4782 Résultats
Classification:
dessins
dessins
Numéro de référence:
DR2006:0003
Description:
Le collage intitulé " Galerie de la grande architecture canadienne " a été produit dans le contexte de l'exposition " Canada-Trajectoires 1973 " présentée au Musée national d'art moderne de la ville de Paris au cours de l'été 1973. Le collage, appliqué sur papier cartonné, représente une sélection de textes et d'images d'œuvres exposées par Melvin Charney lors de cette exposition. L'objectif de l'exposition "Canada-Trajectoires 1973 " était de réunir des artistes ou des regroupements d'artistes engagés dans des discours critiques et de présenter leur travail non pas tant comme des oeuvres d'art mais plutôt " comme symptômes d'un certain climat ." (1) Selon le catalogue de l'exposition, et les divers comptes rendus qui en ont été fait dans la presse spécialisée, celle-ci était divisée en cinq sections. Quatre de ces sections étaient consacrées à des médiums spécifiques : art céramique, vidéo, peinture et sculpture, cinéma. Une cinquième section présentait des œuvres produites par des collectif d'artistes quelques soit le médium employé: galerie coopérative, coop d'artistes, workshop, banques d'images. C'est dans cette dernière section que Melvin Charney présenta trois projets créé avec l'assistance d'un groupe d'"action photographique", soit un "pavillon d'exposition" réalisé en 1969, une "monument à l'aviation" (1969) et "une galerie de la grande architecture" (1973). Dans un texte de Melvin Charney publié dans le catalogue de l'exposition, ces trois projets furent présentés sous l'intitulé "Quelques monuments nationaux". Le collage incorpore en une première strate collée obliquement par rapport au sens du carton d'œuvre, une image (en partie rognée), un texte manifeste (en partie coupée) et un intitulé. Ces trois éléments de toutes évidences se rapportent à L'ensemble des trois projets présenté par Charney. Sur une seconde strate, collée dans le sens du carton d'œuvres, Charney a collé des textes et des images se rapportant à deux des projets soit "une galerie de la grande architecture" (image et texte 25, 26 31 et 34, et monument à l'aviation, image et texte 50. Le collage est signé et daté en bas à droite. Des indications d'intercalation d'illustration au crayon graphite, - avec la mention "cut line" - détermine à même le carton d'œuvre, une zone regroupant l'ensemble des textes et des images collés. Au dos du collage figure à nouveau la signature de Charney et une numéro d'inventaire renvoyant possiblement à un catalogue constitué par Charney de son œuvre : "MC 1973 ? 02". Ce collage a servi de maquette pour la production d'une affiche publicisant l'exposition, ce qui explique la présence d'indications d'intercalation d'illustrations - une donnée signalant en règle générale que l'œuvre a été produite pour être publiée. (2) Ceci dit on ne sait pas si celle-ci fut effectivement tirée (nous n'en connaissons aucun exemplaire) avant, pendant ou après l'exposition. Cet aspect de l'historique de cette œuvre reste encore au moment où nous écrivons, à éclaircir. On peut établir toutefois avec certitude que cette œuvre, ou l'affiche qui en fut éventuellement tirée, a servi à produire la mise en page d'un article de Melvin Charney publié en avril 1974 dans la revue britannique Architectural Design. Un transparent a sans doute été pris du collage puis envoyé avec l'article de Charney à l'éditeur. Ce dernier a, à son tour, cadré l'image en fonction des indications d'intercalation d'illustrations latérales et supérieure,- on observe que le 3 de 1973 est bel et bien coupé - puis a éliminé les trois quart inférieur pour y placer le texte de l'article. La présence dans l'article publié du nom du musée d'art moderne de la ville de Paris - section arc, et son absence dans le collage est du à une perte. Un examen attentif révèle des marques sans doute de colle pour la bandelette de papier. Dans cet article publié en anglais Charney. 1- Suzanne Page, Canada trajectoires 73 : Musée d'art moderne de la ville de Paris, [Montréal?] : Publié par les Éditions Médiart pour le compte du Conseil des arts du Canada, [1973], [introduction] 2- Information fournie par l,artiste; voir aussi la légende de l'œuvre lors de sa reproduction dans un catalogue en 2000 où elle est décrite comme étant une maquette pour une affiche en offset sur papier.
DR2006:0003
Description:
Le collage intitulé " Galerie de la grande architecture canadienne " a été produit dans le contexte de l'exposition " Canada-Trajectoires 1973 " présentée au Musée national d'art moderne de la ville de Paris au cours de l'été 1973. Le collage, appliqué sur papier cartonné, représente une sélection de textes et d'images d'œuvres exposées par Melvin Charney lors de cette exposition. L'objectif de l'exposition "Canada-Trajectoires 1973 " était de réunir des artistes ou des regroupements d'artistes engagés dans des discours critiques et de présenter leur travail non pas tant comme des oeuvres d'art mais plutôt " comme symptômes d'un certain climat ." (1) Selon le catalogue de l'exposition, et les divers comptes rendus qui en ont été fait dans la presse spécialisée, celle-ci était divisée en cinq sections. Quatre de ces sections étaient consacrées à des médiums spécifiques : art céramique, vidéo, peinture et sculpture, cinéma. Une cinquième section présentait des œuvres produites par des collectif d'artistes quelques soit le médium employé: galerie coopérative, coop d'artistes, workshop, banques d'images. C'est dans cette dernière section que Melvin Charney présenta trois projets créé avec l'assistance d'un groupe d'"action photographique", soit un "pavillon d'exposition" réalisé en 1969, une "monument à l'aviation" (1969) et "une galerie de la grande architecture" (1973). Dans un texte de Melvin Charney publié dans le catalogue de l'exposition, ces trois projets furent présentés sous l'intitulé "Quelques monuments nationaux". Le collage incorpore en une première strate collée obliquement par rapport au sens du carton d'œuvre, une image (en partie rognée), un texte manifeste (en partie coupée) et un intitulé. Ces trois éléments de toutes évidences se rapportent à L'ensemble des trois projets présenté par Charney. Sur une seconde strate, collée dans le sens du carton d'œuvres, Charney a collé des textes et des images se rapportant à deux des projets soit "une galerie de la grande architecture" (image et texte 25, 26 31 et 34, et monument à l'aviation, image et texte 50. Le collage est signé et daté en bas à droite. Des indications d'intercalation d'illustration au crayon graphite, - avec la mention "cut line" - détermine à même le carton d'œuvre, une zone regroupant l'ensemble des textes et des images collés. Au dos du collage figure à nouveau la signature de Charney et une numéro d'inventaire renvoyant possiblement à un catalogue constitué par Charney de son œuvre : "MC 1973 ? 02". Ce collage a servi de maquette pour la production d'une affiche publicisant l'exposition, ce qui explique la présence d'indications d'intercalation d'illustrations - une donnée signalant en règle générale que l'œuvre a été produite pour être publiée. (2) Ceci dit on ne sait pas si celle-ci fut effectivement tirée (nous n'en connaissons aucun exemplaire) avant, pendant ou après l'exposition. Cet aspect de l'historique de cette œuvre reste encore au moment où nous écrivons, à éclaircir. On peut établir toutefois avec certitude que cette œuvre, ou l'affiche qui en fut éventuellement tirée, a servi à produire la mise en page d'un article de Melvin Charney publié en avril 1974 dans la revue britannique Architectural Design. Un transparent a sans doute été pris du collage puis envoyé avec l'article de Charney à l'éditeur. Ce dernier a, à son tour, cadré l'image en fonction des indications d'intercalation d'illustrations latérales et supérieure,- on observe que le 3 de 1973 est bel et bien coupé - puis a éliminé les trois quart inférieur pour y placer le texte de l'article. La présence dans l'article publié du nom du musée d'art moderne de la ville de Paris - section arc, et son absence dans le collage est du à une perte. Un examen attentif révèle des marques sans doute de colle pour la bandelette de papier. Dans cet article publié en anglais Charney. 1- Suzanne Page, Canada trajectoires 73 : Musée d'art moderne de la ville de Paris, [Montréal?] : Publié par les Éditions Médiart pour le compte du Conseil des arts du Canada, [1973], [introduction] 2- Information fournie par l,artiste; voir aussi la légende de l'œuvre lors de sa reproduction dans un catalogue en 2000 où elle est décrite comme étant une maquette pour une affiche en offset sur papier.
Personnes et institutions:
Date:
1973
1973
Titre:
Some national monuments, Canada trajectories
Actions:
DR2006:0003
Description:
Le collage intitulé " Galerie de la grande architecture canadienne " a été produit dans le contexte de l'exposition " Canada-Trajectoires 1973 " présentée au Musée national d'art moderne de la ville de Paris au cours de l'été 1973. Le collage, appliqué sur papier cartonné, représente une sélection de textes et d'images d'œuvres exposées par Melvin Charney lors de cette exposition. L'objectif de l'exposition "Canada-Trajectoires 1973 " était de réunir des artistes ou des regroupements d'artistes engagés dans des discours critiques et de présenter leur travail non pas tant comme des oeuvres d'art mais plutôt " comme symptômes d'un certain climat ." (1) Selon le catalogue de l'exposition, et les divers comptes rendus qui en ont été fait dans la presse spécialisée, celle-ci était divisée en cinq sections. Quatre de ces sections étaient consacrées à des médiums spécifiques : art céramique, vidéo, peinture et sculpture, cinéma. Une cinquième section présentait des œuvres produites par des collectif d'artistes quelques soit le médium employé: galerie coopérative, coop d'artistes, workshop, banques d'images. C'est dans cette dernière section que Melvin Charney présenta trois projets créé avec l'assistance d'un groupe d'"action photographique", soit un "pavillon d'exposition" réalisé en 1969, une "monument à l'aviation" (1969) et "une galerie de la grande architecture" (1973). Dans un texte de Melvin Charney publié dans le catalogue de l'exposition, ces trois projets furent présentés sous l'intitulé "Quelques monuments nationaux". Le collage incorpore en une première strate collée obliquement par rapport au sens du carton d'œuvre, une image (en partie rognée), un texte manifeste (en partie coupée) et un intitulé. Ces trois éléments de toutes évidences se rapportent à L'ensemble des trois projets présenté par Charney. Sur une seconde strate, collée dans le sens du carton d'œuvres, Charney a collé des textes et des images se rapportant à deux des projets soit "une galerie de la grande architecture" (image et texte 25, 26 31 et 34, et monument à l'aviation, image et texte 50. Le collage est signé et daté en bas à droite. Des indications d'intercalation d'illustration au crayon graphite, - avec la mention "cut line" - détermine à même le carton d'œuvre, une zone regroupant l'ensemble des textes et des images collés. Au dos du collage figure à nouveau la signature de Charney et une numéro d'inventaire renvoyant possiblement à un catalogue constitué par Charney de son œuvre : "MC 1973 ? 02". Ce collage a servi de maquette pour la production d'une affiche publicisant l'exposition, ce qui explique la présence d'indications d'intercalation d'illustrations - une donnée signalant en règle générale que l'œuvre a été produite pour être publiée. (2) Ceci dit on ne sait pas si celle-ci fut effectivement tirée (nous n'en connaissons aucun exemplaire) avant, pendant ou après l'exposition. Cet aspect de l'historique de cette œuvre reste encore au moment où nous écrivons, à éclaircir. On peut établir toutefois avec certitude que cette œuvre, ou l'affiche qui en fut éventuellement tirée, a servi à produire la mise en page d'un article de Melvin Charney publié en avril 1974 dans la revue britannique Architectural Design. Un transparent a sans doute été pris du collage puis envoyé avec l'article de Charney à l'éditeur. Ce dernier a, à son tour, cadré l'image en fonction des indications d'intercalation d'illustrations latérales et supérieure,- on observe que le 3 de 1973 est bel et bien coupé - puis a éliminé les trois quart inférieur pour y placer le texte de l'article. La présence dans l'article publié du nom du musée d'art moderne de la ville de Paris - section arc, et son absence dans le collage est du à une perte. Un examen attentif révèle des marques sans doute de colle pour la bandelette de papier. Dans cet article publié en anglais Charney. 1- Suzanne Page, Canada trajectoires 73 : Musée d'art moderne de la ville de Paris, [Montréal?] : Publié par les Éditions Médiart pour le compte du Conseil des arts du Canada, [1973], [introduction] 2- Information fournie par l,artiste; voir aussi la légende de l'œuvre lors de sa reproduction dans un catalogue en 2000 où elle est décrite comme étant une maquette pour une affiche en offset sur papier.
Some national monuments, Canada trajectories
Actions:
DR2006:0003
Description:
Le collage intitulé " Galerie de la grande architecture canadienne " a été produit dans le contexte de l'exposition " Canada-Trajectoires 1973 " présentée au Musée national d'art moderne de la ville de Paris au cours de l'été 1973. Le collage, appliqué sur papier cartonné, représente une sélection de textes et d'images d'œuvres exposées par Melvin Charney lors de cette exposition. L'objectif de l'exposition "Canada-Trajectoires 1973 " était de réunir des artistes ou des regroupements d'artistes engagés dans des discours critiques et de présenter leur travail non pas tant comme des oeuvres d'art mais plutôt " comme symptômes d'un certain climat ." (1) Selon le catalogue de l'exposition, et les divers comptes rendus qui en ont été fait dans la presse spécialisée, celle-ci était divisée en cinq sections. Quatre de ces sections étaient consacrées à des médiums spécifiques : art céramique, vidéo, peinture et sculpture, cinéma. Une cinquième section présentait des œuvres produites par des collectif d'artistes quelques soit le médium employé: galerie coopérative, coop d'artistes, workshop, banques d'images. C'est dans cette dernière section que Melvin Charney présenta trois projets créé avec l'assistance d'un groupe d'"action photographique", soit un "pavillon d'exposition" réalisé en 1969, une "monument à l'aviation" (1969) et "une galerie de la grande architecture" (1973). Dans un texte de Melvin Charney publié dans le catalogue de l'exposition, ces trois projets furent présentés sous l'intitulé "Quelques monuments nationaux". Le collage incorpore en une première strate collée obliquement par rapport au sens du carton d'œuvre, une image (en partie rognée), un texte manifeste (en partie coupée) et un intitulé. Ces trois éléments de toutes évidences se rapportent à L'ensemble des trois projets présenté par Charney. Sur une seconde strate, collée dans le sens du carton d'œuvres, Charney a collé des textes et des images se rapportant à deux des projets soit "une galerie de la grande architecture" (image et texte 25, 26 31 et 34, et monument à l'aviation, image et texte 50. Le collage est signé et daté en bas à droite. Des indications d'intercalation d'illustration au crayon graphite, - avec la mention "cut line" - détermine à même le carton d'œuvre, une zone regroupant l'ensemble des textes et des images collés. Au dos du collage figure à nouveau la signature de Charney et une numéro d'inventaire renvoyant possiblement à un catalogue constitué par Charney de son œuvre : "MC 1973 ? 02". Ce collage a servi de maquette pour la production d'une affiche publicisant l'exposition, ce qui explique la présence d'indications d'intercalation d'illustrations - une donnée signalant en règle générale que l'œuvre a été produite pour être publiée. (2) Ceci dit on ne sait pas si celle-ci fut effectivement tirée (nous n'en connaissons aucun exemplaire) avant, pendant ou après l'exposition. Cet aspect de l'historique de cette œuvre reste encore au moment où nous écrivons, à éclaircir. On peut établir toutefois avec certitude que cette œuvre, ou l'affiche qui en fut éventuellement tirée, a servi à produire la mise en page d'un article de Melvin Charney publié en avril 1974 dans la revue britannique Architectural Design. Un transparent a sans doute été pris du collage puis envoyé avec l'article de Charney à l'éditeur. Ce dernier a, à son tour, cadré l'image en fonction des indications d'intercalation d'illustrations latérales et supérieure,- on observe que le 3 de 1973 est bel et bien coupé - puis a éliminé les trois quart inférieur pour y placer le texte de l'article. La présence dans l'article publié du nom du musée d'art moderne de la ville de Paris - section arc, et son absence dans le collage est du à une perte. Un examen attentif révèle des marques sans doute de colle pour la bandelette de papier. Dans cet article publié en anglais Charney. 1- Suzanne Page, Canada trajectoires 73 : Musée d'art moderne de la ville de Paris, [Montréal?] : Publié par les Éditions Médiart pour le compte du Conseil des arts du Canada, [1973], [introduction] 2- Information fournie par l,artiste; voir aussi la légende de l'œuvre lors de sa reproduction dans un catalogue en 2000 où elle est décrite comme étant une maquette pour une affiche en offset sur papier.
Classification:
dessins
dessins
Date:
1973
1973
Personnes et institutions:
Niveau de description archivistique:
Projet
Projet
Numéro de référence:
AP144.S2.D13
Description:
File documents a project for an arts centre at Bennington College, Vermont. It was designed by the Chicago-based firm of Robertson Ward Jr., F.A.I.A. for whom Price was a consultant while he worked on other projects in Detroit (see Detroit Think Grid, 1954-1968, AP144.S2.D73). Design requirements specified that no metal or rubber materials be used, and Price collaborated on the development of custom structural wood connectors. Architectural working drawings show Phase 1 of the project for a two-storey studio (1970). Later structural drawings, created in collaboration with Chicago consulting engineers, The Engineers Collaborative, show both a visual arts building and a performing arts building. Material in this file was produced between 1970 and 1973. All drawings are stamped and signed by Robertson Ward. Jr., registered architect, State of Vermont. Information on attribution based on the content of the file and on notes by Howard Shubert, CCA Curator of Prints and Drawings, in conversation with Cedric Price. File contains working drawings.
AP144.S2.D13
Description:
File documents a project for an arts centre at Bennington College, Vermont. It was designed by the Chicago-based firm of Robertson Ward Jr., F.A.I.A. for whom Price was a consultant while he worked on other projects in Detroit (see Detroit Think Grid, 1954-1968, AP144.S2.D73). Design requirements specified that no metal or rubber materials be used, and Price collaborated on the development of custom structural wood connectors. Architectural working drawings show Phase 1 of the project for a two-storey studio (1970). Later structural drawings, created in collaboration with Chicago consulting engineers, The Engineers Collaborative, show both a visual arts building and a performing arts building. Material in this file was produced between 1970 and 1973. All drawings are stamped and signed by Robertson Ward. Jr., registered architect, State of Vermont. Information on attribution based on the content of the file and on notes by Howard Shubert, CCA Curator of Prints and Drawings, in conversation with Cedric Price. File contains working drawings.
Personnes et institutions:
Date:
1970-1973
1970-1973
Titre:
Bennington College Arts Centre
Actions:
AP144.S2.D13
Description:
File documents a project for an arts centre at Bennington College, Vermont. It was designed by the Chicago-based firm of Robertson Ward Jr., F.A.I.A. for whom Price was a consultant while he worked on other projects in Detroit (see Detroit Think Grid, 1954-1968, AP144.S2.D73). Design requirements specified that no metal or rubber materials be used, and Price collaborated on the development of custom structural wood connectors. Architectural working drawings show Phase 1 of the project for a two-storey studio (1970). Later structural drawings, created in collaboration with Chicago consulting engineers, The Engineers Collaborative, show both a visual arts building and a performing arts building. Material in this file was produced between 1970 and 1973. All drawings are stamped and signed by Robertson Ward. Jr., registered architect, State of Vermont. Information on attribution based on the content of the file and on notes by Howard Shubert, CCA Curator of Prints and Drawings, in conversation with Cedric Price. File contains working drawings.
Bennington College Arts Centre
Actions:
AP144.S2.D13
Description:
File documents a project for an arts centre at Bennington College, Vermont. It was designed by the Chicago-based firm of Robertson Ward Jr., F.A.I.A. for whom Price was a consultant while he worked on other projects in Detroit (see Detroit Think Grid, 1954-1968, AP144.S2.D73). Design requirements specified that no metal or rubber materials be used, and Price collaborated on the development of custom structural wood connectors. Architectural working drawings show Phase 1 of the project for a two-storey studio (1970). Later structural drawings, created in collaboration with Chicago consulting engineers, The Engineers Collaborative, show both a visual arts building and a performing arts building. Material in this file was produced between 1970 and 1973. All drawings are stamped and signed by Robertson Ward. Jr., registered architect, State of Vermont. Information on attribution based on the content of the file and on notes by Howard Shubert, CCA Curator of Prints and Drawings, in conversation with Cedric Price. File contains working drawings.
Niveau de description archivistique:
File 13
File 13
Date:
1970-1973
1970-1973
Personnes et institutions:
Niveau de description archivistique:
Sous-série
Sous-série
Numéro de référence:
AP197.S1.SS3
Description:
This subseries documents Frampton's activities as Graham Foundation Fellow at the Institute for Architecture and Urban Studies (IAUS), including the development and design of IAUS’s only built project, the Low-Rise High-Density (LRHD) housing project in Brooklyn, New York. Also documented in this series are some of Frampton's other activities for IAUS. Frampton was not only co-founding editor of IAUS's magazine, "Oppositions" (1973), but also served as an editor for all of IAUS's publications; their journal, book series, and catalogue series. IAUS also served as a cultural space that held lectures for highschool and undergraduate students. Materials in this subseries consist of elevation and site drawings for the LRHD housing project and photographic materials for MoMA’s exhibition on the LRHD. Textual documentation is comprised of IAUS’s original application to the Ford Foundation and drafts of Frampton’s writings on the LRHD as well as IAUS meeting minutes, IAUS by-laws, announcement pamphlets, booklets, IAUS research programs and outlines of seminar sessions, correspondence, postcards, and posters. The subseries also includes an IAUS watch.
AP197.S1.SS3
Description:
This subseries documents Frampton's activities as Graham Foundation Fellow at the Institute for Architecture and Urban Studies (IAUS), including the development and design of IAUS’s only built project, the Low-Rise High-Density (LRHD) housing project in Brooklyn, New York. Also documented in this series are some of Frampton's other activities for IAUS. Frampton was not only co-founding editor of IAUS's magazine, "Oppositions" (1973), but also served as an editor for all of IAUS's publications; their journal, book series, and catalogue series. IAUS also served as a cultural space that held lectures for highschool and undergraduate students. Materials in this subseries consist of elevation and site drawings for the LRHD housing project and photographic materials for MoMA’s exhibition on the LRHD. Textual documentation is comprised of IAUS’s original application to the Ford Foundation and drafts of Frampton’s writings on the LRHD as well as IAUS meeting minutes, IAUS by-laws, announcement pamphlets, booklets, IAUS research programs and outlines of seminar sessions, correspondence, postcards, and posters. The subseries also includes an IAUS watch.
Personnes et institutions:
Date:
1970-2015
1970-2015
Titre:
Institute for Architecture and Urban Studies (IAUS) (1970-1982)
Actions:
AP197.S1.SS3
Description:
This subseries documents Frampton's activities as Graham Foundation Fellow at the Institute for Architecture and Urban Studies (IAUS), including the development and design of IAUS’s only built project, the Low-Rise High-Density (LRHD) housing project in Brooklyn, New York. Also documented in this series are some of Frampton's other activities for IAUS. Frampton was not only co-founding editor of IAUS's magazine, "Oppositions" (1973), but also served as an editor for all of IAUS's publications; their journal, book series, and catalogue series. IAUS also served as a cultural space that held lectures for highschool and undergraduate students. Materials in this subseries consist of elevation and site drawings for the LRHD housing project and photographic materials for MoMA’s exhibition on the LRHD. Textual documentation is comprised of IAUS’s original application to the Ford Foundation and drafts of Frampton’s writings on the LRHD as well as IAUS meeting minutes, IAUS by-laws, announcement pamphlets, booklets, IAUS research programs and outlines of seminar sessions, correspondence, postcards, and posters. The subseries also includes an IAUS watch.
Institute for Architecture and Urban Studies (IAUS) (1970-1982)
Actions:
AP197.S1.SS3
Description:
This subseries documents Frampton's activities as Graham Foundation Fellow at the Institute for Architecture and Urban Studies (IAUS), including the development and design of IAUS’s only built project, the Low-Rise High-Density (LRHD) housing project in Brooklyn, New York. Also documented in this series are some of Frampton's other activities for IAUS. Frampton was not only co-founding editor of IAUS's magazine, "Oppositions" (1973), but also served as an editor for all of IAUS's publications; their journal, book series, and catalogue series. IAUS also served as a cultural space that held lectures for highschool and undergraduate students. Materials in this subseries consist of elevation and site drawings for the LRHD housing project and photographic materials for MoMA’s exhibition on the LRHD. Textual documentation is comprised of IAUS’s original application to the Ford Foundation and drafts of Frampton’s writings on the LRHD as well as IAUS meeting minutes, IAUS by-laws, announcement pamphlets, booklets, IAUS research programs and outlines of seminar sessions, correspondence, postcards, and posters. The subseries also includes an IAUS watch.
Niveau de description archivistique:
Subseries
Subseries
Date:
1970-2015
1970-2015
Personnes et institutions:
Classification:
photographies
photographies
Numéro de référence:
AP140.S2.SS7.D1.P3
Description:
view of interior of office and personnel including James Stirling and Michael Wilford, views of cake representing James Stirling dated 1984, group portrait of office football team dated 1973, view of James Stirling and Michael Wilford in Salford dated 1992, views of the Bund Deutscher Architekten, Baden-Württemberg, Hugo-Häring-Preis award ceremony in Manhheim in 1988, view of opening of Performing Arts Centre, Cornell University, view of James Stirling and Michael Wilford by photographer Geoff Beeckman, and views of events and visits at various locations
AP140.S2.SS7.D1.P3
Description:
view of interior of office and personnel including James Stirling and Michael Wilford, views of cake representing James Stirling dated 1984, group portrait of office football team dated 1973, view of James Stirling and Michael Wilford in Salford dated 1992, views of the Bund Deutscher Architekten, Baden-Württemberg, Hugo-Häring-Preis award ceremony in Manhheim in 1988, view of opening of Performing Arts Centre, Cornell University, view of James Stirling and Michael Wilford by photographer Geoff Beeckman, and views of events and visits at various locations
Personnes et institutions:
Date:
1973-1992
1973-1992
Titre:
Views of events and visits at various locations
Actions:
AP140.S2.SS7.D1.P3
Description:
view of interior of office and personnel including James Stirling and Michael Wilford, views of cake representing James Stirling dated 1984, group portrait of office football team dated 1973, view of James Stirling and Michael Wilford in Salford dated 1992, views of the Bund Deutscher Architekten, Baden-Württemberg, Hugo-Häring-Preis award ceremony in Manhheim in 1988, view of opening of Performing Arts Centre, Cornell University, view of James Stirling and Michael Wilford by photographer Geoff Beeckman, and views of events and visits at various locations
Views of events and visits at various locations
Actions:
AP140.S2.SS7.D1.P3
Description:
view of interior of office and personnel including James Stirling and Michael Wilford, views of cake representing James Stirling dated 1984, group portrait of office football team dated 1973, view of James Stirling and Michael Wilford in Salford dated 1992, views of the Bund Deutscher Architekten, Baden-Württemberg, Hugo-Häring-Preis award ceremony in Manhheim in 1988, view of opening of Performing Arts Centre, Cornell University, view of James Stirling and Michael Wilford by photographer Geoff Beeckman, and views of events and visits at various locations
Classification:
photographies
photographies
Date:
1973-1992
1973-1992
Personnes et institutions:
Classification:
documents textuels
documents textuels
Numéro de référence:
ARCH153564
Description:
Financial reports and budgets, 1972-1973 HUD project, Binghamton Street Study - Correspondence 1970- 1972: Budget Phase 2 & Phase 3 - Resident User Survey: Questionaire & Tabulation of Survey Results PDE's handwritten notes on finances procedures Progress on the Spring Lecture Series IAUS internal memoranda Correspondence with IAUS guest lecturers & attorneys Minutes of IAUS Fellows meeting: September 20 1972 Correspondence with Arthur Drexler, MoMA about Low Rise High Density exhibition Curriculum vitae of Carol Woodward Syllabus, Architecture A4790x : "Architecture and Industrial Society", Columbia University Teaching schedule
ARCH153564
Description:
Financial reports and budgets, 1972-1973 HUD project, Binghamton Street Study - Correspondence 1970- 1972: Budget Phase 2 & Phase 3 - Resident User Survey: Questionaire & Tabulation of Survey Results PDE's handwritten notes on finances procedures Progress on the Spring Lecture Series IAUS internal memoranda Correspondence with IAUS guest lecturers & attorneys Minutes of IAUS Fellows meeting: September 20 1972 Correspondence with Arthur Drexler, MoMA about Low Rise High Density exhibition Curriculum vitae of Carol Woodward Syllabus, Architecture A4790x : "Architecture and Industrial Society", Columbia University Teaching schedule
Personnes et institutions:
Date:
1970-1973
1970-1973
Titre:
HUD project, Binghamton Street Study and Miscellaneous documents
Actions:
ARCH153564
Description:
Financial reports and budgets, 1972-1973 HUD project, Binghamton Street Study - Correspondence 1970- 1972: Budget Phase 2 & Phase 3 - Resident User Survey: Questionaire & Tabulation of Survey Results PDE's handwritten notes on finances procedures Progress on the Spring Lecture Series IAUS internal memoranda Correspondence with IAUS guest lecturers & attorneys Minutes of IAUS Fellows meeting: September 20 1972 Correspondence with Arthur Drexler, MoMA about Low Rise High Density exhibition Curriculum vitae of Carol Woodward Syllabus, Architecture A4790x : "Architecture and Industrial Society", Columbia University Teaching schedule
HUD project, Binghamton Street Study and Miscellaneous documents
Actions:
ARCH153564
Description:
Financial reports and budgets, 1972-1973 HUD project, Binghamton Street Study - Correspondence 1970- 1972: Budget Phase 2 & Phase 3 - Resident User Survey: Questionaire & Tabulation of Survey Results PDE's handwritten notes on finances procedures Progress on the Spring Lecture Series IAUS internal memoranda Correspondence with IAUS guest lecturers & attorneys Minutes of IAUS Fellows meeting: September 20 1972 Correspondence with Arthur Drexler, MoMA about Low Rise High Density exhibition Curriculum vitae of Carol Woodward Syllabus, Architecture A4790x : "Architecture and Industrial Society", Columbia University Teaching schedule
Classification:
documents textuels
documents textuels
Date:
1970-1973
1970-1973
Personnes et institutions:
Classification:
photographies
photographies
Numéro de référence:
AP140.S2.SS1.D40.P30
Description:
views of conceptual, schematic design, design development, working and publication drawings, a few of which are not otherwise present in the project documents, several negatives showing schematic design and design development drawings, some dated between October 1971 and May 1972, a few of which are not otherwise present in the project documents, negatives showing an incomplete set of numbered working drawings dated between April and October 1973 which is not otherwise present in the project documents, a few transparencies showing a hand-coloured interior perspective for the Headquarters
AP140.S2.SS1.D40.P30
Description:
views of conceptual, schematic design, design development, working and publication drawings, a few of which are not otherwise present in the project documents, several negatives showing schematic design and design development drawings, some dated between October 1971 and May 1972, a few of which are not otherwise present in the project documents, negatives showing an incomplete set of numbered working drawings dated between April and October 1973 which is not otherwise present in the project documents, a few transparencies showing a hand-coloured interior perspective for the Headquarters
Personnes et institutions:
Titre:
Views of conceptual, schematic design, design development
Actions:
AP140.S2.SS1.D40.P30
Description:
views of conceptual, schematic design, design development, working and publication drawings, a few of which are not otherwise present in the project documents, several negatives showing schematic design and design development drawings, some dated between October 1971 and May 1972, a few of which are not otherwise present in the project documents, negatives showing an incomplete set of numbered working drawings dated between April and October 1973 which is not otherwise present in the project documents, a few transparencies showing a hand-coloured interior perspective for the Headquarters
Views of conceptual, schematic design, design development
Actions:
AP140.S2.SS1.D40.P30
Description:
views of conceptual, schematic design, design development, working and publication drawings, a few of which are not otherwise present in the project documents, several negatives showing schematic design and design development drawings, some dated between October 1971 and May 1972, a few of which are not otherwise present in the project documents, negatives showing an incomplete set of numbered working drawings dated between April and October 1973 which is not otherwise present in the project documents, a few transparencies showing a hand-coloured interior perspective for the Headquarters
Classification:
photographies
photographies
Personnes et institutions:
Niveau de description archivistique:
Série(s)
Série(s)
Titre:
Hermann Finsterlin
Hermann Finsterlin
Numéro de référence:
AP162.S1
Description:
Series documents the contribution of artist Hermann Finsterlin to the correspondence circle of Die gläserne Kette. Finsterlin wrote under the pseudonym Prometh (sometime appears as "Prometheus"). Born in Munich in 1897, Finsterlin studied at Munich University in chemistry, then in physics and medicine, and later in philosophy. He studied painting at the Kunstakademie in Munich in 1917 and 1918 and exhibited his work at the Ausstlelling für unbekannte Architekten. He published in "Frühlich", a magazine edited by Bruno Taut in which works by some members of Die gläserne Kette were featured. He painted frescoes in Tripoli, Majorca, and Tenerife. During the Nazi period, Finsterlin was commissionned to paint frescoes and portraits for the regime, but most of his work was destroyed during the war. He died in Stuttgart, Germany, in 1973. (Source: Ian Boyd Whyte, Bruno Taut and the Architecture of Activism. Cambridge: Cambridge University Press, 1982) The series comprises part of the correspondence of Hermann Finsterlin to the Die gläserne Kette circle, including a postcard. The series also includes some drawings by Finsterlin.
AP162.S1
Description:
Series documents the contribution of artist Hermann Finsterlin to the correspondence circle of Die gläserne Kette. Finsterlin wrote under the pseudonym Prometh (sometime appears as "Prometheus"). Born in Munich in 1897, Finsterlin studied at Munich University in chemistry, then in physics and medicine, and later in philosophy. He studied painting at the Kunstakademie in Munich in 1917 and 1918 and exhibited his work at the Ausstlelling für unbekannte Architekten. He published in "Frühlich", a magazine edited by Bruno Taut in which works by some members of Die gläserne Kette were featured. He painted frescoes in Tripoli, Majorca, and Tenerife. During the Nazi period, Finsterlin was commissionned to paint frescoes and portraits for the regime, but most of his work was destroyed during the war. He died in Stuttgart, Germany, in 1973. (Source: Ian Boyd Whyte, Bruno Taut and the Architecture of Activism. Cambridge: Cambridge University Press, 1982) The series comprises part of the correspondence of Hermann Finsterlin to the Die gläserne Kette circle, including a postcard. The series also includes some drawings by Finsterlin.
Personnes et institutions:
Date:
1919-1923
1919-1923
Titre:
Hermann Finsterlin
Actions:
AP162.S1
Description:
Series documents the contribution of artist Hermann Finsterlin to the correspondence circle of Die gläserne Kette. Finsterlin wrote under the pseudonym Prometh (sometime appears as "Prometheus"). Born in Munich in 1897, Finsterlin studied at Munich University in chemistry, then in physics and medicine, and later in philosophy. He studied painting at the Kunstakademie in Munich in 1917 and 1918 and exhibited his work at the Ausstlelling für unbekannte Architekten. He published in "Frühlich", a magazine edited by Bruno Taut in which works by some members of Die gläserne Kette were featured. He painted frescoes in Tripoli, Majorca, and Tenerife. During the Nazi period, Finsterlin was commissionned to paint frescoes and portraits for the regime, but most of his work was destroyed during the war. He died in Stuttgart, Germany, in 1973. (Source: Ian Boyd Whyte, Bruno Taut and the Architecture of Activism. Cambridge: Cambridge University Press, 1982) The series comprises part of the correspondence of Hermann Finsterlin to the Die gläserne Kette circle, including a postcard. The series also includes some drawings by Finsterlin.
Hermann Finsterlin
Actions:
AP162.S1
Description:
Series documents the contribution of artist Hermann Finsterlin to the correspondence circle of Die gläserne Kette. Finsterlin wrote under the pseudonym Prometh (sometime appears as "Prometheus"). Born in Munich in 1897, Finsterlin studied at Munich University in chemistry, then in physics and medicine, and later in philosophy. He studied painting at the Kunstakademie in Munich in 1917 and 1918 and exhibited his work at the Ausstlelling für unbekannte Architekten. He published in "Frühlich", a magazine edited by Bruno Taut in which works by some members of Die gläserne Kette were featured. He painted frescoes in Tripoli, Majorca, and Tenerife. During the Nazi period, Finsterlin was commissionned to paint frescoes and portraits for the regime, but most of his work was destroyed during the war. He died in Stuttgart, Germany, in 1973. (Source: Ian Boyd Whyte, Bruno Taut and the Architecture of Activism. Cambridge: Cambridge University Press, 1982) The series comprises part of the correspondence of Hermann Finsterlin to the Die gläserne Kette circle, including a postcard. The series also includes some drawings by Finsterlin.
Niveau de description archivistique:
series
series
Date:
1919-1923
1919-1923
Personnes et institutions:
Niveau de description archivistique:
Projet
Projet
Numéro de référence:
AP018.S1.1978.PR10
Description:
This project series documents an addition to the Toronto Sun building in downtown Toronto from 1978-1980. The office identified the project number as 7816. From 1973-1975, Parkin Architects Planners designed and constructed the Toronto Sun press plant and office building at 333 King Street East. This project documents an office addition made to the original building. This consisted of the addition of three floors to the existing three-storey structure. The top floor, the sixth, was the main focus of this project and included the executive suite with offices, a boardroom, a sunroom, and a private cafeteria. The project is recorded through drawings and textual materials dating from 1979-1982. Most drawings are reprographic copies arranged within the textual materials. The textual records consist of correspondence, site and meeting reports, financial records, change orders, contractor and consultancy records, supplementary instructions, specifications, tender documents, schedules, interoffice letters, a project notebook and project agendas. File AP018.S1.1978.PR10.002 contains an index to the textual records, which was created by the office.
AP018.S1.1978.PR10
Description:
This project series documents an addition to the Toronto Sun building in downtown Toronto from 1978-1980. The office identified the project number as 7816. From 1973-1975, Parkin Architects Planners designed and constructed the Toronto Sun press plant and office building at 333 King Street East. This project documents an office addition made to the original building. This consisted of the addition of three floors to the existing three-storey structure. The top floor, the sixth, was the main focus of this project and included the executive suite with offices, a boardroom, a sunroom, and a private cafeteria. The project is recorded through drawings and textual materials dating from 1979-1982. Most drawings are reprographic copies arranged within the textual materials. The textual records consist of correspondence, site and meeting reports, financial records, change orders, contractor and consultancy records, supplementary instructions, specifications, tender documents, schedules, interoffice letters, a project notebook and project agendas. File AP018.S1.1978.PR10.002 contains an index to the textual records, which was created by the office.
Personnes et institutions:
Date:
1979-1982
1979-1982
Titre:
The Toronto Sun Publishing Limited, Press Plant and Office Building, Office Addition, Toronto, Ontario (1978)
Actions:
AP018.S1.1978.PR10
Description:
This project series documents an addition to the Toronto Sun building in downtown Toronto from 1978-1980. The office identified the project number as 7816. From 1973-1975, Parkin Architects Planners designed and constructed the Toronto Sun press plant and office building at 333 King Street East. This project documents an office addition made to the original building. This consisted of the addition of three floors to the existing three-storey structure. The top floor, the sixth, was the main focus of this project and included the executive suite with offices, a boardroom, a sunroom, and a private cafeteria. The project is recorded through drawings and textual materials dating from 1979-1982. Most drawings are reprographic copies arranged within the textual materials. The textual records consist of correspondence, site and meeting reports, financial records, change orders, contractor and consultancy records, supplementary instructions, specifications, tender documents, schedules, interoffice letters, a project notebook and project agendas. File AP018.S1.1978.PR10.002 contains an index to the textual records, which was created by the office.
The Toronto Sun Publishing Limited, Press Plant and Office Building, Office Addition, Toronto, Ontario (1978)
Actions:
AP018.S1.1978.PR10
Description:
This project series documents an addition to the Toronto Sun building in downtown Toronto from 1978-1980. The office identified the project number as 7816. From 1973-1975, Parkin Architects Planners designed and constructed the Toronto Sun press plant and office building at 333 King Street East. This project documents an office addition made to the original building. This consisted of the addition of three floors to the existing three-storey structure. The top floor, the sixth, was the main focus of this project and included the executive suite with offices, a boardroom, a sunroom, and a private cafeteria. The project is recorded through drawings and textual materials dating from 1979-1982. Most drawings are reprographic copies arranged within the textual materials. The textual records consist of correspondence, site and meeting reports, financial records, change orders, contractor and consultancy records, supplementary instructions, specifications, tender documents, schedules, interoffice letters, a project notebook and project agendas. File AP018.S1.1978.PR10.002 contains an index to the textual records, which was created by the office.
Niveau de description archivistique:
Project
Project
Date:
1979-1982
1979-1982
Personnes et institutions:
Niveau de description archivistique:
Projet
Projet
Numéro de référence:
AP018.S1.1976.PR13
Description:
This project series documents the site development of an office building for J. Douglas Crashley in downtown Toronto from 1976-1977. The office identified the project number as 7618. During this time, J. Douglas Crashley, a prominent Toronto entrepreneur, sought to develop an office building in downtown Toronto. The site was located at the corner of Front and York Streets, with the project consisting of a proposed eight storey office building with retail spaces and underground parking. This site development also proposed connections to nearby attractions such as the CN Tower, Union Station and Congress Centre. The project is often referred to as the Walker House Hotel, due to the fact that it was the building located on the property at this time. Three years earlier, in 1973, J.D. Crashley had commissioned a site investigation of various locations in downtown Toronto for his office building, including this site, which was completed under a different project number assigned by the office (see project series AP018.S1.1973.PR13, also described in this fonds). The project is recorded through correspondence dating from 1977.
AP018.S1.1976.PR13
Description:
This project series documents the site development of an office building for J. Douglas Crashley in downtown Toronto from 1976-1977. The office identified the project number as 7618. During this time, J. Douglas Crashley, a prominent Toronto entrepreneur, sought to develop an office building in downtown Toronto. The site was located at the corner of Front and York Streets, with the project consisting of a proposed eight storey office building with retail spaces and underground parking. This site development also proposed connections to nearby attractions such as the CN Tower, Union Station and Congress Centre. The project is often referred to as the Walker House Hotel, due to the fact that it was the building located on the property at this time. Three years earlier, in 1973, J.D. Crashley had commissioned a site investigation of various locations in downtown Toronto for his office building, including this site, which was completed under a different project number assigned by the office (see project series AP018.S1.1973.PR13, also described in this fonds). The project is recorded through correspondence dating from 1977.
Personnes et institutions:
Date:
1977
1977
Titre:
Office Building for J.D. Crashley, Site Development, Toronto (1976-1977)
Actions:
AP018.S1.1976.PR13
Description:
This project series documents the site development of an office building for J. Douglas Crashley in downtown Toronto from 1976-1977. The office identified the project number as 7618. During this time, J. Douglas Crashley, a prominent Toronto entrepreneur, sought to develop an office building in downtown Toronto. The site was located at the corner of Front and York Streets, with the project consisting of a proposed eight storey office building with retail spaces and underground parking. This site development also proposed connections to nearby attractions such as the CN Tower, Union Station and Congress Centre. The project is often referred to as the Walker House Hotel, due to the fact that it was the building located on the property at this time. Three years earlier, in 1973, J.D. Crashley had commissioned a site investigation of various locations in downtown Toronto for his office building, including this site, which was completed under a different project number assigned by the office (see project series AP018.S1.1973.PR13, also described in this fonds). The project is recorded through correspondence dating from 1977.
Office Building for J.D. Crashley, Site Development, Toronto (1976-1977)
Actions:
AP018.S1.1976.PR13
Description:
This project series documents the site development of an office building for J. Douglas Crashley in downtown Toronto from 1976-1977. The office identified the project number as 7618. During this time, J. Douglas Crashley, a prominent Toronto entrepreneur, sought to develop an office building in downtown Toronto. The site was located at the corner of Front and York Streets, with the project consisting of a proposed eight storey office building with retail spaces and underground parking. This site development also proposed connections to nearby attractions such as the CN Tower, Union Station and Congress Centre. The project is often referred to as the Walker House Hotel, due to the fact that it was the building located on the property at this time. Three years earlier, in 1973, J.D. Crashley had commissioned a site investigation of various locations in downtown Toronto for his office building, including this site, which was completed under a different project number assigned by the office (see project series AP018.S1.1973.PR13, also described in this fonds). The project is recorded through correspondence dating from 1977.
Niveau de description archivistique:
Project
Project
Date:
1977
1977
Personnes et institutions:
Niveau de description archivistique:
Projet
Projet
Titre:
Water Wall
Water Wall
Numéro de référence:
AP144.S2.D94
Description:
File documents an unrealized project for a breakwater in Abu Dhabi, United Arab Emirates. Cedric Price collaborated with civil and structural engineering firm, Harris & Sutherland, to make a floating breakwater into a 'sea garden'. The design integrates the breakwater, which protects the beach, with imaginative leisure activities: moorings for 800 boats, a pontoon composed of a continuous chain of dinghies, an illuminated "time" fountain, a floating grand stand, drifting feature buoys, a coral walk and water garden. Cedric Price describes the breakwater as "effortlessly towing its floating leisure facilities and toys along it" (Cedric Price-Works II, 72). Design development diagrams and charts explore the various components and activities. Many conceptual drawings and perspective sketches are included within the textual records. Some material in this file was published in 'Cedric Price-Works II' (London: Architectural Press, 1984), 72, 77. Material in this file was produced between 1971 and 1989, but predominantly between 1973 and 1976. File contains design development drawings, presentation drawings, and textual records.
AP144.S2.D94
Description:
File documents an unrealized project for a breakwater in Abu Dhabi, United Arab Emirates. Cedric Price collaborated with civil and structural engineering firm, Harris & Sutherland, to make a floating breakwater into a 'sea garden'. The design integrates the breakwater, which protects the beach, with imaginative leisure activities: moorings for 800 boats, a pontoon composed of a continuous chain of dinghies, an illuminated "time" fountain, a floating grand stand, drifting feature buoys, a coral walk and water garden. Cedric Price describes the breakwater as "effortlessly towing its floating leisure facilities and toys along it" (Cedric Price-Works II, 72). Design development diagrams and charts explore the various components and activities. Many conceptual drawings and perspective sketches are included within the textual records. Some material in this file was published in 'Cedric Price-Works II' (London: Architectural Press, 1984), 72, 77. Material in this file was produced between 1971 and 1989, but predominantly between 1973 and 1976. File contains design development drawings, presentation drawings, and textual records.
Personnes et institutions:
Date:
1971-1989, predominant 1973-1976
1971-1989, predominant 1973-1976
Titre:
Water Wall
Actions:
AP144.S2.D94
Description:
File documents an unrealized project for a breakwater in Abu Dhabi, United Arab Emirates. Cedric Price collaborated with civil and structural engineering firm, Harris & Sutherland, to make a floating breakwater into a 'sea garden'. The design integrates the breakwater, which protects the beach, with imaginative leisure activities: moorings for 800 boats, a pontoon composed of a continuous chain of dinghies, an illuminated "time" fountain, a floating grand stand, drifting feature buoys, a coral walk and water garden. Cedric Price describes the breakwater as "effortlessly towing its floating leisure facilities and toys along it" (Cedric Price-Works II, 72). Design development diagrams and charts explore the various components and activities. Many conceptual drawings and perspective sketches are included within the textual records. Some material in this file was published in 'Cedric Price-Works II' (London: Architectural Press, 1984), 72, 77. Material in this file was produced between 1971 and 1989, but predominantly between 1973 and 1976. File contains design development drawings, presentation drawings, and textual records.
Water Wall
Actions:
AP144.S2.D94
Description:
File documents an unrealized project for a breakwater in Abu Dhabi, United Arab Emirates. Cedric Price collaborated with civil and structural engineering firm, Harris & Sutherland, to make a floating breakwater into a 'sea garden'. The design integrates the breakwater, which protects the beach, with imaginative leisure activities: moorings for 800 boats, a pontoon composed of a continuous chain of dinghies, an illuminated "time" fountain, a floating grand stand, drifting feature buoys, a coral walk and water garden. Cedric Price describes the breakwater as "effortlessly towing its floating leisure facilities and toys along it" (Cedric Price-Works II, 72). Design development diagrams and charts explore the various components and activities. Many conceptual drawings and perspective sketches are included within the textual records. Some material in this file was published in 'Cedric Price-Works II' (London: Architectural Press, 1984), 72, 77. Material in this file was produced between 1971 and 1989, but predominantly between 1973 and 1976. File contains design development drawings, presentation drawings, and textual records.
Niveau de description archivistique:
File 94
File 94
Date:
1971-1989, predominant 1973-1976
1971-1989, predominant 1973-1976
Personnes et institutions:
