7227 Résultats
Niveau de description archivistique:
Projet
Projet
Numéro de référence:
AP041.S1.1967.D2
Description:
This project series documents a submission for a design competition commissioned by the Government of Canada for its pavilion at the 1970 World Exposition in Osaka, Japan. Fashioned from construction cranes and scaffolding, Melvin Charney's submission (in collaboration with Harry Parnass and Janos Barancs) garnered significant interest and media coverage, and served as a turning point away from traditional architecture practice towards public art. The competition was won by architect Arthur Erickson. Material includes presentation drawings, a photograph of the no longer existant model, and competition documents including correspondence and a copy of the competition programme.
AP041.S1.1967.D2
Description:
This project series documents a submission for a design competition commissioned by the Government of Canada for its pavilion at the 1970 World Exposition in Osaka, Japan. Fashioned from construction cranes and scaffolding, Melvin Charney's submission (in collaboration with Harry Parnass and Janos Barancs) garnered significant interest and media coverage, and served as a turning point away from traditional architecture practice towards public art. The competition was won by architect Arthur Erickson. Material includes presentation drawings, a photograph of the no longer existant model, and competition documents including correspondence and a copy of the competition programme.
Personnes et institutions:
Date:
1967
1967
Titre:
Canadian government pavilion, Japan world exposition, Osaka, Japan
Actions:
AP041.S1.1967.D2
Description:
This project series documents a submission for a design competition commissioned by the Government of Canada for its pavilion at the 1970 World Exposition in Osaka, Japan. Fashioned from construction cranes and scaffolding, Melvin Charney's submission (in collaboration with Harry Parnass and Janos Barancs) garnered significant interest and media coverage, and served as a turning point away from traditional architecture practice towards public art. The competition was won by architect Arthur Erickson. Material includes presentation drawings, a photograph of the no longer existant model, and competition documents including correspondence and a copy of the competition programme.
Canadian government pavilion, Japan world exposition, Osaka, Japan
Actions:
AP041.S1.1967.D2
Description:
This project series documents a submission for a design competition commissioned by the Government of Canada for its pavilion at the 1970 World Exposition in Osaka, Japan. Fashioned from construction cranes and scaffolding, Melvin Charney's submission (in collaboration with Harry Parnass and Janos Barancs) garnered significant interest and media coverage, and served as a turning point away from traditional architecture practice towards public art. The competition was won by architect Arthur Erickson. Material includes presentation drawings, a photograph of the no longer existant model, and competition documents including correspondence and a copy of the competition programme.
Niveau de description archivistique:
Project
Project
Date:
1967
1967
Personnes et institutions:
Niveau de description archivistique:
Série(s)
Série(s)
Numéro de référence:
AP162.S9
Description:
Series documents the contribution of architect Max Taut to the correspondence circle of Die gläserne Kette, with Max Taut writing under the pseudonym Kein Name. Born in 1884 in Königsberg, Germany, Max Taut trained in carpentry and building before working in an architectural firm in Karlsruhe, Germany. In 1911, he worked independently, and later shared a practice with his brother Bruno Taut and Franz Hoffman (who joined them after 1914). His first architectural projects consisted primarily of schools. After his military service from 1914 to 1918, Max Taut joined the Arbeisrat für Kunst and the Novembersgruppe. After the First World War, he undertook several architectural projects, both private and public commissions such as housing and office buildings (mainly in Berlin), and also worked on projects for exhibitions. Unable to pratice during the Nazi Regime and the Second World War, Max Taut return to his architectural practice after the war and taught as a professor of architecture at the Hochschule für bildende Kunst in Berlin from 1945 to 1954. He undertook mainly housing development projects during this period. He died in Berlin in 1967. (Source: Ian Boyd Whyte, Bruno Taut and the Architecture of Activism. Cambridge: Cambridge University Press, 1982) The series comprises part of the correspondence of Max Taut to the Die gläserne Kette circle and related drawings. The series also includes photographic materials of some of his architectural projects.
AP162.S9
Description:
Series documents the contribution of architect Max Taut to the correspondence circle of Die gläserne Kette, with Max Taut writing under the pseudonym Kein Name. Born in 1884 in Königsberg, Germany, Max Taut trained in carpentry and building before working in an architectural firm in Karlsruhe, Germany. In 1911, he worked independently, and later shared a practice with his brother Bruno Taut and Franz Hoffman (who joined them after 1914). His first architectural projects consisted primarily of schools. After his military service from 1914 to 1918, Max Taut joined the Arbeisrat für Kunst and the Novembersgruppe. After the First World War, he undertook several architectural projects, both private and public commissions such as housing and office buildings (mainly in Berlin), and also worked on projects for exhibitions. Unable to pratice during the Nazi Regime and the Second World War, Max Taut return to his architectural practice after the war and taught as a professor of architecture at the Hochschule für bildende Kunst in Berlin from 1945 to 1954. He undertook mainly housing development projects during this period. He died in Berlin in 1967. (Source: Ian Boyd Whyte, Bruno Taut and the Architecture of Activism. Cambridge: Cambridge University Press, 1982) The series comprises part of the correspondence of Max Taut to the Die gläserne Kette circle and related drawings. The series also includes photographic materials of some of his architectural projects.
Personnes et institutions:
Date:
circa 1919 -1920
circa 1919 -1920
Titre:
Max Taut
Actions:
AP162.S9
Description:
Series documents the contribution of architect Max Taut to the correspondence circle of Die gläserne Kette, with Max Taut writing under the pseudonym Kein Name. Born in 1884 in Königsberg, Germany, Max Taut trained in carpentry and building before working in an architectural firm in Karlsruhe, Germany. In 1911, he worked independently, and later shared a practice with his brother Bruno Taut and Franz Hoffman (who joined them after 1914). His first architectural projects consisted primarily of schools. After his military service from 1914 to 1918, Max Taut joined the Arbeisrat für Kunst and the Novembersgruppe. After the First World War, he undertook several architectural projects, both private and public commissions such as housing and office buildings (mainly in Berlin), and also worked on projects for exhibitions. Unable to pratice during the Nazi Regime and the Second World War, Max Taut return to his architectural practice after the war and taught as a professor of architecture at the Hochschule für bildende Kunst in Berlin from 1945 to 1954. He undertook mainly housing development projects during this period. He died in Berlin in 1967. (Source: Ian Boyd Whyte, Bruno Taut and the Architecture of Activism. Cambridge: Cambridge University Press, 1982) The series comprises part of the correspondence of Max Taut to the Die gläserne Kette circle and related drawings. The series also includes photographic materials of some of his architectural projects.
Max Taut
Actions:
AP162.S9
Description:
Series documents the contribution of architect Max Taut to the correspondence circle of Die gläserne Kette, with Max Taut writing under the pseudonym Kein Name. Born in 1884 in Königsberg, Germany, Max Taut trained in carpentry and building before working in an architectural firm in Karlsruhe, Germany. In 1911, he worked independently, and later shared a practice with his brother Bruno Taut and Franz Hoffman (who joined them after 1914). His first architectural projects consisted primarily of schools. After his military service from 1914 to 1918, Max Taut joined the Arbeisrat für Kunst and the Novembersgruppe. After the First World War, he undertook several architectural projects, both private and public commissions such as housing and office buildings (mainly in Berlin), and also worked on projects for exhibitions. Unable to pratice during the Nazi Regime and the Second World War, Max Taut return to his architectural practice after the war and taught as a professor of architecture at the Hochschule für bildende Kunst in Berlin from 1945 to 1954. He undertook mainly housing development projects during this period. He died in Berlin in 1967. (Source: Ian Boyd Whyte, Bruno Taut and the Architecture of Activism. Cambridge: Cambridge University Press, 1982) The series comprises part of the correspondence of Max Taut to the Die gläserne Kette circle and related drawings. The series also includes photographic materials of some of his architectural projects.
Niveau de description archivistique:
series
series
Date:
circa 1919 -1920
circa 1919 -1920
Personnes et institutions:
Niveau de description archivistique:
Série(s)
Série(s)
Numéro de référence:
AP197.S5
Description:
This series contains materials related to Conference of Architects for the Study of the Environment (CASE) meetings. Founded in the early 1960s, CASE was an organization of American East Coast architecture schools that sought to create a dialogue on the state of architecture with a focus on architectural practice and teaching. In 1964, Frampton participated in the first Princeton University CASE meeting, which is documented by the three tape reels in this series. Also included in this series are a program and invitations from Peter Eisenman for the CASE 8 meeting (1971) that was held at MoMA, New York. The invitations include a note with the names of who each invitation was sent to.
AP197.S5
Description:
This series contains materials related to Conference of Architects for the Study of the Environment (CASE) meetings. Founded in the early 1960s, CASE was an organization of American East Coast architecture schools that sought to create a dialogue on the state of architecture with a focus on architectural practice and teaching. In 1964, Frampton participated in the first Princeton University CASE meeting, which is documented by the three tape reels in this series. Also included in this series are a program and invitations from Peter Eisenman for the CASE 8 meeting (1971) that was held at MoMA, New York. The invitations include a note with the names of who each invitation was sent to.
Personnes et institutions:
Date:
1964, 1971
1964, 1971
Titre:
Conference of Architects for the Study of the Environment (CASE)
Actions:
AP197.S5
Description:
This series contains materials related to Conference of Architects for the Study of the Environment (CASE) meetings. Founded in the early 1960s, CASE was an organization of American East Coast architecture schools that sought to create a dialogue on the state of architecture with a focus on architectural practice and teaching. In 1964, Frampton participated in the first Princeton University CASE meeting, which is documented by the three tape reels in this series. Also included in this series are a program and invitations from Peter Eisenman for the CASE 8 meeting (1971) that was held at MoMA, New York. The invitations include a note with the names of who each invitation was sent to.
Conference of Architects for the Study of the Environment (CASE)
Actions:
AP197.S5
Description:
This series contains materials related to Conference of Architects for the Study of the Environment (CASE) meetings. Founded in the early 1960s, CASE was an organization of American East Coast architecture schools that sought to create a dialogue on the state of architecture with a focus on architectural practice and teaching. In 1964, Frampton participated in the first Princeton University CASE meeting, which is documented by the three tape reels in this series. Also included in this series are a program and invitations from Peter Eisenman for the CASE 8 meeting (1971) that was held at MoMA, New York. The invitations include a note with the names of who each invitation was sent to.
Niveau de description archivistique:
Series
Series
Date:
1964, 1971
1964, 1971
Personnes et institutions:
Classification:
archives
Niveau de description archivistique:
Collection
archives
Niveau de description archivistique:
Collection
Titre:
Collection Eero Saarinen
Collection Eero Saarinen
Numéro de référence:
AP159
Résumé:
The Eero Saarinen Collection documents eight built projects undertaken between 1956 and 1964. The IBM Exhibition Pavilion for the New York World's Fair was undertaken in association with Charles Eames. Eero Saarinen died before this project got underway and was carried out by his successor firm, led by Kevin Roche.
AP159
Résumé:
The Eero Saarinen Collection documents eight built projects undertaken between 1956 and 1964. The IBM Exhibition Pavilion for the New York World's Fair was undertaken in association with Charles Eames. Eero Saarinen died before this project got underway and was carried out by his successor firm, led by Kevin Roche.
Personnes et institutions:
Date:
1956-1964
1956-1964
Titre:
Collection Eero Saarinen
Actions:
AP159
Résumé:
The Eero Saarinen Collection documents eight built projects undertaken between 1956 and 1964. The IBM Exhibition Pavilion for the New York World's Fair was undertaken in association with Charles Eames. Eero Saarinen died before this project got underway and was carried out by his successor firm, led by Kevin Roche.
Collection Eero Saarinen
Actions:
AP159
Résumé:
The Eero Saarinen Collection documents eight built projects undertaken between 1956 and 1964. The IBM Exhibition Pavilion for the New York World's Fair was undertaken in association with Charles Eames. Eero Saarinen died before this project got underway and was carried out by his successor firm, led by Kevin Roche.
Classification:
archives
Niveau de description archivistique:
Collection
archives
Niveau de description archivistique:
Collection
Date:
1956-1964
1956-1964
Personnes et institutions:
Classification:
articles
articles
Actions:
Bui Quy Son et Paul-Antoine Lucas d'Exutoire en conversation avec Léa Brami et Alexander Auris sur la défaillance queer et le potentiel d'un monde post-binaire
Mot(s)-clé(s):
queer, architecture queer, pratique queer, Bruxelles, conversation, avenir de la pratique architecturale
queer, architecture queer, pratique queer, Bruxelles, conversation, avenir de la pratique architecturale
Publié:
27 mars 2023
27 mars 2023
Titre:
Bruxelles : luttes, mémoire collective et tactiques de résistance queer
Bui Quy Son et Paul-Antoine Lucas d'Exutoire en conversation avec Léa Brami et Alexander Auris sur la défaillance queer et le potentiel d'un monde post-binaire
Actions:
Bruxelles : luttes, mémoire collective et tactiques de résistance queer
Bui Quy Son et Paul-Antoine Lucas d'Exutoire en conversation avec Léa Brami et Alexander Auris sur la défaillance queer et le potentiel d'un monde post-binaire
Actions:
Classification:
articles
articles
Publié:
27 mars 2023
27 mars 2023
Classification:
documents textuels
documents textuels
Numéro de référence:
ARCH258357
Description:
Correspondance et dessins par Cormier, P.L. Rigal, et Alex Scott Cart[er?] du sceau de l'Association des architectes de la province de Québec. Comprend aussi des notes de Cormier sur l'étude de l'architecture, une étude sur l'avenir de la profession, une copie de « Manual of Office Practice » et « Loi des compagnies et autres lois », et la revue « L'Ingénieur » (avec un article sur le Code Civil).
ARCH258357
Description:
Correspondance et dessins par Cormier, P.L. Rigal, et Alex Scott Cart[er?] du sceau de l'Association des architectes de la province de Québec. Comprend aussi des notes de Cormier sur l'étude de l'architecture, une étude sur l'avenir de la profession, une copie de « Manual of Office Practice » et « Loi des compagnies et autres lois », et la revue « L'Ingénieur » (avec un article sur le Code Civil).
Personnes et institutions:
Date:
1935-1971
1935-1971
Titre:
Correspondance, notes de Cormier et dessins pour le design du sceau de l'Association des architectes de la province de Québec
Actions:
ARCH258357
Description:
Correspondance et dessins par Cormier, P.L. Rigal, et Alex Scott Cart[er?] du sceau de l'Association des architectes de la province de Québec. Comprend aussi des notes de Cormier sur l'étude de l'architecture, une étude sur l'avenir de la profession, une copie de « Manual of Office Practice » et « Loi des compagnies et autres lois », et la revue « L'Ingénieur » (avec un article sur le Code Civil).
Correspondance, notes de Cormier et dessins pour le design du sceau de l'Association des architectes de la province de Québec
Actions:
ARCH258357
Description:
Correspondance et dessins par Cormier, P.L. Rigal, et Alex Scott Cart[er?] du sceau de l'Association des architectes de la province de Québec. Comprend aussi des notes de Cormier sur l'étude de l'architecture, une étude sur l'avenir de la profession, une copie de « Manual of Office Practice » et « Loi des compagnies et autres lois », et la revue « L'Ingénieur » (avec un article sur le Code Civil).
Classification:
documents textuels
documents textuels
Date:
1935-1971
1935-1971
Personnes et institutions:
Classification:
archives
Niveau de description archivistique:
Fonds
archives
Niveau de description archivistique:
Fonds
Numéro de référence:
CP138
Résumé:
The Gordon Matta-Clark collection documents the personal and professional activities of Gordon Matta-Clark through his correspondence, texts, library, artwork and films, created predominantly between 1969 and 1978. Additionally the collection contains correspondence and photographs collected by Anne Alpert, Matta-Clark's mother, and documentation on his work collected by his widow Jane Crawford following his death.
CP138
Résumé:
The Gordon Matta-Clark collection documents the personal and professional activities of Gordon Matta-Clark through his correspondence, texts, library, artwork and films, created predominantly between 1969 and 1978. Additionally the collection contains correspondence and photographs collected by Anne Alpert, Matta-Clark's mother, and documentation on his work collected by his widow Jane Crawford following his death.
Personnes et institutions:
Date:
1914-2008
1914-2008
Titre:
Collection Gordon Matta-Clark
Actions:
CP138
Résumé:
The Gordon Matta-Clark collection documents the personal and professional activities of Gordon Matta-Clark through his correspondence, texts, library, artwork and films, created predominantly between 1969 and 1978. Additionally the collection contains correspondence and photographs collected by Anne Alpert, Matta-Clark's mother, and documentation on his work collected by his widow Jane Crawford following his death.
Collection Gordon Matta-Clark
Actions:
CP138
Résumé:
The Gordon Matta-Clark collection documents the personal and professional activities of Gordon Matta-Clark through his correspondence, texts, library, artwork and films, created predominantly between 1969 and 1978. Additionally the collection contains correspondence and photographs collected by Anne Alpert, Matta-Clark's mother, and documentation on his work collected by his widow Jane Crawford following his death.
Classification:
archives
Niveau de description archivistique:
Collection
archives
Niveau de description archivistique:
Collection
Date:
1914-2008
1914-2008
Personnes et institutions:
Niveau de description archivistique:
Projet
Projet
Numéro de référence:
AP056.S1.1991.PR07
Description:
This project series documents the master plan for the Royal Conservatory of Music in Toronto in 1991. The office identified the project number as 9107. This project consisted of long-range planning for renovations and additions to the music school, located in Victorian-era McMaster Hall on Bloor Street and originally built in 1881. This plan came in preparation of the Conservatory's separation from the University of Toronto in 1987. The program recognized the need for 73,450 square feet of space for the school to carry out its teaching, administrative, public, and performance duties. The building had a basement, six floors above grade and two levels of parking. The work was to focus around public spaces for socialization and to create grand spaces for the performance of music. Smaller teaching and practice rooms, along with administrative spaces, were also to be included. The plan proposed the restoration of McMaster Hall, the restoration of Memorial Hall to the east of the building as a 220-seat recital hall, the creation of a new enclosed courtyard surrounded by cloisters, and renovations to the South Pavilion as a cafe. A new West Wing was also proposed to accommodate teaching and practice areas, while a new East Wing would contain a 550-seat concert hall. These changes were to be carried out in phases, with 3 phases proposed as the most effecient and cost effective. The project is recorded through drawings, presentation paintings, a magazine, and textual records dating from 1991. The drawings include sketches, presentation drawings, plans, elevations and sections. The magazine is a special issue of the Canadian Architect Awards of Excellence, featuring this project, and the textual records present the complete project proposal.
AP056.S1.1991.PR07
Description:
This project series documents the master plan for the Royal Conservatory of Music in Toronto in 1991. The office identified the project number as 9107. This project consisted of long-range planning for renovations and additions to the music school, located in Victorian-era McMaster Hall on Bloor Street and originally built in 1881. This plan came in preparation of the Conservatory's separation from the University of Toronto in 1987. The program recognized the need for 73,450 square feet of space for the school to carry out its teaching, administrative, public, and performance duties. The building had a basement, six floors above grade and two levels of parking. The work was to focus around public spaces for socialization and to create grand spaces for the performance of music. Smaller teaching and practice rooms, along with administrative spaces, were also to be included. The plan proposed the restoration of McMaster Hall, the restoration of Memorial Hall to the east of the building as a 220-seat recital hall, the creation of a new enclosed courtyard surrounded by cloisters, and renovations to the South Pavilion as a cafe. A new West Wing was also proposed to accommodate teaching and practice areas, while a new East Wing would contain a 550-seat concert hall. These changes were to be carried out in phases, with 3 phases proposed as the most effecient and cost effective. The project is recorded through drawings, presentation paintings, a magazine, and textual records dating from 1991. The drawings include sketches, presentation drawings, plans, elevations and sections. The magazine is a special issue of the Canadian Architect Awards of Excellence, featuring this project, and the textual records present the complete project proposal.
Personnes et institutions:
Date:
1991-1997
1991-1997
Titre:
Royal Conservatory of Music, Master Plan, Toronto (1991)
Actions:
AP056.S1.1991.PR07
Description:
This project series documents the master plan for the Royal Conservatory of Music in Toronto in 1991. The office identified the project number as 9107. This project consisted of long-range planning for renovations and additions to the music school, located in Victorian-era McMaster Hall on Bloor Street and originally built in 1881. This plan came in preparation of the Conservatory's separation from the University of Toronto in 1987. The program recognized the need for 73,450 square feet of space for the school to carry out its teaching, administrative, public, and performance duties. The building had a basement, six floors above grade and two levels of parking. The work was to focus around public spaces for socialization and to create grand spaces for the performance of music. Smaller teaching and practice rooms, along with administrative spaces, were also to be included. The plan proposed the restoration of McMaster Hall, the restoration of Memorial Hall to the east of the building as a 220-seat recital hall, the creation of a new enclosed courtyard surrounded by cloisters, and renovations to the South Pavilion as a cafe. A new West Wing was also proposed to accommodate teaching and practice areas, while a new East Wing would contain a 550-seat concert hall. These changes were to be carried out in phases, with 3 phases proposed as the most effecient and cost effective. The project is recorded through drawings, presentation paintings, a magazine, and textual records dating from 1991. The drawings include sketches, presentation drawings, plans, elevations and sections. The magazine is a special issue of the Canadian Architect Awards of Excellence, featuring this project, and the textual records present the complete project proposal.
Royal Conservatory of Music, Master Plan, Toronto (1991)
Actions:
AP056.S1.1991.PR07
Description:
This project series documents the master plan for the Royal Conservatory of Music in Toronto in 1991. The office identified the project number as 9107. This project consisted of long-range planning for renovations and additions to the music school, located in Victorian-era McMaster Hall on Bloor Street and originally built in 1881. This plan came in preparation of the Conservatory's separation from the University of Toronto in 1987. The program recognized the need for 73,450 square feet of space for the school to carry out its teaching, administrative, public, and performance duties. The building had a basement, six floors above grade and two levels of parking. The work was to focus around public spaces for socialization and to create grand spaces for the performance of music. Smaller teaching and practice rooms, along with administrative spaces, were also to be included. The plan proposed the restoration of McMaster Hall, the restoration of Memorial Hall to the east of the building as a 220-seat recital hall, the creation of a new enclosed courtyard surrounded by cloisters, and renovations to the South Pavilion as a cafe. A new West Wing was also proposed to accommodate teaching and practice areas, while a new East Wing would contain a 550-seat concert hall. These changes were to be carried out in phases, with 3 phases proposed as the most effecient and cost effective. The project is recorded through drawings, presentation paintings, a magazine, and textual records dating from 1991. The drawings include sketches, presentation drawings, plans, elevations and sections. The magazine is a special issue of the Canadian Architect Awards of Excellence, featuring this project, and the textual records present the complete project proposal.
Niveau de description archivistique:
Project
Project
Date:
1991-1997
1991-1997
Personnes et institutions:
Niveau de description archivistique:
Série(s)
Série(s)
Numéro de référence:
AP027.S1
Description:
The abbreviation "n.c.", which represents "no client", occasionally appears in the project descriptions. This indicates that the client is unknown for that particular project or that the project was initiated by Van Ginkel Associates. Throughout its practice, Van Ginkel Associates devoted much of its time to research and design projects that were generated and paid for by the firm itself. Several of these projects were initiated by members of the staff. Project drawings, because of the multi-disciplinary nature of the firm's work and the scale of some of its commissions, differ greatly in extent, content, format, and size. The drawings therefore have been kept in their original groupings. The original titles assigned to the material by the creators while stored in tubes was transferred to their present folders.
AP027.S1
Description:
The abbreviation "n.c.", which represents "no client", occasionally appears in the project descriptions. This indicates that the client is unknown for that particular project or that the project was initiated by Van Ginkel Associates. Throughout its practice, Van Ginkel Associates devoted much of its time to research and design projects that were generated and paid for by the firm itself. Several of these projects were initiated by members of the staff. Project drawings, because of the multi-disciplinary nature of the firm's work and the scale of some of its commissions, differ greatly in extent, content, format, and size. The drawings therefore have been kept in their original groupings. The original titles assigned to the material by the creators while stored in tubes was transferred to their present folders.
Personnes et institutions:
Date:
1957-1991
1957-1991
Titre:
Project and Proposal Documentation
Actions:
AP027.S1
Description:
The abbreviation "n.c.", which represents "no client", occasionally appears in the project descriptions. This indicates that the client is unknown for that particular project or that the project was initiated by Van Ginkel Associates. Throughout its practice, Van Ginkel Associates devoted much of its time to research and design projects that were generated and paid for by the firm itself. Several of these projects were initiated by members of the staff. Project drawings, because of the multi-disciplinary nature of the firm's work and the scale of some of its commissions, differ greatly in extent, content, format, and size. The drawings therefore have been kept in their original groupings. The original titles assigned to the material by the creators while stored in tubes was transferred to their present folders.
Project and Proposal Documentation
Actions:
AP027.S1
Description:
The abbreviation "n.c.", which represents "no client", occasionally appears in the project descriptions. This indicates that the client is unknown for that particular project or that the project was initiated by Van Ginkel Associates. Throughout its practice, Van Ginkel Associates devoted much of its time to research and design projects that were generated and paid for by the firm itself. Several of these projects were initiated by members of the staff. Project drawings, because of the multi-disciplinary nature of the firm's work and the scale of some of its commissions, differ greatly in extent, content, format, and size. The drawings therefore have been kept in their original groupings. The original titles assigned to the material by the creators while stored in tubes was transferred to their present folders.
Niveau de description archivistique:
Series
Series
Date:
1957-1991
1957-1991
Personnes et institutions:
Classification:
dessins, documents textuels, photographies
dessins, documents textuels, photographies
Numéro de référence:
DR1995:0252:2450-2579
Description:
brochures, pamphlets, and promotional material for Inter-Action Centre programmes, activities, and fund-raising, clippings, reference photographs, poster, views of construction, and interior and exterior views, drawings, postcards showing Royal Exchange Theatre (Manchester), conceptual sketches and detail drawings, press release, contact sheet, correspondence, calculations, notes, material sample, promotional calendar, newsletter, schedule, cost summaries, trade brochures, code of practice, invoice, specifications, trade catalogues, and price lists
DR1995:0252:2450-2579
Description:
brochures, pamphlets, and promotional material for Inter-Action Centre programmes, activities, and fund-raising, clippings, reference photographs, poster, views of construction, and interior and exterior views, drawings, postcards showing Royal Exchange Theatre (Manchester), conceptual sketches and detail drawings, press release, contact sheet, correspondence, calculations, notes, material sample, promotional calendar, newsletter, schedule, cost summaries, trade brochures, code of practice, invoice, specifications, trade catalogues, and price lists
Personnes et institutions:
Titre:
Brochures, pamphlets, and promotional material for Inter-Action Centre programmes
Actions:
DR1995:0252:2450-2579
Description:
brochures, pamphlets, and promotional material for Inter-Action Centre programmes, activities, and fund-raising, clippings, reference photographs, poster, views of construction, and interior and exterior views, drawings, postcards showing Royal Exchange Theatre (Manchester), conceptual sketches and detail drawings, press release, contact sheet, correspondence, calculations, notes, material sample, promotional calendar, newsletter, schedule, cost summaries, trade brochures, code of practice, invoice, specifications, trade catalogues, and price lists
Brochures, pamphlets, and promotional material for Inter-Action Centre programmes
Actions:
DR1995:0252:2450-2579
Description:
brochures, pamphlets, and promotional material for Inter-Action Centre programmes, activities, and fund-raising, clippings, reference photographs, poster, views of construction, and interior and exterior views, drawings, postcards showing Royal Exchange Theatre (Manchester), conceptual sketches and detail drawings, press release, contact sheet, correspondence, calculations, notes, material sample, promotional calendar, newsletter, schedule, cost summaries, trade brochures, code of practice, invoice, specifications, trade catalogues, and price lists
Classification:
dessins, documents textuels, photographies
dessins, documents textuels, photographies
Personnes et institutions:
