3315 Résultats
Classification:
graphique
graphique
Actions:
Numéro de référence:
DR2021:0053
Description:
Poster issued in recognition of Barry R. Campbell's contribution to the Stichting Realisatie Maison d'Artiste. Shows, plans, elevations and sections for the Maison d'Artiste. The foundation "Stichting Realisatie Maison d'Artiste" was created with the goal of realizing a 1:1 scale model of the "Maison d'Artiste", an unbuilt project designed in 1923 by Theo van Doesburg & Cor van Eesteren. Executive architects for "Maison d'Artiste - 2000" were Victor Veldhuijzen van Zanten & Wessel de Jonge.
DR2021:0053
Description:
Poster issued in recognition of Barry R. Campbell's contribution to the Stichting Realisatie Maison d'Artiste. Shows, plans, elevations and sections for the Maison d'Artiste. The foundation "Stichting Realisatie Maison d'Artiste" was created with the goal of realizing a 1:1 scale model of the "Maison d'Artiste", an unbuilt project designed in 1923 by Theo van Doesburg & Cor van Eesteren. Executive architects for "Maison d'Artiste - 2000" were Victor Veldhuijzen van Zanten & Wessel de Jonge.
Personnes et institutions:
Date:
2006
2006
Titre:
Poster dedicated to Barry R. Campbell by the Stichting Realisatie Maison d'Artiste
Actions:
DR2021:0053
Description:
Poster issued in recognition of Barry R. Campbell's contribution to the Stichting Realisatie Maison d'Artiste. Shows, plans, elevations and sections for the Maison d'Artiste. The foundation "Stichting Realisatie Maison d'Artiste" was created with the goal of realizing a 1:1 scale model of the "Maison d'Artiste", an unbuilt project designed in 1923 by Theo van Doesburg & Cor van Eesteren. Executive architects for "Maison d'Artiste - 2000" were Victor Veldhuijzen van Zanten & Wessel de Jonge.
Poster dedicated to Barry R. Campbell by the Stichting Realisatie Maison d'Artiste
Actions:
DR2021:0053
Description:
Poster issued in recognition of Barry R. Campbell's contribution to the Stichting Realisatie Maison d'Artiste. Shows, plans, elevations and sections for the Maison d'Artiste. The foundation "Stichting Realisatie Maison d'Artiste" was created with the goal of realizing a 1:1 scale model of the "Maison d'Artiste", an unbuilt project designed in 1923 by Theo van Doesburg & Cor van Eesteren. Executive architects for "Maison d'Artiste - 2000" were Victor Veldhuijzen van Zanten & Wessel de Jonge.
Classification:
graphique
graphique
Date:
2006
2006
Personnes et institutions:
Classification:
documents textuels
documents textuels
Numéro de référence:
ARCH255518
Description:
correspondence with Fritz, Goldsmith's notes on Billingtons, Maillart, "RIBA lecture 1966", cue cards for 1987 bridge lecture at U.C. Berkley 12 May 1987, "October 1983 Arts Club M.G. Retirement", "Hilberseimer", "Effects of scale" presented at American Soceity of Civil Engineers 25 April 1977", steno notebook of notes, "Nomination fo Goldsmith for 1994 National Medal of Arts", letter drafts, clipping of a book review, I.I.T. award for Excellence in Teaching presented 25 April 1990
ARCH255518
Description:
correspondence with Fritz, Goldsmith's notes on Billingtons, Maillart, "RIBA lecture 1966", cue cards for 1987 bridge lecture at U.C. Berkley 12 May 1987, "October 1983 Arts Club M.G. Retirement", "Hilberseimer", "Effects of scale" presented at American Soceity of Civil Engineers 25 April 1977", steno notebook of notes, "Nomination fo Goldsmith for 1994 National Medal of Arts", letter drafts, clipping of a book review, I.I.T. award for Excellence in Teaching presented 25 April 1990
Personnes et institutions:
Date:
1937-1991
1937-1991
Titre:
M.G. talks, intros, lecture notes
Actions:
ARCH255518
Description:
correspondence with Fritz, Goldsmith's notes on Billingtons, Maillart, "RIBA lecture 1966", cue cards for 1987 bridge lecture at U.C. Berkley 12 May 1987, "October 1983 Arts Club M.G. Retirement", "Hilberseimer", "Effects of scale" presented at American Soceity of Civil Engineers 25 April 1977", steno notebook of notes, "Nomination fo Goldsmith for 1994 National Medal of Arts", letter drafts, clipping of a book review, I.I.T. award for Excellence in Teaching presented 25 April 1990
M.G. talks, intros, lecture notes
Actions:
ARCH255518
Description:
correspondence with Fritz, Goldsmith's notes on Billingtons, Maillart, "RIBA lecture 1966", cue cards for 1987 bridge lecture at U.C. Berkley 12 May 1987, "October 1983 Arts Club M.G. Retirement", "Hilberseimer", "Effects of scale" presented at American Soceity of Civil Engineers 25 April 1977", steno notebook of notes, "Nomination fo Goldsmith for 1994 National Medal of Arts", letter drafts, clipping of a book review, I.I.T. award for Excellence in Teaching presented 25 April 1990
Classification:
documents textuels
documents textuels
Date:
1937-1991
1937-1991
Personnes et institutions:
Niveau de description archivistique:
Projet
Projet
Numéro de référence:
AP056.S1.1988.PR09
Description:
This project series documents renovations and additions to the Art Gallery of Ontario in Toronto from 1988-1993. The office identified the project number as 18703. This project, known as Phase 3, built upon two other major expansion projects to the art gallery, Phase I and Phase II, that were completed by the architecture firm Parkin Architects Planners in the 1970s. Phase 3 was the winning entry for a limited competition won by KPMB, with Thomas Payne as partner-in-charge, in joint venture with the firm of Barton Myers Inc. This project consisted of 100,000 square feet of additions to the building including a prints and drawings study centre, a reference library and administrative offices in the southwest corner and new vaulted galleries, a tower and pyramidal arrival hall along Dundas Street. The Dundas Street elevation was transformed by these additions and brick facades were added. A new double height sculpture atrium, connected to the Victorian Grange mansion, was also added. This project also included 190,000 square feet of renovations to the existing building including changes to galleries, circulation, vaults, staff areas, the restaurant, bookstore and volunteer shop. The goal of these changes was to create a more coherent design between old and new parts of the building and to reinforce the role of art galleries in contemporary life by increasing the scale of the building and creating new spaces for interaction and participation. This project won the Canadian Architect Award of Excellence in 1988. The project is recorded through drawings, photographic materials and accompanying notes dating from 1986-1992. The drawings include site plans and surveys, sketches, plans, elevations, sections, perspectives, details, studies, axonometric drawings, furnishing and structural drawings and some presentation drawings.
AP056.S1.1988.PR09
Description:
This project series documents renovations and additions to the Art Gallery of Ontario in Toronto from 1988-1993. The office identified the project number as 18703. This project, known as Phase 3, built upon two other major expansion projects to the art gallery, Phase I and Phase II, that were completed by the architecture firm Parkin Architects Planners in the 1970s. Phase 3 was the winning entry for a limited competition won by KPMB, with Thomas Payne as partner-in-charge, in joint venture with the firm of Barton Myers Inc. This project consisted of 100,000 square feet of additions to the building including a prints and drawings study centre, a reference library and administrative offices in the southwest corner and new vaulted galleries, a tower and pyramidal arrival hall along Dundas Street. The Dundas Street elevation was transformed by these additions and brick facades were added. A new double height sculpture atrium, connected to the Victorian Grange mansion, was also added. This project also included 190,000 square feet of renovations to the existing building including changes to galleries, circulation, vaults, staff areas, the restaurant, bookstore and volunteer shop. The goal of these changes was to create a more coherent design between old and new parts of the building and to reinforce the role of art galleries in contemporary life by increasing the scale of the building and creating new spaces for interaction and participation. This project won the Canadian Architect Award of Excellence in 1988. The project is recorded through drawings, photographic materials and accompanying notes dating from 1986-1992. The drawings include site plans and surveys, sketches, plans, elevations, sections, perspectives, details, studies, axonometric drawings, furnishing and structural drawings and some presentation drawings.
Personnes et institutions:
Date:
1986-1992
1986-1992
Titre:
Art Gallery of Ontario, Phase 3, Toronto (1988-1993)
Actions:
AP056.S1.1988.PR09
Description:
This project series documents renovations and additions to the Art Gallery of Ontario in Toronto from 1988-1993. The office identified the project number as 18703. This project, known as Phase 3, built upon two other major expansion projects to the art gallery, Phase I and Phase II, that were completed by the architecture firm Parkin Architects Planners in the 1970s. Phase 3 was the winning entry for a limited competition won by KPMB, with Thomas Payne as partner-in-charge, in joint venture with the firm of Barton Myers Inc. This project consisted of 100,000 square feet of additions to the building including a prints and drawings study centre, a reference library and administrative offices in the southwest corner and new vaulted galleries, a tower and pyramidal arrival hall along Dundas Street. The Dundas Street elevation was transformed by these additions and brick facades were added. A new double height sculpture atrium, connected to the Victorian Grange mansion, was also added. This project also included 190,000 square feet of renovations to the existing building including changes to galleries, circulation, vaults, staff areas, the restaurant, bookstore and volunteer shop. The goal of these changes was to create a more coherent design between old and new parts of the building and to reinforce the role of art galleries in contemporary life by increasing the scale of the building and creating new spaces for interaction and participation. This project won the Canadian Architect Award of Excellence in 1988. The project is recorded through drawings, photographic materials and accompanying notes dating from 1986-1992. The drawings include site plans and surveys, sketches, plans, elevations, sections, perspectives, details, studies, axonometric drawings, furnishing and structural drawings and some presentation drawings.
Art Gallery of Ontario, Phase 3, Toronto (1988-1993)
Actions:
AP056.S1.1988.PR09
Description:
This project series documents renovations and additions to the Art Gallery of Ontario in Toronto from 1988-1993. The office identified the project number as 18703. This project, known as Phase 3, built upon two other major expansion projects to the art gallery, Phase I and Phase II, that were completed by the architecture firm Parkin Architects Planners in the 1970s. Phase 3 was the winning entry for a limited competition won by KPMB, with Thomas Payne as partner-in-charge, in joint venture with the firm of Barton Myers Inc. This project consisted of 100,000 square feet of additions to the building including a prints and drawings study centre, a reference library and administrative offices in the southwest corner and new vaulted galleries, a tower and pyramidal arrival hall along Dundas Street. The Dundas Street elevation was transformed by these additions and brick facades were added. A new double height sculpture atrium, connected to the Victorian Grange mansion, was also added. This project also included 190,000 square feet of renovations to the existing building including changes to galleries, circulation, vaults, staff areas, the restaurant, bookstore and volunteer shop. The goal of these changes was to create a more coherent design between old and new parts of the building and to reinforce the role of art galleries in contemporary life by increasing the scale of the building and creating new spaces for interaction and participation. This project won the Canadian Architect Award of Excellence in 1988. The project is recorded through drawings, photographic materials and accompanying notes dating from 1986-1992. The drawings include site plans and surveys, sketches, plans, elevations, sections, perspectives, details, studies, axonometric drawings, furnishing and structural drawings and some presentation drawings.
Niveau de description archivistique:
Project
Project
Date:
1986-1992
1986-1992
Personnes et institutions:
Classification:
dessins
dessins
Actions:
Numéro de référence:
DR1990:0058
Description:
- This watercolour rendering depicts a welcome arch composed of four rounded arches which span the intersection of two streets. Construction materials were either stacked logs or materials simulating stacked logs. The arch is surmounted by log pavilions with arch openings and potted trees at each corner and a pile of agricultural produce in the center. The structure is embellished with shields, including two inscribed with "L", flags, the British royal coat of arms, and sheaves of wheat. Staffage indicates the large scale of the arch.
DR1990:0058
Description:
- This watercolour rendering depicts a welcome arch composed of four rounded arches which span the intersection of two streets. Construction materials were either stacked logs or materials simulating stacked logs. The arch is surmounted by log pavilions with arch openings and potted trees at each corner and a pile of agricultural produce in the center. The structure is embellished with shields, including two inscribed with "L", flags, the British royal coat of arms, and sheaves of wheat. Staffage indicates the large scale of the arch.
Personnes et institutions:
Sujet:
architecture temporaire
architecture temporaire
Date:
30 May 1879
30 May 1879
Titre:
Perspective for a temporary welcome arch for the visit of the Marquess of Lorne and Princess Louise to Toronto, September 1879
Actions:
DR1990:0058
Description:
- This watercolour rendering depicts a welcome arch composed of four rounded arches which span the intersection of two streets. Construction materials were either stacked logs or materials simulating stacked logs. The arch is surmounted by log pavilions with arch openings and potted trees at each corner and a pile of agricultural produce in the center. The structure is embellished with shields, including two inscribed with "L", flags, the British royal coat of arms, and sheaves of wheat. Staffage indicates the large scale of the arch.
Perspective for a temporary welcome arch for the visit of the Marquess of Lorne and Princess Louise to Toronto, September 1879
Actions:
DR1990:0058
Description:
- This watercolour rendering depicts a welcome arch composed of four rounded arches which span the intersection of two streets. Construction materials were either stacked logs or materials simulating stacked logs. The arch is surmounted by log pavilions with arch openings and potted trees at each corner and a pile of agricultural produce in the center. The structure is embellished with shields, including two inscribed with "L", flags, the British royal coat of arms, and sheaves of wheat. Staffage indicates the large scale of the arch.
Classification:
dessins
dessins
Date:
30 May 1879
30 May 1879
Personnes et institutions:
Sujet:
architecture temporaire
architecture temporaire
Classification:
photographies
Quantité:
14 File
photographies
Quantité:
14 File
Numéro de référence:
ARCH261938
Description:
The case contains slides of the Pavilion of Trinidad & Tobago (4), of the Pavilion of India (2, + 3 incorrectly identified as Mexico, + 1 incorrectly identified as Habitat 67 [the grey scale drawing at the right is a representation of the same monument found in front of the Indian Pavilion] = 6), of the Steel Pavilion (1) and of the [Katimavik] (3)***. ***The Katimavik is inscribed on the case ARCH262025, however the corresponding slides are located in case ARCH261938 since there is no space to store them in ARCH262025.
ARCH261938
Description:
The case contains slides of the Pavilion of Trinidad & Tobago (4), of the Pavilion of India (2, + 3 incorrectly identified as Mexico, + 1 incorrectly identified as Habitat 67 [the grey scale drawing at the right is a representation of the same monument found in front of the Indian Pavilion] = 6), of the Steel Pavilion (1) and of the [Katimavik] (3)***. ***The Katimavik is inscribed on the case ARCH262025, however the corresponding slides are located in case ARCH261938 since there is no space to store them in ARCH262025.
Personnes et institutions:
Date:
1967
1967
Titre:
Coloured slides of the Pavilions of Trinidad & Tobago, and Grenada, of India, of the Katimavik and of the Steel Pavilion, Expo 67, Montréal, Québec
Actions:
ARCH261938
Description:
The case contains slides of the Pavilion of Trinidad & Tobago (4), of the Pavilion of India (2, + 3 incorrectly identified as Mexico, + 1 incorrectly identified as Habitat 67 [the grey scale drawing at the right is a representation of the same monument found in front of the Indian Pavilion] = 6), of the Steel Pavilion (1) and of the [Katimavik] (3)***. ***The Katimavik is inscribed on the case ARCH262025, however the corresponding slides are located in case ARCH261938 since there is no space to store them in ARCH262025.
Coloured slides of the Pavilions of Trinidad & Tobago, and Grenada, of India, of the Katimavik and of the Steel Pavilion, Expo 67, Montréal, Québec
Actions:
ARCH261938
Description:
The case contains slides of the Pavilion of Trinidad & Tobago (4), of the Pavilion of India (2, + 3 incorrectly identified as Mexico, + 1 incorrectly identified as Habitat 67 [the grey scale drawing at the right is a representation of the same monument found in front of the Indian Pavilion] = 6), of the Steel Pavilion (1) and of the [Katimavik] (3)***. ***The Katimavik is inscribed on the case ARCH262025, however the corresponding slides are located in case ARCH261938 since there is no space to store them in ARCH262025.
Classification:
photographies
Quantité:
14 File
photographies
Quantité:
14 File
Date:
1967
1967
Personnes et institutions:
Classification:
né numérique, photographies
né numérique, photographies
Numéro de référence:
AP181.S1.013
Description:
Original directory name: "12-a_Modellfotos". File contains multiple dated series of photographs of a large-scale physical model of BMW Welt. Photographs also document a film commissioned by COOP HIMMELB(L)AU and made by Imaginary Forces to show BMW the magnitude of the future BMW Welt. Film is in file AP181.S1.011 Presentations, BMW Welt, Munich. Most common file formats: Exchangeable Image File Format (Compressed), JPEG File Interchange Format, Adobe Photoshop, Tagged Image File Format, Exchangeable Image File Format (Uncompressed)
AP181.S1.013
Description:
Original directory name: "12-a_Modellfotos". File contains multiple dated series of photographs of a large-scale physical model of BMW Welt. Photographs also document a film commissioned by COOP HIMMELB(L)AU and made by Imaginary Forces to show BMW the magnitude of the future BMW Welt. Film is in file AP181.S1.011 Presentations, BMW Welt, Munich. Most common file formats: Exchangeable Image File Format (Compressed), JPEG File Interchange Format, Adobe Photoshop, Tagged Image File Format, Exchangeable Image File Format (Uncompressed)
Personnes et institutions:
Date:
2002-2014
2002-2014
Titre:
Photographs of models, BMW Welt, Munich
Actions:
AP181.S1.013
Description:
Original directory name: "12-a_Modellfotos". File contains multiple dated series of photographs of a large-scale physical model of BMW Welt. Photographs also document a film commissioned by COOP HIMMELB(L)AU and made by Imaginary Forces to show BMW the magnitude of the future BMW Welt. Film is in file AP181.S1.011 Presentations, BMW Welt, Munich. Most common file formats: Exchangeable Image File Format (Compressed), JPEG File Interchange Format, Adobe Photoshop, Tagged Image File Format, Exchangeable Image File Format (Uncompressed)
Photographs of models, BMW Welt, Munich
Actions:
AP181.S1.013
Description:
Original directory name: "12-a_Modellfotos". File contains multiple dated series of photographs of a large-scale physical model of BMW Welt. Photographs also document a film commissioned by COOP HIMMELB(L)AU and made by Imaginary Forces to show BMW the magnitude of the future BMW Welt. Film is in file AP181.S1.011 Presentations, BMW Welt, Munich. Most common file formats: Exchangeable Image File Format (Compressed), JPEG File Interchange Format, Adobe Photoshop, Tagged Image File Format, Exchangeable Image File Format (Uncompressed)
Classification:
né numérique, photographies
né numérique, photographies
Date:
2002-2014
2002-2014
Personnes et institutions:
Classification:
dessins
dessins
Actions:
Numéro de référence:
DR1987:0304
Description:
- These plans and rendering show a chalet-style house with middle- and far-eastern influences, including ogee horseshoe arches and an onion dome. Although the inscribed scale mentions an "elevation", the draughtsman was probably referring to the pictorial drawing at the top of the sheet above the three plans. This rendering includes several groups of figures in middle eastern costume in the foreground, some of whom are riding animals -- horses, a camel, and an elephant. The background, includes two walled structures with minaret-like spires.
DR1987:0304
Description:
- These plans and rendering show a chalet-style house with middle- and far-eastern influences, including ogee horseshoe arches and an onion dome. Although the inscribed scale mentions an "elevation", the draughtsman was probably referring to the pictorial drawing at the top of the sheet above the three plans. This rendering includes several groups of figures in middle eastern costume in the foreground, some of whom are riding animals -- horses, a camel, and an elephant. The background, includes two walled structures with minaret-like spires.
Personnes et institutions:
Sujet:
architecture
architecture
Date:
ca. 1860
ca. 1860
Titre:
Rendering and plans for an eclectic chalet-style house with eastern influences
Actions:
DR1987:0304
Description:
- These plans and rendering show a chalet-style house with middle- and far-eastern influences, including ogee horseshoe arches and an onion dome. Although the inscribed scale mentions an "elevation", the draughtsman was probably referring to the pictorial drawing at the top of the sheet above the three plans. This rendering includes several groups of figures in middle eastern costume in the foreground, some of whom are riding animals -- horses, a camel, and an elephant. The background, includes two walled structures with minaret-like spires.
Rendering and plans for an eclectic chalet-style house with eastern influences
Actions:
DR1987:0304
Description:
- These plans and rendering show a chalet-style house with middle- and far-eastern influences, including ogee horseshoe arches and an onion dome. Although the inscribed scale mentions an "elevation", the draughtsman was probably referring to the pictorial drawing at the top of the sheet above the three plans. This rendering includes several groups of figures in middle eastern costume in the foreground, some of whom are riding animals -- horses, a camel, and an elephant. The background, includes two walled structures with minaret-like spires.
Classification:
dessins
dessins
Date:
ca. 1860
ca. 1860
Personnes et institutions:
Sujet:
architecture
architecture
Niveau de description archivistique:
Projet
Projet
Titre:
Carbon Tower (2001)
Carbon Tower (2001)
Numéro de référence:
AP174.S1.2001.D1
Description:
This project file documents an unbuilt design by Testa & Weiser for Carbon Tower (2001), a forty-storey building made almost entirely of carbon fibre. The project was developed in parallel with scripting software designed while Peter Testa and Devyn Weiser co-directed the Emergent Design Group at MIT. "The tower consists of an interdependent set of parts: floor plates hang from a diagrid structure of bundled fibres reinforced by two double-helix covered ramps, which are run in and out of the structure and are themselves made of strands woven at a finer scale. A thin composite skin—glass would be too heavy—wraps the tower’s parts together. A collaboration with Arup in 2002 allowed Testa & Weiser to simplify the scheme even further, by moving all core elements, from elevators to structural supports, to the tower’s perimeter. To take full advantage of the flexibility and energy efficiency of composite materials, Testa & Weiser also imagined that the carbon fibre structures would be formed on site through a process called pultrusion."[1] The file contains a large number of digital files documenting the conceptual and design development of the project; consultation with Arup Consulting Engineers, New York; research on composite materials; fabrication of 3D printed physical models by 3D Systems and Windform; and exhibition of the project at several museums and galleries, including the Museum of Contemporary Art, Los Angeles and the Cooper-Hewitt Smithsonian Design Museum, New York. Also contained in the file are 56 paper drawings (including some sketches done on top of printed computer-aided designs) and two 3D printed physical models produced by 3D Systems. Sources: [1] Canadian Centre for Architecture. Archaeology of the Digital 12: Testa & Weiser, Carbon Tower, ed. Greg Lynn (2015), ISBN 978-1-927071-25-0.
AP174.S1.2001.D1
Description:
This project file documents an unbuilt design by Testa & Weiser for Carbon Tower (2001), a forty-storey building made almost entirely of carbon fibre. The project was developed in parallel with scripting software designed while Peter Testa and Devyn Weiser co-directed the Emergent Design Group at MIT. "The tower consists of an interdependent set of parts: floor plates hang from a diagrid structure of bundled fibres reinforced by two double-helix covered ramps, which are run in and out of the structure and are themselves made of strands woven at a finer scale. A thin composite skin—glass would be too heavy—wraps the tower’s parts together. A collaboration with Arup in 2002 allowed Testa & Weiser to simplify the scheme even further, by moving all core elements, from elevators to structural supports, to the tower’s perimeter. To take full advantage of the flexibility and energy efficiency of composite materials, Testa & Weiser also imagined that the carbon fibre structures would be formed on site through a process called pultrusion."[1] The file contains a large number of digital files documenting the conceptual and design development of the project; consultation with Arup Consulting Engineers, New York; research on composite materials; fabrication of 3D printed physical models by 3D Systems and Windform; and exhibition of the project at several museums and galleries, including the Museum of Contemporary Art, Los Angeles and the Cooper-Hewitt Smithsonian Design Museum, New York. Also contained in the file are 56 paper drawings (including some sketches done on top of printed computer-aided designs) and two 3D printed physical models produced by 3D Systems. Sources: [1] Canadian Centre for Architecture. Archaeology of the Digital 12: Testa & Weiser, Carbon Tower, ed. Greg Lynn (2015), ISBN 978-1-927071-25-0.
Personnes et institutions:
Date:
2002-2014
2002-2014
Titre:
Carbon Tower (2001)
Actions:
AP174.S1.2001.D1
Description:
This project file documents an unbuilt design by Testa & Weiser for Carbon Tower (2001), a forty-storey building made almost entirely of carbon fibre. The project was developed in parallel with scripting software designed while Peter Testa and Devyn Weiser co-directed the Emergent Design Group at MIT. "The tower consists of an interdependent set of parts: floor plates hang from a diagrid structure of bundled fibres reinforced by two double-helix covered ramps, which are run in and out of the structure and are themselves made of strands woven at a finer scale. A thin composite skin—glass would be too heavy—wraps the tower’s parts together. A collaboration with Arup in 2002 allowed Testa & Weiser to simplify the scheme even further, by moving all core elements, from elevators to structural supports, to the tower’s perimeter. To take full advantage of the flexibility and energy efficiency of composite materials, Testa & Weiser also imagined that the carbon fibre structures would be formed on site through a process called pultrusion."[1] The file contains a large number of digital files documenting the conceptual and design development of the project; consultation with Arup Consulting Engineers, New York; research on composite materials; fabrication of 3D printed physical models by 3D Systems and Windform; and exhibition of the project at several museums and galleries, including the Museum of Contemporary Art, Los Angeles and the Cooper-Hewitt Smithsonian Design Museum, New York. Also contained in the file are 56 paper drawings (including some sketches done on top of printed computer-aided designs) and two 3D printed physical models produced by 3D Systems. Sources: [1] Canadian Centre for Architecture. Archaeology of the Digital 12: Testa & Weiser, Carbon Tower, ed. Greg Lynn (2015), ISBN 978-1-927071-25-0.
Carbon Tower (2001)
Actions:
AP174.S1.2001.D1
Description:
This project file documents an unbuilt design by Testa & Weiser for Carbon Tower (2001), a forty-storey building made almost entirely of carbon fibre. The project was developed in parallel with scripting software designed while Peter Testa and Devyn Weiser co-directed the Emergent Design Group at MIT. "The tower consists of an interdependent set of parts: floor plates hang from a diagrid structure of bundled fibres reinforced by two double-helix covered ramps, which are run in and out of the structure and are themselves made of strands woven at a finer scale. A thin composite skin—glass would be too heavy—wraps the tower’s parts together. A collaboration with Arup in 2002 allowed Testa & Weiser to simplify the scheme even further, by moving all core elements, from elevators to structural supports, to the tower’s perimeter. To take full advantage of the flexibility and energy efficiency of composite materials, Testa & Weiser also imagined that the carbon fibre structures would be formed on site through a process called pultrusion."[1] The file contains a large number of digital files documenting the conceptual and design development of the project; consultation with Arup Consulting Engineers, New York; research on composite materials; fabrication of 3D printed physical models by 3D Systems and Windform; and exhibition of the project at several museums and galleries, including the Museum of Contemporary Art, Los Angeles and the Cooper-Hewitt Smithsonian Design Museum, New York. Also contained in the file are 56 paper drawings (including some sketches done on top of printed computer-aided designs) and two 3D printed physical models produced by 3D Systems. Sources: [1] Canadian Centre for Architecture. Archaeology of the Digital 12: Testa & Weiser, Carbon Tower, ed. Greg Lynn (2015), ISBN 978-1-927071-25-0.
Niveau de description archivistique:
Project
Project
Date:
2002-2014
2002-2014
Personnes et institutions:
Niveau de description archivistique:
Projet
Projet
Numéro de référence:
AP198.S1.1997.PR01
Description:
Project records document OCEAN North’s design for their competition entry for the Töölö Football Stadium in Helsinki in 1997. The project was titled Open Arena by OCEAN North. The site for the football stadium was in the Töölö neighbourhood, between a park area including the Helsinki Olympic Stadium, and a residential area. OCEAN North’s entry was a building that would integrate with its natural surroundings while being able to accommodate a variety of activities and events. The structure for Open Arena has three topological surfaces. The first provides stadium access to the players and the public, and includes services such as restaurant, cafeteria, and bars. Its shape aims to integrate with the natural landscape. The second contains the audience seating areas, including VIP and press areas, and aimed to arrange the audience as if it was loosely dispersed on a hillside. The third topological surface consists of the roof. The Töölö Football Stadium marks the introduction of the Channelling Systems process, defining building’s integration to its surroundings and distributing functions across the structure. Records show different stages of the design process and include two digitized photographs of Plexiglas sections that were used to physically explore the design. Digital files are grouped under categories such as Board images, Board lay-out, Graft, Sections, Siteplans, digital model images, scanned plans and site images. This last directory contains digitized photographs of the grounds surrounding the Helsinki Olympic Stadium. All drawings are vector or raster images of the whole or parts of the structure, with some including the identifications of the structure’s parts. Project records also include preliminary or working plans. Most were drawn to scale on paper and some were printed from CAD drawings. They chiefly reflect the design work to define the surfaces and shapes of the stadium’s structure. Source: Ateljé Sotamaa. “Portfolio: Open Arena”. http://portfolio.sotamaa.net/Open-Arena accessed in February 2018.
AP198.S1.1997.PR01
Description:
Project records document OCEAN North’s design for their competition entry for the Töölö Football Stadium in Helsinki in 1997. The project was titled Open Arena by OCEAN North. The site for the football stadium was in the Töölö neighbourhood, between a park area including the Helsinki Olympic Stadium, and a residential area. OCEAN North’s entry was a building that would integrate with its natural surroundings while being able to accommodate a variety of activities and events. The structure for Open Arena has three topological surfaces. The first provides stadium access to the players and the public, and includes services such as restaurant, cafeteria, and bars. Its shape aims to integrate with the natural landscape. The second contains the audience seating areas, including VIP and press areas, and aimed to arrange the audience as if it was loosely dispersed on a hillside. The third topological surface consists of the roof. The Töölö Football Stadium marks the introduction of the Channelling Systems process, defining building’s integration to its surroundings and distributing functions across the structure. Records show different stages of the design process and include two digitized photographs of Plexiglas sections that were used to physically explore the design. Digital files are grouped under categories such as Board images, Board lay-out, Graft, Sections, Siteplans, digital model images, scanned plans and site images. This last directory contains digitized photographs of the grounds surrounding the Helsinki Olympic Stadium. All drawings are vector or raster images of the whole or parts of the structure, with some including the identifications of the structure’s parts. Project records also include preliminary or working plans. Most were drawn to scale on paper and some were printed from CAD drawings. They chiefly reflect the design work to define the surfaces and shapes of the stadium’s structure. Source: Ateljé Sotamaa. “Portfolio: Open Arena”. http://portfolio.sotamaa.net/Open-Arena accessed in February 2018.
Personnes et institutions:
Date:
1997
1997
Titre:
Open Arena – Töölö Football Stadium, international competition entry
Actions:
AP198.S1.1997.PR01
Description:
Project records document OCEAN North’s design for their competition entry for the Töölö Football Stadium in Helsinki in 1997. The project was titled Open Arena by OCEAN North. The site for the football stadium was in the Töölö neighbourhood, between a park area including the Helsinki Olympic Stadium, and a residential area. OCEAN North’s entry was a building that would integrate with its natural surroundings while being able to accommodate a variety of activities and events. The structure for Open Arena has three topological surfaces. The first provides stadium access to the players and the public, and includes services such as restaurant, cafeteria, and bars. Its shape aims to integrate with the natural landscape. The second contains the audience seating areas, including VIP and press areas, and aimed to arrange the audience as if it was loosely dispersed on a hillside. The third topological surface consists of the roof. The Töölö Football Stadium marks the introduction of the Channelling Systems process, defining building’s integration to its surroundings and distributing functions across the structure. Records show different stages of the design process and include two digitized photographs of Plexiglas sections that were used to physically explore the design. Digital files are grouped under categories such as Board images, Board lay-out, Graft, Sections, Siteplans, digital model images, scanned plans and site images. This last directory contains digitized photographs of the grounds surrounding the Helsinki Olympic Stadium. All drawings are vector or raster images of the whole or parts of the structure, with some including the identifications of the structure’s parts. Project records also include preliminary or working plans. Most were drawn to scale on paper and some were printed from CAD drawings. They chiefly reflect the design work to define the surfaces and shapes of the stadium’s structure. Source: Ateljé Sotamaa. “Portfolio: Open Arena”. http://portfolio.sotamaa.net/Open-Arena accessed in February 2018.
Open Arena – Töölö Football Stadium, international competition entry
Actions:
AP198.S1.1997.PR01
Description:
Project records document OCEAN North’s design for their competition entry for the Töölö Football Stadium in Helsinki in 1997. The project was titled Open Arena by OCEAN North. The site for the football stadium was in the Töölö neighbourhood, between a park area including the Helsinki Olympic Stadium, and a residential area. OCEAN North’s entry was a building that would integrate with its natural surroundings while being able to accommodate a variety of activities and events. The structure for Open Arena has three topological surfaces. The first provides stadium access to the players and the public, and includes services such as restaurant, cafeteria, and bars. Its shape aims to integrate with the natural landscape. The second contains the audience seating areas, including VIP and press areas, and aimed to arrange the audience as if it was loosely dispersed on a hillside. The third topological surface consists of the roof. The Töölö Football Stadium marks the introduction of the Channelling Systems process, defining building’s integration to its surroundings and distributing functions across the structure. Records show different stages of the design process and include two digitized photographs of Plexiglas sections that were used to physically explore the design. Digital files are grouped under categories such as Board images, Board lay-out, Graft, Sections, Siteplans, digital model images, scanned plans and site images. This last directory contains digitized photographs of the grounds surrounding the Helsinki Olympic Stadium. All drawings are vector or raster images of the whole or parts of the structure, with some including the identifications of the structure’s parts. Project records also include preliminary or working plans. Most were drawn to scale on paper and some were printed from CAD drawings. They chiefly reflect the design work to define the surfaces and shapes of the stadium’s structure. Source: Ateljé Sotamaa. “Portfolio: Open Arena”. http://portfolio.sotamaa.net/Open-Arena accessed in February 2018.
Niveau de description archivistique:
Project
Project
Date:
1997
1997
Personnes et institutions:
Classification:
événements
événements
Localisation:
Théâtre Paul-Desmarais
Théâtre Paul-Desmarais
Date:
27 septembre 2007
27 septembre 2007
Classification:
événements
événements
Date:
27 septembre 2007
27 septembre 2007
Localisation:
Théâtre Paul-Desmarais
Théâtre Paul-Desmarais
