24946 Résultats
Niveau de description archivistique:
Projet
Projet
Numéro de référence:
AP018.S1.1972.PR18
Description:
This project series documents the design and construction of a library and an addition to city hall in Fredericton, New Brunswick from 1972-1975. The office identified the project number as 7226. This project consisted of two distinct parts; a public library constructed at the corners of Campbell and Carleton Streets, and an addition to city hall whose original building was constructed at the corners of Queen and York Streets around 1875. These two buildings were located two blocks from one another, but a master plan for the project shows that the separating streets would be removed in favour of a pedestrian friendly landscape. Both buildings were located next to the St. John River. For this project, Parkin Architects Planners partnered with architectural firm Graham Napier Associates to form the joint venture referred to as Graham Parkin Architects Engineers Planners. The brick-clad addition to city hall nearly doubled the square footage of the ground and first floors. The original city hall was four levels and the addition was two, with a mechanical penthouse on top. The new areas included departmental offices such as planning, engineering and sewage, a drafting room, conference room, and reception, among others. The library consisted of a two-storey, brick-clad building that was approximately 24,000 square feet in size with a 16 car parking lot. The ground floor included reception and exhibit areas, stacks, administration offices, bookmobiles, and staff lockers, while the second level had stacks and reading areas, audiovisual areas and a staff work room and break room. The library also had a mechanical penthouse on top. The project is recorded through drawings, including mounted presentation boards, photographic materials and textual records dating from 1972-1978. The drawings consist of original sketches, plans, sections, elevations and details of both city hall and the library, and some drawings used for construction. There are also drawings of the original city hall, first drafted around 1875. The photographs show existing buildings and the construction progress of the project. The textual records consist of correspondence, conference reports, interoffice letters, specifications, consultancy documentation, a soil investigation, research and drawing transmittal records. File AP018.S1.1972.PR18.020 contains an index to the textual materials, which was created by the office.
AP018.S1.1972.PR18
Description:
This project series documents the design and construction of a library and an addition to city hall in Fredericton, New Brunswick from 1972-1975. The office identified the project number as 7226. This project consisted of two distinct parts; a public library constructed at the corners of Campbell and Carleton Streets, and an addition to city hall whose original building was constructed at the corners of Queen and York Streets around 1875. These two buildings were located two blocks from one another, but a master plan for the project shows that the separating streets would be removed in favour of a pedestrian friendly landscape. Both buildings were located next to the St. John River. For this project, Parkin Architects Planners partnered with architectural firm Graham Napier Associates to form the joint venture referred to as Graham Parkin Architects Engineers Planners. The brick-clad addition to city hall nearly doubled the square footage of the ground and first floors. The original city hall was four levels and the addition was two, with a mechanical penthouse on top. The new areas included departmental offices such as planning, engineering and sewage, a drafting room, conference room, and reception, among others. The library consisted of a two-storey, brick-clad building that was approximately 24,000 square feet in size with a 16 car parking lot. The ground floor included reception and exhibit areas, stacks, administration offices, bookmobiles, and staff lockers, while the second level had stacks and reading areas, audiovisual areas and a staff work room and break room. The library also had a mechanical penthouse on top. The project is recorded through drawings, including mounted presentation boards, photographic materials and textual records dating from 1972-1978. The drawings consist of original sketches, plans, sections, elevations and details of both city hall and the library, and some drawings used for construction. There are also drawings of the original city hall, first drafted around 1875. The photographs show existing buildings and the construction progress of the project. The textual records consist of correspondence, conference reports, interoffice letters, specifications, consultancy documentation, a soil investigation, research and drawing transmittal records. File AP018.S1.1972.PR18.020 contains an index to the textual materials, which was created by the office.
Personnes et institutions:
Date:
circa 1972-1978
circa 1972-1978
Titre:
City Hall and Library Facilities, Fredericton, New Brunswick (1972-1975)
Actions:
AP018.S1.1972.PR18
Description:
This project series documents the design and construction of a library and an addition to city hall in Fredericton, New Brunswick from 1972-1975. The office identified the project number as 7226. This project consisted of two distinct parts; a public library constructed at the corners of Campbell and Carleton Streets, and an addition to city hall whose original building was constructed at the corners of Queen and York Streets around 1875. These two buildings were located two blocks from one another, but a master plan for the project shows that the separating streets would be removed in favour of a pedestrian friendly landscape. Both buildings were located next to the St. John River. For this project, Parkin Architects Planners partnered with architectural firm Graham Napier Associates to form the joint venture referred to as Graham Parkin Architects Engineers Planners. The brick-clad addition to city hall nearly doubled the square footage of the ground and first floors. The original city hall was four levels and the addition was two, with a mechanical penthouse on top. The new areas included departmental offices such as planning, engineering and sewage, a drafting room, conference room, and reception, among others. The library consisted of a two-storey, brick-clad building that was approximately 24,000 square feet in size with a 16 car parking lot. The ground floor included reception and exhibit areas, stacks, administration offices, bookmobiles, and staff lockers, while the second level had stacks and reading areas, audiovisual areas and a staff work room and break room. The library also had a mechanical penthouse on top. The project is recorded through drawings, including mounted presentation boards, photographic materials and textual records dating from 1972-1978. The drawings consist of original sketches, plans, sections, elevations and details of both city hall and the library, and some drawings used for construction. There are also drawings of the original city hall, first drafted around 1875. The photographs show existing buildings and the construction progress of the project. The textual records consist of correspondence, conference reports, interoffice letters, specifications, consultancy documentation, a soil investigation, research and drawing transmittal records. File AP018.S1.1972.PR18.020 contains an index to the textual materials, which was created by the office.
City Hall and Library Facilities, Fredericton, New Brunswick (1972-1975)
Actions:
AP018.S1.1972.PR18
Description:
This project series documents the design and construction of a library and an addition to city hall in Fredericton, New Brunswick from 1972-1975. The office identified the project number as 7226. This project consisted of two distinct parts; a public library constructed at the corners of Campbell and Carleton Streets, and an addition to city hall whose original building was constructed at the corners of Queen and York Streets around 1875. These two buildings were located two blocks from one another, but a master plan for the project shows that the separating streets would be removed in favour of a pedestrian friendly landscape. Both buildings were located next to the St. John River. For this project, Parkin Architects Planners partnered with architectural firm Graham Napier Associates to form the joint venture referred to as Graham Parkin Architects Engineers Planners. The brick-clad addition to city hall nearly doubled the square footage of the ground and first floors. The original city hall was four levels and the addition was two, with a mechanical penthouse on top. The new areas included departmental offices such as planning, engineering and sewage, a drafting room, conference room, and reception, among others. The library consisted of a two-storey, brick-clad building that was approximately 24,000 square feet in size with a 16 car parking lot. The ground floor included reception and exhibit areas, stacks, administration offices, bookmobiles, and staff lockers, while the second level had stacks and reading areas, audiovisual areas and a staff work room and break room. The library also had a mechanical penthouse on top. The project is recorded through drawings, including mounted presentation boards, photographic materials and textual records dating from 1972-1978. The drawings consist of original sketches, plans, sections, elevations and details of both city hall and the library, and some drawings used for construction. There are also drawings of the original city hall, first drafted around 1875. The photographs show existing buildings and the construction progress of the project. The textual records consist of correspondence, conference reports, interoffice letters, specifications, consultancy documentation, a soil investigation, research and drawing transmittal records. File AP018.S1.1972.PR18.020 contains an index to the textual materials, which was created by the office.
Niveau de description archivistique:
Project
Project
Date:
circa 1972-1978
circa 1972-1978
Personnes et institutions:
Niveau de description archivistique:
Projet
Projet
Numéro de référence:
AP206.S1.1975.PR01
Description:
This project series documents Aditya Prakash's proposal for an alternative plan for Chandigarh, India, which came to be known as the Linear City. Prakash began developing and advocating for this idea around the early 1970s. The Linear City had two fundamental ideas at its core. The first was to raise the roadways in Chandigarh (or any future city) 10-12 feet from ground level. This, he proposed, would separate vehicular traffic from pedestrians, eliminating all the hazardous impacts of traffic on daily life. The large part of the drawings for this project show sector plans and city blocks with evenly dispersed roundabout roadways as major transit hubs, wrapping around but high above centres of pedestrian activity that included shops, markets and green spaces. The sale of the land below the roadways would pay for the upheaval. He also recommended building this city only a few sectors deep, but endlessly expanding it length-wise, with a raised canal along one side to provide an additional transportation network and irrigation. The second fundamental idea of this city was the creation of self-sustaining sectors in the city plan, advocating that each neighbourhood should have the infrastructure to provide food and recycling for its residents. He fervently argued for the reimagination of modernist Chandigarh by incorporating sustainable, local traditions - the rural should exist in harmony with the urban. In opposition to Le Corbusier and Pierre Jeanneret, he believed areas for recycling, animal husbandry, and growing food should be incorporated into the fabric of the city.[1] This project is recorded largely through original drawings of city plans, perspectives and axonometric views detailing Prakash's new vision for the city. It seems that many of the perspectives were drawn by family friend Sandeep Virmani, after listening to Prakash's ideas.[2] The project is also recorded through photographs, negatives and slides showing plans and the project model. A small amount of notes and an article on the project are also included. [1]Vikramaditya Prakash, One Continuous Line: Art, Architecture and Urbanism of Aditya Prakash (Ahmedabad, India: Mapin Publishing Pvt. Ltd., 2019), 164-181. [2]Prakash, One Continuous Line, 169.
AP206.S1.1975.PR01
Description:
This project series documents Aditya Prakash's proposal for an alternative plan for Chandigarh, India, which came to be known as the Linear City. Prakash began developing and advocating for this idea around the early 1970s. The Linear City had two fundamental ideas at its core. The first was to raise the roadways in Chandigarh (or any future city) 10-12 feet from ground level. This, he proposed, would separate vehicular traffic from pedestrians, eliminating all the hazardous impacts of traffic on daily life. The large part of the drawings for this project show sector plans and city blocks with evenly dispersed roundabout roadways as major transit hubs, wrapping around but high above centres of pedestrian activity that included shops, markets and green spaces. The sale of the land below the roadways would pay for the upheaval. He also recommended building this city only a few sectors deep, but endlessly expanding it length-wise, with a raised canal along one side to provide an additional transportation network and irrigation. The second fundamental idea of this city was the creation of self-sustaining sectors in the city plan, advocating that each neighbourhood should have the infrastructure to provide food and recycling for its residents. He fervently argued for the reimagination of modernist Chandigarh by incorporating sustainable, local traditions - the rural should exist in harmony with the urban. In opposition to Le Corbusier and Pierre Jeanneret, he believed areas for recycling, animal husbandry, and growing food should be incorporated into the fabric of the city.[1] This project is recorded largely through original drawings of city plans, perspectives and axonometric views detailing Prakash's new vision for the city. It seems that many of the perspectives were drawn by family friend Sandeep Virmani, after listening to Prakash's ideas.[2] The project is also recorded through photographs, negatives and slides showing plans and the project model. A small amount of notes and an article on the project are also included. [1]Vikramaditya Prakash, One Continuous Line: Art, Architecture and Urbanism of Aditya Prakash (Ahmedabad, India: Mapin Publishing Pvt. Ltd., 2019), 164-181. [2]Prakash, One Continuous Line, 169.
Personnes et institutions:
Date:
circa 1975-2003
circa 1975-2003
Titre:
Linear city, Chandigarh, India (circa 1975-1987)
Actions:
AP206.S1.1975.PR01
Description:
This project series documents Aditya Prakash's proposal for an alternative plan for Chandigarh, India, which came to be known as the Linear City. Prakash began developing and advocating for this idea around the early 1970s. The Linear City had two fundamental ideas at its core. The first was to raise the roadways in Chandigarh (or any future city) 10-12 feet from ground level. This, he proposed, would separate vehicular traffic from pedestrians, eliminating all the hazardous impacts of traffic on daily life. The large part of the drawings for this project show sector plans and city blocks with evenly dispersed roundabout roadways as major transit hubs, wrapping around but high above centres of pedestrian activity that included shops, markets and green spaces. The sale of the land below the roadways would pay for the upheaval. He also recommended building this city only a few sectors deep, but endlessly expanding it length-wise, with a raised canal along one side to provide an additional transportation network and irrigation. The second fundamental idea of this city was the creation of self-sustaining sectors in the city plan, advocating that each neighbourhood should have the infrastructure to provide food and recycling for its residents. He fervently argued for the reimagination of modernist Chandigarh by incorporating sustainable, local traditions - the rural should exist in harmony with the urban. In opposition to Le Corbusier and Pierre Jeanneret, he believed areas for recycling, animal husbandry, and growing food should be incorporated into the fabric of the city.[1] This project is recorded largely through original drawings of city plans, perspectives and axonometric views detailing Prakash's new vision for the city. It seems that many of the perspectives were drawn by family friend Sandeep Virmani, after listening to Prakash's ideas.[2] The project is also recorded through photographs, negatives and slides showing plans and the project model. A small amount of notes and an article on the project are also included. [1]Vikramaditya Prakash, One Continuous Line: Art, Architecture and Urbanism of Aditya Prakash (Ahmedabad, India: Mapin Publishing Pvt. Ltd., 2019), 164-181. [2]Prakash, One Continuous Line, 169.
Linear city, Chandigarh, India (circa 1975-1987)
Actions:
AP206.S1.1975.PR01
Description:
This project series documents Aditya Prakash's proposal for an alternative plan for Chandigarh, India, which came to be known as the Linear City. Prakash began developing and advocating for this idea around the early 1970s. The Linear City had two fundamental ideas at its core. The first was to raise the roadways in Chandigarh (or any future city) 10-12 feet from ground level. This, he proposed, would separate vehicular traffic from pedestrians, eliminating all the hazardous impacts of traffic on daily life. The large part of the drawings for this project show sector plans and city blocks with evenly dispersed roundabout roadways as major transit hubs, wrapping around but high above centres of pedestrian activity that included shops, markets and green spaces. The sale of the land below the roadways would pay for the upheaval. He also recommended building this city only a few sectors deep, but endlessly expanding it length-wise, with a raised canal along one side to provide an additional transportation network and irrigation. The second fundamental idea of this city was the creation of self-sustaining sectors in the city plan, advocating that each neighbourhood should have the infrastructure to provide food and recycling for its residents. He fervently argued for the reimagination of modernist Chandigarh by incorporating sustainable, local traditions - the rural should exist in harmony with the urban. In opposition to Le Corbusier and Pierre Jeanneret, he believed areas for recycling, animal husbandry, and growing food should be incorporated into the fabric of the city.[1] This project is recorded largely through original drawings of city plans, perspectives and axonometric views detailing Prakash's new vision for the city. It seems that many of the perspectives were drawn by family friend Sandeep Virmani, after listening to Prakash's ideas.[2] The project is also recorded through photographs, negatives and slides showing plans and the project model. A small amount of notes and an article on the project are also included. [1]Vikramaditya Prakash, One Continuous Line: Art, Architecture and Urbanism of Aditya Prakash (Ahmedabad, India: Mapin Publishing Pvt. Ltd., 2019), 164-181. [2]Prakash, One Continuous Line, 169.
Niveau de description archivistique:
Project
Project
Date:
circa 1975-2003
circa 1975-2003
Personnes et institutions:
Niveau de description archivistique:
Série(s)
Série(s)
Titre:
OCEAN North reference files
OCEAN North reference files
Numéro de référence:
AP198.S2
Description:
Series consists of reference documentation in the form of portfolios of selected materials from various OCEAN North projects. It is likely that Kivi Sotamaa did not contribute to all of the included projects. For the most part, records are images of work done with CAD software: preliminary drawings; fully developed plans and renderings of buildings; landscapes; and installations. Images also include digitized photographs of models and installations. Content from AP198.S2.001 – OCEAN North Portfolio 1999 consists primarily of this type of visual material and is organized per project. Additionally, a few textual records describe some of the projects. There are two versions of a general presentation document in Pagemaker. Content from AP198.S2.002 – OCEAN North Press CD 2000 is organized into three sections: “about'OCEANnorth”, “OCEANnorth_Essays”, and “OCEANnorth_Projects”. This last directory is further organized by year and by project, each project having a text and an image sub-directory. Overall, there are 48 textual records describing the network, its vision and its projects, alongside more than 200 raster images. The Jyväskylä Music and Arts Centre competition entry was not included in this project selection. The following projects are documented in this series: - Töölö Football Stadium, an international architectural competition entry. See also Series 1 for more records on this project. - Jyväskylä Music and Arts Centre, an international architectural competition entry. See also Series 1 for more records on this project. - Extraterrains, a furniture design project. - Finnish Embassy in Canberra, an international architectural competition entry. - Habitare Pavilion (1996 and 1997), exhibitions installations. - Chamberworks, an architectural installation for an exhibition. - a-drift NYT Time Capsule, a competition entry for a time capsule for the New York Times. - Synthetic Landscape Pavilion and Phases 1, 2 and 3, a landscape design. - Sandefjord Hotel, preliminary design. - Landscraper, design study for an exhibition. - IntenCities, multidisciplinary installation project. - Barbican’s Valo exhibition design. - Constantini (sic) Museum, a building design for a competition. - Kyoto, a study of urban design. - Jeil’s Hospital, a building design. - Urban Surfaces exhibition. Source: Ateljié Sotamaa. “Portfolio.” Accessed February 2018, http://portfolio.sotamaa.net/ FRAC, “Catalog, OCEAN.” Accessed February 2018, http://www.archilab.org/public/2000/catalog/ocean/oceanen.htm OCEAN CN Consultancy Network, “Projects.” Accessed February 2018, http://ocean-cn.org/projects/
AP198.S2
Description:
Series consists of reference documentation in the form of portfolios of selected materials from various OCEAN North projects. It is likely that Kivi Sotamaa did not contribute to all of the included projects. For the most part, records are images of work done with CAD software: preliminary drawings; fully developed plans and renderings of buildings; landscapes; and installations. Images also include digitized photographs of models and installations. Content from AP198.S2.001 – OCEAN North Portfolio 1999 consists primarily of this type of visual material and is organized per project. Additionally, a few textual records describe some of the projects. There are two versions of a general presentation document in Pagemaker. Content from AP198.S2.002 – OCEAN North Press CD 2000 is organized into three sections: “about'OCEANnorth”, “OCEANnorth_Essays”, and “OCEANnorth_Projects”. This last directory is further organized by year and by project, each project having a text and an image sub-directory. Overall, there are 48 textual records describing the network, its vision and its projects, alongside more than 200 raster images. The Jyväskylä Music and Arts Centre competition entry was not included in this project selection. The following projects are documented in this series: - Töölö Football Stadium, an international architectural competition entry. See also Series 1 for more records on this project. - Jyväskylä Music and Arts Centre, an international architectural competition entry. See also Series 1 for more records on this project. - Extraterrains, a furniture design project. - Finnish Embassy in Canberra, an international architectural competition entry. - Habitare Pavilion (1996 and 1997), exhibitions installations. - Chamberworks, an architectural installation for an exhibition. - a-drift NYT Time Capsule, a competition entry for a time capsule for the New York Times. - Synthetic Landscape Pavilion and Phases 1, 2 and 3, a landscape design. - Sandefjord Hotel, preliminary design. - Landscraper, design study for an exhibition. - IntenCities, multidisciplinary installation project. - Barbican’s Valo exhibition design. - Constantini (sic) Museum, a building design for a competition. - Kyoto, a study of urban design. - Jeil’s Hospital, a building design. - Urban Surfaces exhibition. Source: Ateljié Sotamaa. “Portfolio.” Accessed February 2018, http://portfolio.sotamaa.net/ FRAC, “Catalog, OCEAN.” Accessed February 2018, http://www.archilab.org/public/2000/catalog/ocean/oceanen.htm OCEAN CN Consultancy Network, “Projects.” Accessed February 2018, http://ocean-cn.org/projects/
Personnes et institutions:
Date:
1997-2000
1997-2000
Titre:
OCEAN North reference files
Actions:
AP198.S2
Description:
Series consists of reference documentation in the form of portfolios of selected materials from various OCEAN North projects. It is likely that Kivi Sotamaa did not contribute to all of the included projects. For the most part, records are images of work done with CAD software: preliminary drawings; fully developed plans and renderings of buildings; landscapes; and installations. Images also include digitized photographs of models and installations. Content from AP198.S2.001 – OCEAN North Portfolio 1999 consists primarily of this type of visual material and is organized per project. Additionally, a few textual records describe some of the projects. There are two versions of a general presentation document in Pagemaker. Content from AP198.S2.002 – OCEAN North Press CD 2000 is organized into three sections: “about'OCEANnorth”, “OCEANnorth_Essays”, and “OCEANnorth_Projects”. This last directory is further organized by year and by project, each project having a text and an image sub-directory. Overall, there are 48 textual records describing the network, its vision and its projects, alongside more than 200 raster images. The Jyväskylä Music and Arts Centre competition entry was not included in this project selection. The following projects are documented in this series: - Töölö Football Stadium, an international architectural competition entry. See also Series 1 for more records on this project. - Jyväskylä Music and Arts Centre, an international architectural competition entry. See also Series 1 for more records on this project. - Extraterrains, a furniture design project. - Finnish Embassy in Canberra, an international architectural competition entry. - Habitare Pavilion (1996 and 1997), exhibitions installations. - Chamberworks, an architectural installation for an exhibition. - a-drift NYT Time Capsule, a competition entry for a time capsule for the New York Times. - Synthetic Landscape Pavilion and Phases 1, 2 and 3, a landscape design. - Sandefjord Hotel, preliminary design. - Landscraper, design study for an exhibition. - IntenCities, multidisciplinary installation project. - Barbican’s Valo exhibition design. - Constantini (sic) Museum, a building design for a competition. - Kyoto, a study of urban design. - Jeil’s Hospital, a building design. - Urban Surfaces exhibition. Source: Ateljié Sotamaa. “Portfolio.” Accessed February 2018, http://portfolio.sotamaa.net/ FRAC, “Catalog, OCEAN.” Accessed February 2018, http://www.archilab.org/public/2000/catalog/ocean/oceanen.htm OCEAN CN Consultancy Network, “Projects.” Accessed February 2018, http://ocean-cn.org/projects/
OCEAN North reference files
Actions:
AP198.S2
Description:
Series consists of reference documentation in the form of portfolios of selected materials from various OCEAN North projects. It is likely that Kivi Sotamaa did not contribute to all of the included projects. For the most part, records are images of work done with CAD software: preliminary drawings; fully developed plans and renderings of buildings; landscapes; and installations. Images also include digitized photographs of models and installations. Content from AP198.S2.001 – OCEAN North Portfolio 1999 consists primarily of this type of visual material and is organized per project. Additionally, a few textual records describe some of the projects. There are two versions of a general presentation document in Pagemaker. Content from AP198.S2.002 – OCEAN North Press CD 2000 is organized into three sections: “about'OCEANnorth”, “OCEANnorth_Essays”, and “OCEANnorth_Projects”. This last directory is further organized by year and by project, each project having a text and an image sub-directory. Overall, there are 48 textual records describing the network, its vision and its projects, alongside more than 200 raster images. The Jyväskylä Music and Arts Centre competition entry was not included in this project selection. The following projects are documented in this series: - Töölö Football Stadium, an international architectural competition entry. See also Series 1 for more records on this project. - Jyväskylä Music and Arts Centre, an international architectural competition entry. See also Series 1 for more records on this project. - Extraterrains, a furniture design project. - Finnish Embassy in Canberra, an international architectural competition entry. - Habitare Pavilion (1996 and 1997), exhibitions installations. - Chamberworks, an architectural installation for an exhibition. - a-drift NYT Time Capsule, a competition entry for a time capsule for the New York Times. - Synthetic Landscape Pavilion and Phases 1, 2 and 3, a landscape design. - Sandefjord Hotel, preliminary design. - Landscraper, design study for an exhibition. - IntenCities, multidisciplinary installation project. - Barbican’s Valo exhibition design. - Constantini (sic) Museum, a building design for a competition. - Kyoto, a study of urban design. - Jeil’s Hospital, a building design. - Urban Surfaces exhibition. Source: Ateljié Sotamaa. “Portfolio.” Accessed February 2018, http://portfolio.sotamaa.net/ FRAC, “Catalog, OCEAN.” Accessed February 2018, http://www.archilab.org/public/2000/catalog/ocean/oceanen.htm OCEAN CN Consultancy Network, “Projects.” Accessed February 2018, http://ocean-cn.org/projects/
Niveau de description archivistique:
Series
Series
Date:
1997-2000
1997-2000
Personnes et institutions:
Classification:
photographies
photographies
Actions:
Numéro de référence:
PH1981:0234:001-035
Description:
Portfolio has Title page/list of plates (Table des Planches) as follows: Album Photographique. Les Constructions Nouvelles. Maisons de rapport. Hotels privés. List of plates (Table des Planches) as follows: Nos. - Architectes 1. - Maison à loyer, Rue Rembrandt MM. A.-G. Rives 2. - - - du Luxembourg - G. Bousson 3. - - - Dulong - D. Evrard 4. - - - de Courcelles - E. Mizard 5. - - Quai Voltaire - F. Delmas 6. - - Rue du Louvre - Dionis du Séjour 7. - - Rue de Sèvres - H. Duray 8. - - Rond-Point Bugeaud - G. Morice 9. - - Rue Decamps - M. Yvon 10. - Maison privée, Rue Eugène Flachat - Ch. Girault 11. - Maison à loyer, Rue Alphonse de Neuville - G. Massa 12. - - Avenue du Bois de Boulogne C. Michel 13. - - Place d'Italie - V. Rich 14. - - Rue Sédillot - E. Arnaud 15. - - - de Siam - A. Laplanche 16. - - Léon Gambetta, à Lille - L. Six 17.- - - Alphonse de Neuville - E. Georgé 18. - - - de Clichy - A. Le Voisvenel 19. - - Boulevard de Clichy (vestibule) E. Deloeuvre 20. - Maison privée, Avenue de Paris, à Roubaix Dupire - Rozan 21. - Maison de Commerce, Rue Montmartre - Harouard 22. - Caserne de Sapeurs-Pompiers, Rue Jean-Jacques Rousseau - E. Peronne 23. - Maison à loyer, Rue Alphonse Poitevin - A. Sevat 24. - - - de la Pompe - A. -G. Rives 25. - - - Decamps - M. Yvon 26. - - - du Général Henrion Berthier, à Neuilly - G. Gridaine 27. - - - du Montparnasse - J. Breasson 28. - - - de Chartres, à Neuilly - A. Lasneret 29. - - - de Courcelles (vestibule) E. Mizard 30. - Maison privée, Rue de Lota - F. Delmas Paris. E. Ducher, Librairie - Éditeur. 74, rue de Seine, 74
PH1981:0234:001-035
Description:
Portfolio has Title page/list of plates (Table des Planches) as follows: Album Photographique. Les Constructions Nouvelles. Maisons de rapport. Hotels privés. List of plates (Table des Planches) as follows: Nos. - Architectes 1. - Maison à loyer, Rue Rembrandt MM. A.-G. Rives 2. - - - du Luxembourg - G. Bousson 3. - - - Dulong - D. Evrard 4. - - - de Courcelles - E. Mizard 5. - - Quai Voltaire - F. Delmas 6. - - Rue du Louvre - Dionis du Séjour 7. - - Rue de Sèvres - H. Duray 8. - - Rond-Point Bugeaud - G. Morice 9. - - Rue Decamps - M. Yvon 10. - Maison privée, Rue Eugène Flachat - Ch. Girault 11. - Maison à loyer, Rue Alphonse de Neuville - G. Massa 12. - - Avenue du Bois de Boulogne C. Michel 13. - - Place d'Italie - V. Rich 14. - - Rue Sédillot - E. Arnaud 15. - - - de Siam - A. Laplanche 16. - - Léon Gambetta, à Lille - L. Six 17.- - - Alphonse de Neuville - E. Georgé 18. - - - de Clichy - A. Le Voisvenel 19. - - Boulevard de Clichy (vestibule) E. Deloeuvre 20. - Maison privée, Avenue de Paris, à Roubaix Dupire - Rozan 21. - Maison de Commerce, Rue Montmartre - Harouard 22. - Caserne de Sapeurs-Pompiers, Rue Jean-Jacques Rousseau - E. Peronne 23. - Maison à loyer, Rue Alphonse Poitevin - A. Sevat 24. - - - de la Pompe - A. -G. Rives 25. - - - Decamps - M. Yvon 26. - - - du Général Henrion Berthier, à Neuilly - G. Gridaine 27. - - - du Montparnasse - J. Breasson 28. - - - de Chartres, à Neuilly - A. Lasneret 29. - - - de Courcelles (vestibule) E. Mizard 30. - Maison privée, Rue de Lota - F. Delmas Paris. E. Ducher, Librairie - Éditeur. 74, rue de Seine, 74
Personnes et institutions:
Sujet:
architecture
architecture
Date:
between 1885 and 1895?
between 1885 and 1895?
Titre:
Album photographique. Les Constructions Nouvelles: Maisons de rapport, hotels privés
Actions:
PH1981:0234:001-035
Description:
Portfolio has Title page/list of plates (Table des Planches) as follows: Album Photographique. Les Constructions Nouvelles. Maisons de rapport. Hotels privés. List of plates (Table des Planches) as follows: Nos. - Architectes 1. - Maison à loyer, Rue Rembrandt MM. A.-G. Rives 2. - - - du Luxembourg - G. Bousson 3. - - - Dulong - D. Evrard 4. - - - de Courcelles - E. Mizard 5. - - Quai Voltaire - F. Delmas 6. - - Rue du Louvre - Dionis du Séjour 7. - - Rue de Sèvres - H. Duray 8. - - Rond-Point Bugeaud - G. Morice 9. - - Rue Decamps - M. Yvon 10. - Maison privée, Rue Eugène Flachat - Ch. Girault 11. - Maison à loyer, Rue Alphonse de Neuville - G. Massa 12. - - Avenue du Bois de Boulogne C. Michel 13. - - Place d'Italie - V. Rich 14. - - Rue Sédillot - E. Arnaud 15. - - - de Siam - A. Laplanche 16. - - Léon Gambetta, à Lille - L. Six 17.- - - Alphonse de Neuville - E. Georgé 18. - - - de Clichy - A. Le Voisvenel 19. - - Boulevard de Clichy (vestibule) E. Deloeuvre 20. - Maison privée, Avenue de Paris, à Roubaix Dupire - Rozan 21. - Maison de Commerce, Rue Montmartre - Harouard 22. - Caserne de Sapeurs-Pompiers, Rue Jean-Jacques Rousseau - E. Peronne 23. - Maison à loyer, Rue Alphonse Poitevin - A. Sevat 24. - - - de la Pompe - A. -G. Rives 25. - - - Decamps - M. Yvon 26. - - - du Général Henrion Berthier, à Neuilly - G. Gridaine 27. - - - du Montparnasse - J. Breasson 28. - - - de Chartres, à Neuilly - A. Lasneret 29. - - - de Courcelles (vestibule) E. Mizard 30. - Maison privée, Rue de Lota - F. Delmas Paris. E. Ducher, Librairie - Éditeur. 74, rue de Seine, 74
Album photographique. Les Constructions Nouvelles: Maisons de rapport, hotels privés
Actions:
PH1981:0234:001-035
Description:
Portfolio has Title page/list of plates (Table des Planches) as follows: Album Photographique. Les Constructions Nouvelles. Maisons de rapport. Hotels privés. List of plates (Table des Planches) as follows: Nos. - Architectes 1. - Maison à loyer, Rue Rembrandt MM. A.-G. Rives 2. - - - du Luxembourg - G. Bousson 3. - - - Dulong - D. Evrard 4. - - - de Courcelles - E. Mizard 5. - - Quai Voltaire - F. Delmas 6. - - Rue du Louvre - Dionis du Séjour 7. - - Rue de Sèvres - H. Duray 8. - - Rond-Point Bugeaud - G. Morice 9. - - Rue Decamps - M. Yvon 10. - Maison privée, Rue Eugène Flachat - Ch. Girault 11. - Maison à loyer, Rue Alphonse de Neuville - G. Massa 12. - - Avenue du Bois de Boulogne C. Michel 13. - - Place d'Italie - V. Rich 14. - - Rue Sédillot - E. Arnaud 15. - - - de Siam - A. Laplanche 16. - - Léon Gambetta, à Lille - L. Six 17.- - - Alphonse de Neuville - E. Georgé 18. - - - de Clichy - A. Le Voisvenel 19. - - Boulevard de Clichy (vestibule) E. Deloeuvre 20. - Maison privée, Avenue de Paris, à Roubaix Dupire - Rozan 21. - Maison de Commerce, Rue Montmartre - Harouard 22. - Caserne de Sapeurs-Pompiers, Rue Jean-Jacques Rousseau - E. Peronne 23. - Maison à loyer, Rue Alphonse Poitevin - A. Sevat 24. - - - de la Pompe - A. -G. Rives 25. - - - Decamps - M. Yvon 26. - - - du Général Henrion Berthier, à Neuilly - G. Gridaine 27. - - - du Montparnasse - J. Breasson 28. - - - de Chartres, à Neuilly - A. Lasneret 29. - - - de Courcelles (vestibule) E. Mizard 30. - Maison privée, Rue de Lota - F. Delmas Paris. E. Ducher, Librairie - Éditeur. 74, rue de Seine, 74
Classification:
photographies
photographies
Date:
between 1885 and 1895?
between 1885 and 1895?
Personnes et institutions:
Sujet:
architecture
architecture
Niveau de description archivistique:
Série(s)
Série(s)
Numéro de référence:
AP168.S1
Description:
The Project records from Neil Denari series, 1994 – 2004, consists of records produced by Denari for his show “Interrupted Projections” at Gallery MA in Tokyo, Japan. It documents the development and final design for the principal architectural installation built on the third level of the gallery, as well as related materials displayed on the gallery’s fourth floor. The series also contains photographic and video documentation of the exhibit, the show catalogue, and promotional materials. The series includes 4003 digital files (1 GB), 53 slides, 21 transparencies, seven drawings and/or reprographic copies, two VHS video cassettes, one exhibition catalogue, and a small amount of promotional material comprising one large and two small posters, one postcard, and one t-shirt. The majority of records date from 1994-1996. Denari used a combination of physical drawings and digital modelling to draft the design for Interrupted Projections. The series contains one ink drawing and one transfer print with plans and sections of the third floor gallery space, two reprographic copies of drawings with elevations and plans of existing conditions of the third and fourth floors at Gallery MA, and three graphite hand drawings of the installation. Digital files in the series include two original Softimage databases containing full and partial 3D models of the installation, as well as one forward-migrated database containing models compiled from the two original databases. The original models were created in Softimage ’95 on Windows NT and will not open in contemporary versions of Autodesk Softimage. The forward-migrated model database was created by members of Autodesk’s Montreal office for the Archaeology of the Digital exhibition Complexity and Convention and will open in Softimage 2014. Each Softimage model database is made up of several directories that contain information necessary to render all models and their animation into a “scene” (such as textures, lighting, camera movements, etc.). When the Interrupted Projections models were migrated, the information from all directories in both original databases was compiled into the Scenes directory of a single database. These updated scene files (SCN) contain all the elements needed to render the models without the need for additional directories. Each scene file has a corresponding scene TOC file (scene table of content), which can be used to further modify the information in the scene. Scene files in the migrated database contain full and partial models for Interrupted Projections, including one animated scene that follows a camera path through the interior and exterior of the final model. These files document the various stages of design work for the project, as well as Denari’s use of animation features in Softimage to visualize and study the spatial character of his drawings. Project collaborator Duks Koschitz created additional animations of the model that were edited and shown on the fourth floor of the exhibition. A compilation of his work is included on a VHS tape in the archive. The video, which spans one minute 16 seconds, contains four animations that move around the 3D gallery space. Koschitz attempted to reflect the concerns of the project in the movements of the camera, focusing on details such as the fictional company logos or curvatures in the surface of the model. The majority of photographic materials in the series are digital renderings of the model, comprising 38 slides, 14 diapositives, and seven digital images. Photographic materials also include images of the completed show, including seven diapositives that document the built work from various views on the third floor of Gallery MA, as well as the exhibition of materials on the fourth floor. A small number of slides document the exhibit open to the public, and include images of visitors interacting with the Sony Navicam. Most of the diapositive photographs and a small number of slides were taken by Fujitsuka Mitsumasa, a photographer of architecture based in Tokyo. A second VHS tape in the archive provides in-depth documentation of the Interrupted Projections exhibition, containing 45 minutes of raw video footage that explores Gallery MA and surrounding areas of Tokyo. The Interrupted Projections book contains in print the text and images from the installation and website. It was written by Denari and designed by Michiharu Shimoda, a graphic designer and underground trip-hop artist who was also responsible for the design of the fictional logos used in the exhibit. The book acts as an extension of the content of the show, as well as exhibition catalogue, and covers Denari’s other projects represented in the show. The series also contains a small amount of promotional media for Interrupted Projections, including one large and two small posters, a postcard, and a t-shirt.
AP168.S1
Description:
The Project records from Neil Denari series, 1994 – 2004, consists of records produced by Denari for his show “Interrupted Projections” at Gallery MA in Tokyo, Japan. It documents the development and final design for the principal architectural installation built on the third level of the gallery, as well as related materials displayed on the gallery’s fourth floor. The series also contains photographic and video documentation of the exhibit, the show catalogue, and promotional materials. The series includes 4003 digital files (1 GB), 53 slides, 21 transparencies, seven drawings and/or reprographic copies, two VHS video cassettes, one exhibition catalogue, and a small amount of promotional material comprising one large and two small posters, one postcard, and one t-shirt. The majority of records date from 1994-1996. Denari used a combination of physical drawings and digital modelling to draft the design for Interrupted Projections. The series contains one ink drawing and one transfer print with plans and sections of the third floor gallery space, two reprographic copies of drawings with elevations and plans of existing conditions of the third and fourth floors at Gallery MA, and three graphite hand drawings of the installation. Digital files in the series include two original Softimage databases containing full and partial 3D models of the installation, as well as one forward-migrated database containing models compiled from the two original databases. The original models were created in Softimage ’95 on Windows NT and will not open in contemporary versions of Autodesk Softimage. The forward-migrated model database was created by members of Autodesk’s Montreal office for the Archaeology of the Digital exhibition Complexity and Convention and will open in Softimage 2014. Each Softimage model database is made up of several directories that contain information necessary to render all models and their animation into a “scene” (such as textures, lighting, camera movements, etc.). When the Interrupted Projections models were migrated, the information from all directories in both original databases was compiled into the Scenes directory of a single database. These updated scene files (SCN) contain all the elements needed to render the models without the need for additional directories. Each scene file has a corresponding scene TOC file (scene table of content), which can be used to further modify the information in the scene. Scene files in the migrated database contain full and partial models for Interrupted Projections, including one animated scene that follows a camera path through the interior and exterior of the final model. These files document the various stages of design work for the project, as well as Denari’s use of animation features in Softimage to visualize and study the spatial character of his drawings. Project collaborator Duks Koschitz created additional animations of the model that were edited and shown on the fourth floor of the exhibition. A compilation of his work is included on a VHS tape in the archive. The video, which spans one minute 16 seconds, contains four animations that move around the 3D gallery space. Koschitz attempted to reflect the concerns of the project in the movements of the camera, focusing on details such as the fictional company logos or curvatures in the surface of the model. The majority of photographic materials in the series are digital renderings of the model, comprising 38 slides, 14 diapositives, and seven digital images. Photographic materials also include images of the completed show, including seven diapositives that document the built work from various views on the third floor of Gallery MA, as well as the exhibition of materials on the fourth floor. A small number of slides document the exhibit open to the public, and include images of visitors interacting with the Sony Navicam. Most of the diapositive photographs and a small number of slides were taken by Fujitsuka Mitsumasa, a photographer of architecture based in Tokyo. A second VHS tape in the archive provides in-depth documentation of the Interrupted Projections exhibition, containing 45 minutes of raw video footage that explores Gallery MA and surrounding areas of Tokyo. The Interrupted Projections book contains in print the text and images from the installation and website. It was written by Denari and designed by Michiharu Shimoda, a graphic designer and underground trip-hop artist who was also responsible for the design of the fictional logos used in the exhibit. The book acts as an extension of the content of the show, as well as exhibition catalogue, and covers Denari’s other projects represented in the show. The series also contains a small amount of promotional media for Interrupted Projections, including one large and two small posters, a postcard, and a t-shirt.
Personnes et institutions:
Date:
1994 - 2004
1994 - 2004
Titre:
Project records from Neil Denari
Actions:
AP168.S1
Description:
The Project records from Neil Denari series, 1994 – 2004, consists of records produced by Denari for his show “Interrupted Projections” at Gallery MA in Tokyo, Japan. It documents the development and final design for the principal architectural installation built on the third level of the gallery, as well as related materials displayed on the gallery’s fourth floor. The series also contains photographic and video documentation of the exhibit, the show catalogue, and promotional materials. The series includes 4003 digital files (1 GB), 53 slides, 21 transparencies, seven drawings and/or reprographic copies, two VHS video cassettes, one exhibition catalogue, and a small amount of promotional material comprising one large and two small posters, one postcard, and one t-shirt. The majority of records date from 1994-1996. Denari used a combination of physical drawings and digital modelling to draft the design for Interrupted Projections. The series contains one ink drawing and one transfer print with plans and sections of the third floor gallery space, two reprographic copies of drawings with elevations and plans of existing conditions of the third and fourth floors at Gallery MA, and three graphite hand drawings of the installation. Digital files in the series include two original Softimage databases containing full and partial 3D models of the installation, as well as one forward-migrated database containing models compiled from the two original databases. The original models were created in Softimage ’95 on Windows NT and will not open in contemporary versions of Autodesk Softimage. The forward-migrated model database was created by members of Autodesk’s Montreal office for the Archaeology of the Digital exhibition Complexity and Convention and will open in Softimage 2014. Each Softimage model database is made up of several directories that contain information necessary to render all models and their animation into a “scene” (such as textures, lighting, camera movements, etc.). When the Interrupted Projections models were migrated, the information from all directories in both original databases was compiled into the Scenes directory of a single database. These updated scene files (SCN) contain all the elements needed to render the models without the need for additional directories. Each scene file has a corresponding scene TOC file (scene table of content), which can be used to further modify the information in the scene. Scene files in the migrated database contain full and partial models for Interrupted Projections, including one animated scene that follows a camera path through the interior and exterior of the final model. These files document the various stages of design work for the project, as well as Denari’s use of animation features in Softimage to visualize and study the spatial character of his drawings. Project collaborator Duks Koschitz created additional animations of the model that were edited and shown on the fourth floor of the exhibition. A compilation of his work is included on a VHS tape in the archive. The video, which spans one minute 16 seconds, contains four animations that move around the 3D gallery space. Koschitz attempted to reflect the concerns of the project in the movements of the camera, focusing on details such as the fictional company logos or curvatures in the surface of the model. The majority of photographic materials in the series are digital renderings of the model, comprising 38 slides, 14 diapositives, and seven digital images. Photographic materials also include images of the completed show, including seven diapositives that document the built work from various views on the third floor of Gallery MA, as well as the exhibition of materials on the fourth floor. A small number of slides document the exhibit open to the public, and include images of visitors interacting with the Sony Navicam. Most of the diapositive photographs and a small number of slides were taken by Fujitsuka Mitsumasa, a photographer of architecture based in Tokyo. A second VHS tape in the archive provides in-depth documentation of the Interrupted Projections exhibition, containing 45 minutes of raw video footage that explores Gallery MA and surrounding areas of Tokyo. The Interrupted Projections book contains in print the text and images from the installation and website. It was written by Denari and designed by Michiharu Shimoda, a graphic designer and underground trip-hop artist who was also responsible for the design of the fictional logos used in the exhibit. The book acts as an extension of the content of the show, as well as exhibition catalogue, and covers Denari’s other projects represented in the show. The series also contains a small amount of promotional media for Interrupted Projections, including one large and two small posters, a postcard, and a t-shirt.
Project records from Neil Denari
Actions:
AP168.S1
Description:
The Project records from Neil Denari series, 1994 – 2004, consists of records produced by Denari for his show “Interrupted Projections” at Gallery MA in Tokyo, Japan. It documents the development and final design for the principal architectural installation built on the third level of the gallery, as well as related materials displayed on the gallery’s fourth floor. The series also contains photographic and video documentation of the exhibit, the show catalogue, and promotional materials. The series includes 4003 digital files (1 GB), 53 slides, 21 transparencies, seven drawings and/or reprographic copies, two VHS video cassettes, one exhibition catalogue, and a small amount of promotional material comprising one large and two small posters, one postcard, and one t-shirt. The majority of records date from 1994-1996. Denari used a combination of physical drawings and digital modelling to draft the design for Interrupted Projections. The series contains one ink drawing and one transfer print with plans and sections of the third floor gallery space, two reprographic copies of drawings with elevations and plans of existing conditions of the third and fourth floors at Gallery MA, and three graphite hand drawings of the installation. Digital files in the series include two original Softimage databases containing full and partial 3D models of the installation, as well as one forward-migrated database containing models compiled from the two original databases. The original models were created in Softimage ’95 on Windows NT and will not open in contemporary versions of Autodesk Softimage. The forward-migrated model database was created by members of Autodesk’s Montreal office for the Archaeology of the Digital exhibition Complexity and Convention and will open in Softimage 2014. Each Softimage model database is made up of several directories that contain information necessary to render all models and their animation into a “scene” (such as textures, lighting, camera movements, etc.). When the Interrupted Projections models were migrated, the information from all directories in both original databases was compiled into the Scenes directory of a single database. These updated scene files (SCN) contain all the elements needed to render the models without the need for additional directories. Each scene file has a corresponding scene TOC file (scene table of content), which can be used to further modify the information in the scene. Scene files in the migrated database contain full and partial models for Interrupted Projections, including one animated scene that follows a camera path through the interior and exterior of the final model. These files document the various stages of design work for the project, as well as Denari’s use of animation features in Softimage to visualize and study the spatial character of his drawings. Project collaborator Duks Koschitz created additional animations of the model that were edited and shown on the fourth floor of the exhibition. A compilation of his work is included on a VHS tape in the archive. The video, which spans one minute 16 seconds, contains four animations that move around the 3D gallery space. Koschitz attempted to reflect the concerns of the project in the movements of the camera, focusing on details such as the fictional company logos or curvatures in the surface of the model. The majority of photographic materials in the series are digital renderings of the model, comprising 38 slides, 14 diapositives, and seven digital images. Photographic materials also include images of the completed show, including seven diapositives that document the built work from various views on the third floor of Gallery MA, as well as the exhibition of materials on the fourth floor. A small number of slides document the exhibit open to the public, and include images of visitors interacting with the Sony Navicam. Most of the diapositive photographs and a small number of slides were taken by Fujitsuka Mitsumasa, a photographer of architecture based in Tokyo. A second VHS tape in the archive provides in-depth documentation of the Interrupted Projections exhibition, containing 45 minutes of raw video footage that explores Gallery MA and surrounding areas of Tokyo. The Interrupted Projections book contains in print the text and images from the installation and website. It was written by Denari and designed by Michiharu Shimoda, a graphic designer and underground trip-hop artist who was also responsible for the design of the fictional logos used in the exhibit. The book acts as an extension of the content of the show, as well as exhibition catalogue, and covers Denari’s other projects represented in the show. The series also contains a small amount of promotional media for Interrupted Projections, including one large and two small posters, a postcard, and a t-shirt.
Niveau de description archivistique:
Series
Series
Date:
1994 - 2004
1994 - 2004
Personnes et institutions:
Niveau de description archivistique:
Projet
Projet
Numéro de référence:
AP178.S1.1979.PR02
Description:
The project series documents the 1979 design entry for the Görlitzer Bad swimming pool. While the records were held in the office’s archives this project was assigned the number 48/70; in the past the office identified the project as number 159. The office assigned the date 1979 for this project. This project was submitted to the International Architectural Exhibition Berlin competition (International Bauaustellung, IBA, circa 1979-1987), an urban renewal strategy for West Berlin, Germany. Siza would later submit proposals to the IBA for Block 70 and 89 (Fränkelufer residential complex), Block 121 (Bonjour Tristesse), Block 11-12 (Kottbusser Damm), Monument to Gestapo victims Prinz- Albrecht-Palais, and a proposal for the Kulturforum. The Görlitzer Bad swimming pool was Siza's first international project and first competition. Preceding the IBA competition, Siza attended the 1976 International Design Zentrum (IDZ) symposium in Berlin, "Stadtstruktur-Stadtgestalt". Brigitte Fleck, responsible for national and international architecture competitions for the Senate of Berlin (1971-1985), invited Siza to participate in the IBA competition to design the swimming pool for Kreuzberg. Fleck had heard of Siza’s participation in the IDZ symposium and became interested in Siza’s work with the Servicio Ambulatorio de Apio Lokal (SAAL). By this time Siza’s work with SAAL had been published in the December 1976 and March 1978 publications of the Lotus International Quarterly Architectural Review (numbers 13 and 18). Fleck felt that Siza's work with SAAL would be relevant to the IBA. In 1979, Siza entered his design for the Görlitzer Bad swimming pool to be built on a vacant area on the east side of Kreuzberg. The design for the pool was strongly opposed by the public because the dome over the main swimming pool was said to resemble a mosque. This area of Kreuzberg was largely populated by Turkish Muslims and there was hostility towards this immigrant community. Although Siza’s entry went through the first round of the IBA competition, it did not win the competition and was only awarded a special prize. The project series contains sketches and studies, as well as conceptual and design development drawings of elevations, site plans, and floor plans. Documentation for the competition includes site plans for the competition and a strata plan. The photographs, negatives, contact sheets, and slides mostly document the model and drawings for the project.
AP178.S1.1979.PR02
Description:
The project series documents the 1979 design entry for the Görlitzer Bad swimming pool. While the records were held in the office’s archives this project was assigned the number 48/70; in the past the office identified the project as number 159. The office assigned the date 1979 for this project. This project was submitted to the International Architectural Exhibition Berlin competition (International Bauaustellung, IBA, circa 1979-1987), an urban renewal strategy for West Berlin, Germany. Siza would later submit proposals to the IBA for Block 70 and 89 (Fränkelufer residential complex), Block 121 (Bonjour Tristesse), Block 11-12 (Kottbusser Damm), Monument to Gestapo victims Prinz- Albrecht-Palais, and a proposal for the Kulturforum. The Görlitzer Bad swimming pool was Siza's first international project and first competition. Preceding the IBA competition, Siza attended the 1976 International Design Zentrum (IDZ) symposium in Berlin, "Stadtstruktur-Stadtgestalt". Brigitte Fleck, responsible for national and international architecture competitions for the Senate of Berlin (1971-1985), invited Siza to participate in the IBA competition to design the swimming pool for Kreuzberg. Fleck had heard of Siza’s participation in the IDZ symposium and became interested in Siza’s work with the Servicio Ambulatorio de Apio Lokal (SAAL). By this time Siza’s work with SAAL had been published in the December 1976 and March 1978 publications of the Lotus International Quarterly Architectural Review (numbers 13 and 18). Fleck felt that Siza's work with SAAL would be relevant to the IBA. In 1979, Siza entered his design for the Görlitzer Bad swimming pool to be built on a vacant area on the east side of Kreuzberg. The design for the pool was strongly opposed by the public because the dome over the main swimming pool was said to resemble a mosque. This area of Kreuzberg was largely populated by Turkish Muslims and there was hostility towards this immigrant community. Although Siza’s entry went through the first round of the IBA competition, it did not win the competition and was only awarded a special prize. The project series contains sketches and studies, as well as conceptual and design development drawings of elevations, site plans, and floor plans. Documentation for the competition includes site plans for the competition and a strata plan. The photographs, negatives, contact sheets, and slides mostly document the model and drawings for the project.
Personnes et institutions:
Date:
1978-1979
1978-1979
Titre:
Piscina de "Görlitzer Bad" Kreuzberg, Berlim Oeste [Görlitzer Bad swimming pool], Berlin, Germany (1978-1979)
Actions:
AP178.S1.1979.PR02
Description:
The project series documents the 1979 design entry for the Görlitzer Bad swimming pool. While the records were held in the office’s archives this project was assigned the number 48/70; in the past the office identified the project as number 159. The office assigned the date 1979 for this project. This project was submitted to the International Architectural Exhibition Berlin competition (International Bauaustellung, IBA, circa 1979-1987), an urban renewal strategy for West Berlin, Germany. Siza would later submit proposals to the IBA for Block 70 and 89 (Fränkelufer residential complex), Block 121 (Bonjour Tristesse), Block 11-12 (Kottbusser Damm), Monument to Gestapo victims Prinz- Albrecht-Palais, and a proposal for the Kulturforum. The Görlitzer Bad swimming pool was Siza's first international project and first competition. Preceding the IBA competition, Siza attended the 1976 International Design Zentrum (IDZ) symposium in Berlin, "Stadtstruktur-Stadtgestalt". Brigitte Fleck, responsible for national and international architecture competitions for the Senate of Berlin (1971-1985), invited Siza to participate in the IBA competition to design the swimming pool for Kreuzberg. Fleck had heard of Siza’s participation in the IDZ symposium and became interested in Siza’s work with the Servicio Ambulatorio de Apio Lokal (SAAL). By this time Siza’s work with SAAL had been published in the December 1976 and March 1978 publications of the Lotus International Quarterly Architectural Review (numbers 13 and 18). Fleck felt that Siza's work with SAAL would be relevant to the IBA. In 1979, Siza entered his design for the Görlitzer Bad swimming pool to be built on a vacant area on the east side of Kreuzberg. The design for the pool was strongly opposed by the public because the dome over the main swimming pool was said to resemble a mosque. This area of Kreuzberg was largely populated by Turkish Muslims and there was hostility towards this immigrant community. Although Siza’s entry went through the first round of the IBA competition, it did not win the competition and was only awarded a special prize. The project series contains sketches and studies, as well as conceptual and design development drawings of elevations, site plans, and floor plans. Documentation for the competition includes site plans for the competition and a strata plan. The photographs, negatives, contact sheets, and slides mostly document the model and drawings for the project.
Piscina de "Görlitzer Bad" Kreuzberg, Berlim Oeste [Görlitzer Bad swimming pool], Berlin, Germany (1978-1979)
Actions:
AP178.S1.1979.PR02
Description:
The project series documents the 1979 design entry for the Görlitzer Bad swimming pool. While the records were held in the office’s archives this project was assigned the number 48/70; in the past the office identified the project as number 159. The office assigned the date 1979 for this project. This project was submitted to the International Architectural Exhibition Berlin competition (International Bauaustellung, IBA, circa 1979-1987), an urban renewal strategy for West Berlin, Germany. Siza would later submit proposals to the IBA for Block 70 and 89 (Fränkelufer residential complex), Block 121 (Bonjour Tristesse), Block 11-12 (Kottbusser Damm), Monument to Gestapo victims Prinz- Albrecht-Palais, and a proposal for the Kulturforum. The Görlitzer Bad swimming pool was Siza's first international project and first competition. Preceding the IBA competition, Siza attended the 1976 International Design Zentrum (IDZ) symposium in Berlin, "Stadtstruktur-Stadtgestalt". Brigitte Fleck, responsible for national and international architecture competitions for the Senate of Berlin (1971-1985), invited Siza to participate in the IBA competition to design the swimming pool for Kreuzberg. Fleck had heard of Siza’s participation in the IDZ symposium and became interested in Siza’s work with the Servicio Ambulatorio de Apio Lokal (SAAL). By this time Siza’s work with SAAL had been published in the December 1976 and March 1978 publications of the Lotus International Quarterly Architectural Review (numbers 13 and 18). Fleck felt that Siza's work with SAAL would be relevant to the IBA. In 1979, Siza entered his design for the Görlitzer Bad swimming pool to be built on a vacant area on the east side of Kreuzberg. The design for the pool was strongly opposed by the public because the dome over the main swimming pool was said to resemble a mosque. This area of Kreuzberg was largely populated by Turkish Muslims and there was hostility towards this immigrant community. Although Siza’s entry went through the first round of the IBA competition, it did not win the competition and was only awarded a special prize. The project series contains sketches and studies, as well as conceptual and design development drawings of elevations, site plans, and floor plans. Documentation for the competition includes site plans for the competition and a strata plan. The photographs, negatives, contact sheets, and slides mostly document the model and drawings for the project.
Niveau de description archivistique:
Project
Project
Date:
1978-1979
1978-1979
Personnes et institutions:
Niveau de description archivistique:
Projet
Projet
Numéro de référence:
AP178.S1.1979.PR06
Description:
The project series documents the 1979 design entry for Block 70 and 89, also known as the Fränkelufer residential complex. While the records were held in the office’s archives this project was assigned the number 55/70. The office assigned the date 1979 for this project. This project was submitted to the International Architectural Exhibition Berlin competition (International Bauaustellung, IBA, circa 1979-1987), an urban renewal strategy for West Berlin, Germany. Six months prior to submitting the design for Block 70 and 89 Siza submitted a design for the Görlitzer Bad swimming pool, which did not win the competition but received a special prize. Siza later submitted proposals to the IBA for Bonjour Tristesse (Block 121), Monument to Gestapo victims Prinz-Albrecht-Palais, Block 11-12 (Kottbusser Damm), and the Kulturforum, all of which are documented in this fonds. The IBA divided West Berlin into two parts: IBA Neubau ('new building'), led by Josef Paul Kleihues, and IBA Altbau ('old building') led by Hardt-Walherr Hämer. IBA Nuebau's focus was to build new structures while IBA Altbau's was to renovate existing buildings. The competition site for Block 70 and 89 was located on the west side of Kreuzberg, a district on the eastern edge of West Berlin. Although this project was part of the Altbau section, it nonetheless required building new housing complexes, which was generally under the purview of the Neubau section (Mota, "An archaeology of the ordinary" 299). Siza won second prize in the competition for his design of Block 70 and 89. This design proposal is said to have prepared Siza's ideas for his first international built project, Block 121 (Mathur, "The migrant's time"). The project series contains sketches and studies, which include notes. Several of the project sketches also include sketches of people. Documenting the design proposal are site plans, elevations, interior elevations, and floor plans. Photographs, negatives, contact sheets, and slides depict the project site and surrounding area as well as the model and drawings. Additionally there are panoramic photomontages of the project site. Please note that documentation for this project series is housed with documentation on Block 11-12 in file AP178.S1.1980.PR03.008, in the order it was kept by the office. Documentation for Block 70 and 89 includes an invitation to the competition, recommendations from the IBA advisory council, and other information regarding the competition.
AP178.S1.1979.PR06
Description:
The project series documents the 1979 design entry for Block 70 and 89, also known as the Fränkelufer residential complex. While the records were held in the office’s archives this project was assigned the number 55/70. The office assigned the date 1979 for this project. This project was submitted to the International Architectural Exhibition Berlin competition (International Bauaustellung, IBA, circa 1979-1987), an urban renewal strategy for West Berlin, Germany. Six months prior to submitting the design for Block 70 and 89 Siza submitted a design for the Görlitzer Bad swimming pool, which did not win the competition but received a special prize. Siza later submitted proposals to the IBA for Bonjour Tristesse (Block 121), Monument to Gestapo victims Prinz-Albrecht-Palais, Block 11-12 (Kottbusser Damm), and the Kulturforum, all of which are documented in this fonds. The IBA divided West Berlin into two parts: IBA Neubau ('new building'), led by Josef Paul Kleihues, and IBA Altbau ('old building') led by Hardt-Walherr Hämer. IBA Nuebau's focus was to build new structures while IBA Altbau's was to renovate existing buildings. The competition site for Block 70 and 89 was located on the west side of Kreuzberg, a district on the eastern edge of West Berlin. Although this project was part of the Altbau section, it nonetheless required building new housing complexes, which was generally under the purview of the Neubau section (Mota, "An archaeology of the ordinary" 299). Siza won second prize in the competition for his design of Block 70 and 89. This design proposal is said to have prepared Siza's ideas for his first international built project, Block 121 (Mathur, "The migrant's time"). The project series contains sketches and studies, which include notes. Several of the project sketches also include sketches of people. Documenting the design proposal are site plans, elevations, interior elevations, and floor plans. Photographs, negatives, contact sheets, and slides depict the project site and surrounding area as well as the model and drawings. Additionally there are panoramic photomontages of the project site. Please note that documentation for this project series is housed with documentation on Block 11-12 in file AP178.S1.1980.PR03.008, in the order it was kept by the office. Documentation for Block 70 and 89 includes an invitation to the competition, recommendations from the IBA advisory council, and other information regarding the competition.
Personnes et institutions:
Date:
1976-1982
1976-1982
Titre:
Blocke 70 und 89, Kreuzberg, Fränkelufer [Fränkelufer residential complex], Berlin, Germany (1976-1982)
Actions:
AP178.S1.1979.PR06
Description:
The project series documents the 1979 design entry for Block 70 and 89, also known as the Fränkelufer residential complex. While the records were held in the office’s archives this project was assigned the number 55/70. The office assigned the date 1979 for this project. This project was submitted to the International Architectural Exhibition Berlin competition (International Bauaustellung, IBA, circa 1979-1987), an urban renewal strategy for West Berlin, Germany. Six months prior to submitting the design for Block 70 and 89 Siza submitted a design for the Görlitzer Bad swimming pool, which did not win the competition but received a special prize. Siza later submitted proposals to the IBA for Bonjour Tristesse (Block 121), Monument to Gestapo victims Prinz-Albrecht-Palais, Block 11-12 (Kottbusser Damm), and the Kulturforum, all of which are documented in this fonds. The IBA divided West Berlin into two parts: IBA Neubau ('new building'), led by Josef Paul Kleihues, and IBA Altbau ('old building') led by Hardt-Walherr Hämer. IBA Nuebau's focus was to build new structures while IBA Altbau's was to renovate existing buildings. The competition site for Block 70 and 89 was located on the west side of Kreuzberg, a district on the eastern edge of West Berlin. Although this project was part of the Altbau section, it nonetheless required building new housing complexes, which was generally under the purview of the Neubau section (Mota, "An archaeology of the ordinary" 299). Siza won second prize in the competition for his design of Block 70 and 89. This design proposal is said to have prepared Siza's ideas for his first international built project, Block 121 (Mathur, "The migrant's time"). The project series contains sketches and studies, which include notes. Several of the project sketches also include sketches of people. Documenting the design proposal are site plans, elevations, interior elevations, and floor plans. Photographs, negatives, contact sheets, and slides depict the project site and surrounding area as well as the model and drawings. Additionally there are panoramic photomontages of the project site. Please note that documentation for this project series is housed with documentation on Block 11-12 in file AP178.S1.1980.PR03.008, in the order it was kept by the office. Documentation for Block 70 and 89 includes an invitation to the competition, recommendations from the IBA advisory council, and other information regarding the competition.
Blocke 70 und 89, Kreuzberg, Fränkelufer [Fränkelufer residential complex], Berlin, Germany (1976-1982)
Actions:
AP178.S1.1979.PR06
Description:
The project series documents the 1979 design entry for Block 70 and 89, also known as the Fränkelufer residential complex. While the records were held in the office’s archives this project was assigned the number 55/70. The office assigned the date 1979 for this project. This project was submitted to the International Architectural Exhibition Berlin competition (International Bauaustellung, IBA, circa 1979-1987), an urban renewal strategy for West Berlin, Germany. Six months prior to submitting the design for Block 70 and 89 Siza submitted a design for the Görlitzer Bad swimming pool, which did not win the competition but received a special prize. Siza later submitted proposals to the IBA for Bonjour Tristesse (Block 121), Monument to Gestapo victims Prinz-Albrecht-Palais, Block 11-12 (Kottbusser Damm), and the Kulturforum, all of which are documented in this fonds. The IBA divided West Berlin into two parts: IBA Neubau ('new building'), led by Josef Paul Kleihues, and IBA Altbau ('old building') led by Hardt-Walherr Hämer. IBA Nuebau's focus was to build new structures while IBA Altbau's was to renovate existing buildings. The competition site for Block 70 and 89 was located on the west side of Kreuzberg, a district on the eastern edge of West Berlin. Although this project was part of the Altbau section, it nonetheless required building new housing complexes, which was generally under the purview of the Neubau section (Mota, "An archaeology of the ordinary" 299). Siza won second prize in the competition for his design of Block 70 and 89. This design proposal is said to have prepared Siza's ideas for his first international built project, Block 121 (Mathur, "The migrant's time"). The project series contains sketches and studies, which include notes. Several of the project sketches also include sketches of people. Documenting the design proposal are site plans, elevations, interior elevations, and floor plans. Photographs, negatives, contact sheets, and slides depict the project site and surrounding area as well as the model and drawings. Additionally there are panoramic photomontages of the project site. Please note that documentation for this project series is housed with documentation on Block 11-12 in file AP178.S1.1980.PR03.008, in the order it was kept by the office. Documentation for Block 70 and 89 includes an invitation to the competition, recommendations from the IBA advisory council, and other information regarding the competition.
Niveau de description archivistique:
Project
Project
Date:
1976-1982
1976-1982
Personnes et institutions:
Niveau de description archivistique:
Projet
Projet
Titre:
BTDB Computer
BTDB Computer
Numéro de référence:
AP144.S2.D70
Description:
File documents the executed project for an office building to house the computer facilities of the British Transport Docks Board (BTDB) at Bulls Bridge and Hayes Road, in Southall, Ealing, England. The building has few doors and no corridors, rooms for computers, data control and preparation, and offices for engineers, programmers, and analysts. The client anticipated a 20% expansion of facilities during the life-cycle of the building and Cedric Price developed designs for "expanding" the building without interrupting computer services which were to run 24 hours a day. Design included interior walls that can be dismounted and reinstalled, a raised flexible floor system, and an exterior cladding system that allowed for an interchange between opaque and transparent panels. Existing conditions material includes an ordinance survey (1963) and floor plans for an unidentified building. Design development and working drawings include site plans, floor plans, sections, elevations, and construction details. The plans show: circulation patterns and relationships between areas; a series of alternate floor plans for computer room expansion; connections between original and expanded services; the computer room and equipment; furniture layout; framing and structure; and plans for acoustic and visual barriers. Also included are axonometric drawings of the phased development/expansion of the structure; design validation charts which measure projected "required" design elements against observation and investigation; environmental control charts exploring alternate proposals for illumination, ventilation, air, temperature, and acoustic control of certain areas, and diagrammatic sections showing environmental controls for air intake, returns and circulation; project requirements charts; project task sequencing diagrams; perspective drawings; elevations and sections for an illuminated sign; and details and wall sections for the exterior cladding. Twenty-nine individual and 60 sets of reprographic copies are stamped "issued contractor". Material for publication includes: details, site plans, floor plans and exterior elevations, b/w post-construction photographs, and a photo collage. Some material from this file was published in: Price, Cedric, "ECHOES: Environment Controlled Human Operational Enclosed Spaces", 'Architectural Design' (October 1969), 547-552; "Cedric Price Supplement No. 2", 'Architectural Design', vol. 41, (January 1971), 25; Price, Cedric, 'Cedric Price-Works II' (London: Architectural Press, 1984), 72, 82-83, 112, 113. Material in this file was produced between 1966 and 1984, but predominantly between 1968 and 1973. Sandy Brown appears as the acoustics consultant and Zisman, Bowyer & Partners appear as the services consultants in this file. File contains design development drawings, working drawings, reference drawings, photographic materials, and textual records.
AP144.S2.D70
Description:
File documents the executed project for an office building to house the computer facilities of the British Transport Docks Board (BTDB) at Bulls Bridge and Hayes Road, in Southall, Ealing, England. The building has few doors and no corridors, rooms for computers, data control and preparation, and offices for engineers, programmers, and analysts. The client anticipated a 20% expansion of facilities during the life-cycle of the building and Cedric Price developed designs for "expanding" the building without interrupting computer services which were to run 24 hours a day. Design included interior walls that can be dismounted and reinstalled, a raised flexible floor system, and an exterior cladding system that allowed for an interchange between opaque and transparent panels. Existing conditions material includes an ordinance survey (1963) and floor plans for an unidentified building. Design development and working drawings include site plans, floor plans, sections, elevations, and construction details. The plans show: circulation patterns and relationships between areas; a series of alternate floor plans for computer room expansion; connections between original and expanded services; the computer room and equipment; furniture layout; framing and structure; and plans for acoustic and visual barriers. Also included are axonometric drawings of the phased development/expansion of the structure; design validation charts which measure projected "required" design elements against observation and investigation; environmental control charts exploring alternate proposals for illumination, ventilation, air, temperature, and acoustic control of certain areas, and diagrammatic sections showing environmental controls for air intake, returns and circulation; project requirements charts; project task sequencing diagrams; perspective drawings; elevations and sections for an illuminated sign; and details and wall sections for the exterior cladding. Twenty-nine individual and 60 sets of reprographic copies are stamped "issued contractor". Material for publication includes: details, site plans, floor plans and exterior elevations, b/w post-construction photographs, and a photo collage. Some material from this file was published in: Price, Cedric, "ECHOES: Environment Controlled Human Operational Enclosed Spaces", 'Architectural Design' (October 1969), 547-552; "Cedric Price Supplement No. 2", 'Architectural Design', vol. 41, (January 1971), 25; Price, Cedric, 'Cedric Price-Works II' (London: Architectural Press, 1984), 72, 82-83, 112, 113. Material in this file was produced between 1966 and 1984, but predominantly between 1968 and 1973. Sandy Brown appears as the acoustics consultant and Zisman, Bowyer & Partners appear as the services consultants in this file. File contains design development drawings, working drawings, reference drawings, photographic materials, and textual records.
Personnes et institutions:
Date:
1966-1984, predominant 1968-1973
1966-1984, predominant 1968-1973
Titre:
BTDB Computer
Actions:
AP144.S2.D70
Description:
File documents the executed project for an office building to house the computer facilities of the British Transport Docks Board (BTDB) at Bulls Bridge and Hayes Road, in Southall, Ealing, England. The building has few doors and no corridors, rooms for computers, data control and preparation, and offices for engineers, programmers, and analysts. The client anticipated a 20% expansion of facilities during the life-cycle of the building and Cedric Price developed designs for "expanding" the building without interrupting computer services which were to run 24 hours a day. Design included interior walls that can be dismounted and reinstalled, a raised flexible floor system, and an exterior cladding system that allowed for an interchange between opaque and transparent panels. Existing conditions material includes an ordinance survey (1963) and floor plans for an unidentified building. Design development and working drawings include site plans, floor plans, sections, elevations, and construction details. The plans show: circulation patterns and relationships between areas; a series of alternate floor plans for computer room expansion; connections between original and expanded services; the computer room and equipment; furniture layout; framing and structure; and plans for acoustic and visual barriers. Also included are axonometric drawings of the phased development/expansion of the structure; design validation charts which measure projected "required" design elements against observation and investigation; environmental control charts exploring alternate proposals for illumination, ventilation, air, temperature, and acoustic control of certain areas, and diagrammatic sections showing environmental controls for air intake, returns and circulation; project requirements charts; project task sequencing diagrams; perspective drawings; elevations and sections for an illuminated sign; and details and wall sections for the exterior cladding. Twenty-nine individual and 60 sets of reprographic copies are stamped "issued contractor". Material for publication includes: details, site plans, floor plans and exterior elevations, b/w post-construction photographs, and a photo collage. Some material from this file was published in: Price, Cedric, "ECHOES: Environment Controlled Human Operational Enclosed Spaces", 'Architectural Design' (October 1969), 547-552; "Cedric Price Supplement No. 2", 'Architectural Design', vol. 41, (January 1971), 25; Price, Cedric, 'Cedric Price-Works II' (London: Architectural Press, 1984), 72, 82-83, 112, 113. Material in this file was produced between 1966 and 1984, but predominantly between 1968 and 1973. Sandy Brown appears as the acoustics consultant and Zisman, Bowyer & Partners appear as the services consultants in this file. File contains design development drawings, working drawings, reference drawings, photographic materials, and textual records.
BTDB Computer
Actions:
AP144.S2.D70
Description:
File documents the executed project for an office building to house the computer facilities of the British Transport Docks Board (BTDB) at Bulls Bridge and Hayes Road, in Southall, Ealing, England. The building has few doors and no corridors, rooms for computers, data control and preparation, and offices for engineers, programmers, and analysts. The client anticipated a 20% expansion of facilities during the life-cycle of the building and Cedric Price developed designs for "expanding" the building without interrupting computer services which were to run 24 hours a day. Design included interior walls that can be dismounted and reinstalled, a raised flexible floor system, and an exterior cladding system that allowed for an interchange between opaque and transparent panels. Existing conditions material includes an ordinance survey (1963) and floor plans for an unidentified building. Design development and working drawings include site plans, floor plans, sections, elevations, and construction details. The plans show: circulation patterns and relationships between areas; a series of alternate floor plans for computer room expansion; connections between original and expanded services; the computer room and equipment; furniture layout; framing and structure; and plans for acoustic and visual barriers. Also included are axonometric drawings of the phased development/expansion of the structure; design validation charts which measure projected "required" design elements against observation and investigation; environmental control charts exploring alternate proposals for illumination, ventilation, air, temperature, and acoustic control of certain areas, and diagrammatic sections showing environmental controls for air intake, returns and circulation; project requirements charts; project task sequencing diagrams; perspective drawings; elevations and sections for an illuminated sign; and details and wall sections for the exterior cladding. Twenty-nine individual and 60 sets of reprographic copies are stamped "issued contractor". Material for publication includes: details, site plans, floor plans and exterior elevations, b/w post-construction photographs, and a photo collage. Some material from this file was published in: Price, Cedric, "ECHOES: Environment Controlled Human Operational Enclosed Spaces", 'Architectural Design' (October 1969), 547-552; "Cedric Price Supplement No. 2", 'Architectural Design', vol. 41, (January 1971), 25; Price, Cedric, 'Cedric Price-Works II' (London: Architectural Press, 1984), 72, 82-83, 112, 113. Material in this file was produced between 1966 and 1984, but predominantly between 1968 and 1973. Sandy Brown appears as the acoustics consultant and Zisman, Bowyer & Partners appear as the services consultants in this file. File contains design development drawings, working drawings, reference drawings, photographic materials, and textual records.
Niveau de description archivistique:
File 70
File 70
Date:
1966-1984, predominant 1968-1973
1966-1984, predominant 1968-1973
Personnes et institutions:
Niveau de description archivistique:
Projet
Projet
Numéro de référence:
AP056.S1.1989.PR08
Description:
This project series documents the winning competition entry and subsequent construction for Kitchener City Hall in Kitchener, Ontario from 1989-1993. The office identified the project number as 8928. This project consisted of a U-shaped civic building comprised of a circular rotunda in the centre, an office tower to the right, the council chambers to the left, and two rectangular arms on either side to create the arms of the U. These elements, which wrapped around a large reflecting pool that doubled as a skating rink, were visually separated but coherent in their design and use of materials. Located on the block between Young, College, Duke and King Streets, the interior and exteriors of the property were designed for city government, but also for the larger public with community, public spaces, and open interaction with local government as key design concepts for the project. After entering the Civic Square outside the building, patrons can pass through the main portico, into the Interior Civic Square were the round Civic Rotunda rests in the centre. The rotunda’s interior was designed for use as a public gathering space, where events and activities could be held. The top of the rotunda had sandblasted glass windows with patinated copper frames, letting natural light shine into the large space below. A staircase from the main Civic Square led to an exterior terrace that wrapped around the top of the rotunda. The Administrative Office Tower was ten-storeys with a mechanical penthouse, and was used for civic offices. The Council Chamber was comprised of limestone with refinished metal panels forming a curved roof on top. The two wings along the sides of the property contained tenant areas, a restaurant, information offices, alderman’s offices and the mayor’s office, among other spaces. The back of the property had landscaped exteriors and outdoor play areas for the building’s daycare. The project is recorded through drawings, photographic materials, presentation paintings and models dating from 1989-1993. The drawings consist of concepts for both the competition entry and the subsequent construction of the project. These include sketches, base maps and area surveys produced by the city and contractors, presentation boards and paintings, plans, elevations, sections, perspectives, details and axonometric drawings. There are also photographic reproductions of presentation drawings. The photographs show finished interiors and exteriors and the project model.
AP056.S1.1989.PR08
Description:
This project series documents the winning competition entry and subsequent construction for Kitchener City Hall in Kitchener, Ontario from 1989-1993. The office identified the project number as 8928. This project consisted of a U-shaped civic building comprised of a circular rotunda in the centre, an office tower to the right, the council chambers to the left, and two rectangular arms on either side to create the arms of the U. These elements, which wrapped around a large reflecting pool that doubled as a skating rink, were visually separated but coherent in their design and use of materials. Located on the block between Young, College, Duke and King Streets, the interior and exteriors of the property were designed for city government, but also for the larger public with community, public spaces, and open interaction with local government as key design concepts for the project. After entering the Civic Square outside the building, patrons can pass through the main portico, into the Interior Civic Square were the round Civic Rotunda rests in the centre. The rotunda’s interior was designed for use as a public gathering space, where events and activities could be held. The top of the rotunda had sandblasted glass windows with patinated copper frames, letting natural light shine into the large space below. A staircase from the main Civic Square led to an exterior terrace that wrapped around the top of the rotunda. The Administrative Office Tower was ten-storeys with a mechanical penthouse, and was used for civic offices. The Council Chamber was comprised of limestone with refinished metal panels forming a curved roof on top. The two wings along the sides of the property contained tenant areas, a restaurant, information offices, alderman’s offices and the mayor’s office, among other spaces. The back of the property had landscaped exteriors and outdoor play areas for the building’s daycare. The project is recorded through drawings, photographic materials, presentation paintings and models dating from 1989-1993. The drawings consist of concepts for both the competition entry and the subsequent construction of the project. These include sketches, base maps and area surveys produced by the city and contractors, presentation boards and paintings, plans, elevations, sections, perspectives, details and axonometric drawings. There are also photographic reproductions of presentation drawings. The photographs show finished interiors and exteriors and the project model.
Personnes et institutions:
Date:
1989-1993
1989-1993
Titre:
Kitchener City Hall Competition, Ontario (1989-1993)
Actions:
AP056.S1.1989.PR08
Description:
This project series documents the winning competition entry and subsequent construction for Kitchener City Hall in Kitchener, Ontario from 1989-1993. The office identified the project number as 8928. This project consisted of a U-shaped civic building comprised of a circular rotunda in the centre, an office tower to the right, the council chambers to the left, and two rectangular arms on either side to create the arms of the U. These elements, which wrapped around a large reflecting pool that doubled as a skating rink, were visually separated but coherent in their design and use of materials. Located on the block between Young, College, Duke and King Streets, the interior and exteriors of the property were designed for city government, but also for the larger public with community, public spaces, and open interaction with local government as key design concepts for the project. After entering the Civic Square outside the building, patrons can pass through the main portico, into the Interior Civic Square were the round Civic Rotunda rests in the centre. The rotunda’s interior was designed for use as a public gathering space, where events and activities could be held. The top of the rotunda had sandblasted glass windows with patinated copper frames, letting natural light shine into the large space below. A staircase from the main Civic Square led to an exterior terrace that wrapped around the top of the rotunda. The Administrative Office Tower was ten-storeys with a mechanical penthouse, and was used for civic offices. The Council Chamber was comprised of limestone with refinished metal panels forming a curved roof on top. The two wings along the sides of the property contained tenant areas, a restaurant, information offices, alderman’s offices and the mayor’s office, among other spaces. The back of the property had landscaped exteriors and outdoor play areas for the building’s daycare. The project is recorded through drawings, photographic materials, presentation paintings and models dating from 1989-1993. The drawings consist of concepts for both the competition entry and the subsequent construction of the project. These include sketches, base maps and area surveys produced by the city and contractors, presentation boards and paintings, plans, elevations, sections, perspectives, details and axonometric drawings. There are also photographic reproductions of presentation drawings. The photographs show finished interiors and exteriors and the project model.
Kitchener City Hall Competition, Ontario (1989-1993)
Actions:
AP056.S1.1989.PR08
Description:
This project series documents the winning competition entry and subsequent construction for Kitchener City Hall in Kitchener, Ontario from 1989-1993. The office identified the project number as 8928. This project consisted of a U-shaped civic building comprised of a circular rotunda in the centre, an office tower to the right, the council chambers to the left, and two rectangular arms on either side to create the arms of the U. These elements, which wrapped around a large reflecting pool that doubled as a skating rink, were visually separated but coherent in their design and use of materials. Located on the block between Young, College, Duke and King Streets, the interior and exteriors of the property were designed for city government, but also for the larger public with community, public spaces, and open interaction with local government as key design concepts for the project. After entering the Civic Square outside the building, patrons can pass through the main portico, into the Interior Civic Square were the round Civic Rotunda rests in the centre. The rotunda’s interior was designed for use as a public gathering space, where events and activities could be held. The top of the rotunda had sandblasted glass windows with patinated copper frames, letting natural light shine into the large space below. A staircase from the main Civic Square led to an exterior terrace that wrapped around the top of the rotunda. The Administrative Office Tower was ten-storeys with a mechanical penthouse, and was used for civic offices. The Council Chamber was comprised of limestone with refinished metal panels forming a curved roof on top. The two wings along the sides of the property contained tenant areas, a restaurant, information offices, alderman’s offices and the mayor’s office, among other spaces. The back of the property had landscaped exteriors and outdoor play areas for the building’s daycare. The project is recorded through drawings, photographic materials, presentation paintings and models dating from 1989-1993. The drawings consist of concepts for both the competition entry and the subsequent construction of the project. These include sketches, base maps and area surveys produced by the city and contractors, presentation boards and paintings, plans, elevations, sections, perspectives, details and axonometric drawings. There are also photographic reproductions of presentation drawings. The photographs show finished interiors and exteriors and the project model.
Niveau de description archivistique:
Project
Project
Date:
1989-1993
1989-1993
Personnes et institutions:
Niveau de description archivistique:
Série(s)
Série(s)
Titre:
Une architecture des humeurs
Une architecture des humeurs
Numéro de référence:
AP193.S4
Description:
Series 4, Une architecture des humeurs, 2008-2011, documents the conception and the presentation of exhibition and project Une architecture des humeurs. Presented at Le laboratoire art gallery in Paris between January and May 2010, Une architecture des humeurs is a conceptual, unbuilt, residential urban structure based on a potential future in which contemporary science reads human physiology and chemical balance. The idea is to acquire a chemistry of the “humors”, or the moods and temperament, of future purchasers. Taken as input, the information generates a diversity of habitable morphologies and relationships between them. With this process, the project attempts to make palpable and graspable, through technologies, the emotions of the participants captured via the chemistry of their body. The goal is to gather information on their capacity of adaptation, their level of sympathy and empathy while confronted to a situation or an environment. This information is then analyzed by computational, mathematical, and machinist procedures. This leads to the design and production of an urban structure submitted to the improbable and uncertain protocols produced by emotions, also creating aggregations and layouts that rearticulate the links between the individual and the collective. These structures are calculated following simultaneously incremental and recursive structural optimization protocols resulting in the physicality and morphology of architecture. The layout of the residential units and the structural trajectories are conceived and developed as posterior to the constructs supporting social life and not as an a priori. The structure of each components of the urban structure is generated by a secretion and weaving machine called Viab02. The machine is the second prototype of VIAB which was developed with Robotics Research Lab of the University of Southern California and takes its name from the terms viability and variability. With a process similar to contour crafting, the machine produces bio-cement, a mix between cement and bio-resin, giving form to the adapted residential structures. The records consist largely of images detailing the creative process of the firm, photographs of the exhibition, and 3D models. It also contains animated renderings representing the machine in action and sequences of the construction of the building or the structure. The records include a video orienting the project into François Roche theoretical stance, research as speculation, that can be summarize as the use of technological tools to take a critical and political position through esthetic in order to open new lines of thoughts. AP193.S2 contains updated previous version of the VIAB machine
AP193.S4
Description:
Series 4, Une architecture des humeurs, 2008-2011, documents the conception and the presentation of exhibition and project Une architecture des humeurs. Presented at Le laboratoire art gallery in Paris between January and May 2010, Une architecture des humeurs is a conceptual, unbuilt, residential urban structure based on a potential future in which contemporary science reads human physiology and chemical balance. The idea is to acquire a chemistry of the “humors”, or the moods and temperament, of future purchasers. Taken as input, the information generates a diversity of habitable morphologies and relationships between them. With this process, the project attempts to make palpable and graspable, through technologies, the emotions of the participants captured via the chemistry of their body. The goal is to gather information on their capacity of adaptation, their level of sympathy and empathy while confronted to a situation or an environment. This information is then analyzed by computational, mathematical, and machinist procedures. This leads to the design and production of an urban structure submitted to the improbable and uncertain protocols produced by emotions, also creating aggregations and layouts that rearticulate the links between the individual and the collective. These structures are calculated following simultaneously incremental and recursive structural optimization protocols resulting in the physicality and morphology of architecture. The layout of the residential units and the structural trajectories are conceived and developed as posterior to the constructs supporting social life and not as an a priori. The structure of each components of the urban structure is generated by a secretion and weaving machine called Viab02. The machine is the second prototype of VIAB which was developed with Robotics Research Lab of the University of Southern California and takes its name from the terms viability and variability. With a process similar to contour crafting, the machine produces bio-cement, a mix between cement and bio-resin, giving form to the adapted residential structures. The records consist largely of images detailing the creative process of the firm, photographs of the exhibition, and 3D models. It also contains animated renderings representing the machine in action and sequences of the construction of the building or the structure. The records include a video orienting the project into François Roche theoretical stance, research as speculation, that can be summarize as the use of technological tools to take a critical and political position through esthetic in order to open new lines of thoughts. AP193.S2 contains updated previous version of the VIAB machine
Personnes et institutions:
Date:
2008-2011
2008-2011
Titre:
Une architecture des humeurs
Actions:
AP193.S4
Description:
Series 4, Une architecture des humeurs, 2008-2011, documents the conception and the presentation of exhibition and project Une architecture des humeurs. Presented at Le laboratoire art gallery in Paris between January and May 2010, Une architecture des humeurs is a conceptual, unbuilt, residential urban structure based on a potential future in which contemporary science reads human physiology and chemical balance. The idea is to acquire a chemistry of the “humors”, or the moods and temperament, of future purchasers. Taken as input, the information generates a diversity of habitable morphologies and relationships between them. With this process, the project attempts to make palpable and graspable, through technologies, the emotions of the participants captured via the chemistry of their body. The goal is to gather information on their capacity of adaptation, their level of sympathy and empathy while confronted to a situation or an environment. This information is then analyzed by computational, mathematical, and machinist procedures. This leads to the design and production of an urban structure submitted to the improbable and uncertain protocols produced by emotions, also creating aggregations and layouts that rearticulate the links between the individual and the collective. These structures are calculated following simultaneously incremental and recursive structural optimization protocols resulting in the physicality and morphology of architecture. The layout of the residential units and the structural trajectories are conceived and developed as posterior to the constructs supporting social life and not as an a priori. The structure of each components of the urban structure is generated by a secretion and weaving machine called Viab02. The machine is the second prototype of VIAB which was developed with Robotics Research Lab of the University of Southern California and takes its name from the terms viability and variability. With a process similar to contour crafting, the machine produces bio-cement, a mix between cement and bio-resin, giving form to the adapted residential structures. The records consist largely of images detailing the creative process of the firm, photographs of the exhibition, and 3D models. It also contains animated renderings representing the machine in action and sequences of the construction of the building or the structure. The records include a video orienting the project into François Roche theoretical stance, research as speculation, that can be summarize as the use of technological tools to take a critical and political position through esthetic in order to open new lines of thoughts. AP193.S2 contains updated previous version of the VIAB machine
Une architecture des humeurs
Actions:
AP193.S4
Description:
Series 4, Une architecture des humeurs, 2008-2011, documents the conception and the presentation of exhibition and project Une architecture des humeurs. Presented at Le laboratoire art gallery in Paris between January and May 2010, Une architecture des humeurs is a conceptual, unbuilt, residential urban structure based on a potential future in which contemporary science reads human physiology and chemical balance. The idea is to acquire a chemistry of the “humors”, or the moods and temperament, of future purchasers. Taken as input, the information generates a diversity of habitable morphologies and relationships between them. With this process, the project attempts to make palpable and graspable, through technologies, the emotions of the participants captured via the chemistry of their body. The goal is to gather information on their capacity of adaptation, their level of sympathy and empathy while confronted to a situation or an environment. This information is then analyzed by computational, mathematical, and machinist procedures. This leads to the design and production of an urban structure submitted to the improbable and uncertain protocols produced by emotions, also creating aggregations and layouts that rearticulate the links between the individual and the collective. These structures are calculated following simultaneously incremental and recursive structural optimization protocols resulting in the physicality and morphology of architecture. The layout of the residential units and the structural trajectories are conceived and developed as posterior to the constructs supporting social life and not as an a priori. The structure of each components of the urban structure is generated by a secretion and weaving machine called Viab02. The machine is the second prototype of VIAB which was developed with Robotics Research Lab of the University of Southern California and takes its name from the terms viability and variability. With a process similar to contour crafting, the machine produces bio-cement, a mix between cement and bio-resin, giving form to the adapted residential structures. The records consist largely of images detailing the creative process of the firm, photographs of the exhibition, and 3D models. It also contains animated renderings representing the machine in action and sequences of the construction of the building or the structure. The records include a video orienting the project into François Roche theoretical stance, research as speculation, that can be summarize as the use of technological tools to take a critical and political position through esthetic in order to open new lines of thoughts. AP193.S2 contains updated previous version of the VIAB machine
Niveau de description archivistique:
Series
Series
Date:
2008-2011
2008-2011
Personnes et institutions:
