranged alphabetically (D-Z) and include: Dance Center; Ferris, MO; Frank Lloyd Wright Foundation; Greater Vancouver Transportation Centre; Hangzhou; I.A.A.; Iraq claim; Indonesia; Keller; Kitimat; Kirkor Architects; Kuwait; Michigan House; NATO; PEMB; Photographers; Potential Projects; Proposals; Qatar; Qui, Kang; Qui, Jiang; Presentations; Robson Revitalization; Saudi Embassy, Ottawa; SFU Housing; Silverlink; Sitkum Loidge, Victoria; Stichler; Stockton & Bush; Streetcars; Social Correspondence; Technical info; "New Modernist Group" - Richard Snibbe; Tokyo Embassy; Transvision; UBC Pres. Committee; University of Guelph; U.S. Immigration - Arthur; Walter/Mills Residence; Wang, A; Washington Chancery; Zecha Holdings.
Classification:
documents textuels
documents textuels
Date:
1983-2001
1983-2001
Personnes et institutions:
Niveau de description archivistique:
Projet
Projet
Numéro de référence:
AP164.S1.1999.D6
Description:
The project series documents the commission, design, and construction of the Gordillo studio, neighbouring the client’s house (AP164.S1.1993.D2) on Castilla de Ponferrada Street, in Villanueva de la Cañada, Community of Madrid, Spain. The firm identified this project as number 119. “The Gordillo Studio is a prismatic, serrated volume that occupies the plot’s only available strip of land and minimizes its presence through the use of two materials, translucent polycarbonate and xerophilous plantings, which seek the best adaptation to the site, the program and the client. Using this system, a semi-buried interior is constructed in which the light has been modeled as a solid, expansive material, the aim being to satisfy not only the specific demands of the work space but also the creation of an agreeable atmosphere, as austere as it is sensual.” (ARCH270975) Abalos & Herreros worked with Ángel Jaramillo Sanchez, María Auxiliadora Gálvez, Renata Sentkiewicz, Juan Gómez, Fernando Valero and José Torras. In 2002, the project won the COAM 2000 prize. Documenting this project are conceptual, design development and working drawings, photographic and reference materials, correspondence, notes, budgets, reports, studies, forms, project descriptions, invoices, certifications and trade catalogues.
AP164.S1.1999.D6
Description:
The project series documents the commission, design, and construction of the Gordillo studio, neighbouring the client’s house (AP164.S1.1993.D2) on Castilla de Ponferrada Street, in Villanueva de la Cañada, Community of Madrid, Spain. The firm identified this project as number 119. “The Gordillo Studio is a prismatic, serrated volume that occupies the plot’s only available strip of land and minimizes its presence through the use of two materials, translucent polycarbonate and xerophilous plantings, which seek the best adaptation to the site, the program and the client. Using this system, a semi-buried interior is constructed in which the light has been modeled as a solid, expansive material, the aim being to satisfy not only the specific demands of the work space but also the creation of an agreeable atmosphere, as austere as it is sensual.” (ARCH270975) Abalos & Herreros worked with Ángel Jaramillo Sanchez, María Auxiliadora Gálvez, Renata Sentkiewicz, Juan Gómez, Fernando Valero and José Torras. In 2002, the project won the COAM 2000 prize. Documenting this project are conceptual, design development and working drawings, photographic and reference materials, correspondence, notes, budgets, reports, studies, forms, project descriptions, invoices, certifications and trade catalogues.
Personnes et institutions:
Date:
1978, 1992-2002, predominant 1999-2000
1978, 1992-2002, predominant 1999-2000
Titre:
Estudio Gordillo, Villanueva de la Cañada, Spain (1999)
Actions:
AP164.S1.1999.D6
Description:
The project series documents the commission, design, and construction of the Gordillo studio, neighbouring the client’s house (AP164.S1.1993.D2) on Castilla de Ponferrada Street, in Villanueva de la Cañada, Community of Madrid, Spain. The firm identified this project as number 119. “The Gordillo Studio is a prismatic, serrated volume that occupies the plot’s only available strip of land and minimizes its presence through the use of two materials, translucent polycarbonate and xerophilous plantings, which seek the best adaptation to the site, the program and the client. Using this system, a semi-buried interior is constructed in which the light has been modeled as a solid, expansive material, the aim being to satisfy not only the specific demands of the work space but also the creation of an agreeable atmosphere, as austere as it is sensual.” (ARCH270975) Abalos & Herreros worked with Ángel Jaramillo Sanchez, María Auxiliadora Gálvez, Renata Sentkiewicz, Juan Gómez, Fernando Valero and José Torras. In 2002, the project won the COAM 2000 prize. Documenting this project are conceptual, design development and working drawings, photographic and reference materials, correspondence, notes, budgets, reports, studies, forms, project descriptions, invoices, certifications and trade catalogues.
Estudio Gordillo, Villanueva de la Cañada, Spain (1999)
Actions:
AP164.S1.1999.D6
Description:
The project series documents the commission, design, and construction of the Gordillo studio, neighbouring the client’s house (AP164.S1.1993.D2) on Castilla de Ponferrada Street, in Villanueva de la Cañada, Community of Madrid, Spain. The firm identified this project as number 119. “The Gordillo Studio is a prismatic, serrated volume that occupies the plot’s only available strip of land and minimizes its presence through the use of two materials, translucent polycarbonate and xerophilous plantings, which seek the best adaptation to the site, the program and the client. Using this system, a semi-buried interior is constructed in which the light has been modeled as a solid, expansive material, the aim being to satisfy not only the specific demands of the work space but also the creation of an agreeable atmosphere, as austere as it is sensual.” (ARCH270975) Abalos & Herreros worked with Ángel Jaramillo Sanchez, María Auxiliadora Gálvez, Renata Sentkiewicz, Juan Gómez, Fernando Valero and José Torras. In 2002, the project won the COAM 2000 prize. Documenting this project are conceptual, design development and working drawings, photographic and reference materials, correspondence, notes, budgets, reports, studies, forms, project descriptions, invoices, certifications and trade catalogues.
Niveau de description archivistique:
Project
Project
Date:
1978, 1992-2002, predominant 1999-2000
1978, 1992-2002, predominant 1999-2000
Personnes et institutions:
Classification:
photographies
photographies
Numéro de référence:
AP140.S2.SS1.D19.P8
Description:
views of presentation drawings including site plans, plans, elevations and sectional elevations for the outer wall of students' rooms and residential buildings, detailed plans and sections for the students' sets and studios, plans and sectional elevations for the married fellows maisonettes (row houses), plans, elevations and a section for the library building, a bird's-eye perspective for the main buildings of the College, and views of a no longer extant model for the main buildings of the College; also, views of drawings which are not otherwise present in the project documents, including a design development drawing, possibly for the first stage of the competition; also includes several group portraits
AP140.S2.SS1.D19.P8
Description:
views of presentation drawings including site plans, plans, elevations and sectional elevations for the outer wall of students' rooms and residential buildings, detailed plans and sections for the students' sets and studios, plans and sectional elevations for the married fellows maisonettes (row houses), plans, elevations and a section for the library building, a bird's-eye perspective for the main buildings of the College, and views of a no longer extant model for the main buildings of the College; also, views of drawings which are not otherwise present in the project documents, including a design development drawing, possibly for the first stage of the competition; also includes several group portraits
Personnes et institutions:
Date:
1958 or after
1958 or after
Titre:
Views of presentation drawings including site plans
Actions:
AP140.S2.SS1.D19.P8
Description:
views of presentation drawings including site plans, plans, elevations and sectional elevations for the outer wall of students' rooms and residential buildings, detailed plans and sections for the students' sets and studios, plans and sectional elevations for the married fellows maisonettes (row houses), plans, elevations and a section for the library building, a bird's-eye perspective for the main buildings of the College, and views of a no longer extant model for the main buildings of the College; also, views of drawings which are not otherwise present in the project documents, including a design development drawing, possibly for the first stage of the competition; also includes several group portraits
Views of presentation drawings including site plans
Actions:
AP140.S2.SS1.D19.P8
Description:
views of presentation drawings including site plans, plans, elevations and sectional elevations for the outer wall of students' rooms and residential buildings, detailed plans and sections for the students' sets and studios, plans and sectional elevations for the married fellows maisonettes (row houses), plans, elevations and a section for the library building, a bird's-eye perspective for the main buildings of the College, and views of a no longer extant model for the main buildings of the College; also, views of drawings which are not otherwise present in the project documents, including a design development drawing, possibly for the first stage of the competition; also includes several group portraits
Classification:
photographies
photographies
Date:
1958 or after
1958 or after
Personnes et institutions:
