24946 Résultats
Classification:
photographies
photographies
Actions:
Numéro de référence:
PH1981:0803:001-040
Description:
Portfolio of photographs has a title page and a list of plates on verso of title page: Table générale des planches I. Villas maritimes - Architectes 1. Villa au bord de la mer, à Elberon - McKim, Mead & White 2. Villa au bord de la mer, à Elberon - V.C. Taylor 3. Villa au bord de la mer, Newport - G.B. Post 4. Villa au bord de la mer, Newport - Peabody et Stearns 5. Villa au bord de la mer, Bar Harbour - Rotch et Tilden 7. Villa au bord de la mer, Bar Harbour - Rotch et Tilden II. Maisons de campagne 8. Maison de campagne, à Orange - P.J. Boticher 9. Maison de campagne, à Orange - P.J. Boticher 10. Maison de campagne, à Orange - P.J. Boticher 11. Maison de campagne, à Orange - P.J. Boticher 12. Maison de campagne, Hartford - G. Keller 13. Maison de campagne, Hartford - T.C. Withers 14. Maison de campagne, Hartford - Kimball et Wisedell 15. Maison de campagne, Hartford - Kimball et Wisedell 16. Maison de campagne, Brookline - C.S. Luce 17. Maison de campagne, Brookline - Peabody et Stearns 18. Maison de campagne, Brookline - Peabody et Stearns 19. Maison de campagne, Brookline - S.E. Toby 20. Maison de campagne, Brookline - E.A.P. Newcomb 21. Maison de campagne, à Jamaica-Plain - W.R. Emerson 22. Maison de campagne, à Jamaica-Plain - W.R. Emerson 23. Maison de campagne, Détroit - Mason et Rice 24. Maison de campagne, W. Scott et Cie. 25. Maison de campagne, Buffalo - J.-L. Silsbee 26. Maison de campagne, Buffalo - J.-L. Silsbee 27. Maison de campagne, Buffalo - J.-L. Silsbee 28. Maison de campagne, Chicago - Cobb et Frost 29. Maison de campagne, Chicago - J.J. Flanders 30. Maison de campagne, Dorcester - Cabot et Chandler 31. Maison de campagne, Milwaukee - Cabot et Chandler 32. Maison de campagne, Cleveland - Peabody et Stearns 33. Maison de campagne, Rochester - J.G. Cutter 34. Maison de campagne, Walnut-Hills - Bruce Price 35. Hôtel privé suburbain, à Chicago - Bruce Price 36. Hôtel privé suburbain, à Chicago - Peabody et Stearns 37. Petite maison de campagne, à Chicago III Dépendances 38. Maison de garde, à North-Easton - H.H. Richardson 39. Maison de garde, à North-Easton - H.H. Richardson 40. Loge de gardien, à Newport - H.H. Richardson
PH1981:0803:001-040
Description:
Portfolio of photographs has a title page and a list of plates on verso of title page: Table générale des planches I. Villas maritimes - Architectes 1. Villa au bord de la mer, à Elberon - McKim, Mead & White 2. Villa au bord de la mer, à Elberon - V.C. Taylor 3. Villa au bord de la mer, Newport - G.B. Post 4. Villa au bord de la mer, Newport - Peabody et Stearns 5. Villa au bord de la mer, Bar Harbour - Rotch et Tilden 7. Villa au bord de la mer, Bar Harbour - Rotch et Tilden II. Maisons de campagne 8. Maison de campagne, à Orange - P.J. Boticher 9. Maison de campagne, à Orange - P.J. Boticher 10. Maison de campagne, à Orange - P.J. Boticher 11. Maison de campagne, à Orange - P.J. Boticher 12. Maison de campagne, Hartford - G. Keller 13. Maison de campagne, Hartford - T.C. Withers 14. Maison de campagne, Hartford - Kimball et Wisedell 15. Maison de campagne, Hartford - Kimball et Wisedell 16. Maison de campagne, Brookline - C.S. Luce 17. Maison de campagne, Brookline - Peabody et Stearns 18. Maison de campagne, Brookline - Peabody et Stearns 19. Maison de campagne, Brookline - S.E. Toby 20. Maison de campagne, Brookline - E.A.P. Newcomb 21. Maison de campagne, à Jamaica-Plain - W.R. Emerson 22. Maison de campagne, à Jamaica-Plain - W.R. Emerson 23. Maison de campagne, Détroit - Mason et Rice 24. Maison de campagne, W. Scott et Cie. 25. Maison de campagne, Buffalo - J.-L. Silsbee 26. Maison de campagne, Buffalo - J.-L. Silsbee 27. Maison de campagne, Buffalo - J.-L. Silsbee 28. Maison de campagne, Chicago - Cobb et Frost 29. Maison de campagne, Chicago - J.J. Flanders 30. Maison de campagne, Dorcester - Cabot et Chandler 31. Maison de campagne, Milwaukee - Cabot et Chandler 32. Maison de campagne, Cleveland - Peabody et Stearns 33. Maison de campagne, Rochester - J.G. Cutter 34. Maison de campagne, Walnut-Hills - Bruce Price 35. Hôtel privé suburbain, à Chicago - Bruce Price 36. Hôtel privé suburbain, à Chicago - Peabody et Stearns 37. Petite maison de campagne, à Chicago III Dépendances 38. Maison de garde, à North-Easton - H.H. Richardson 39. Maison de garde, à North-Easton - H.H. Richardson 40. Loge de gardien, à Newport - H.H. Richardson
Personnes et institutions:
Sujet:
architecture
architecture
Date:
early 1886
early 1886
Titre:
Architecture Américaine, Troisième Série: Habitations Suburbaines: Villas, Maisons de Campagne, Cottages, Dépendances
Actions:
PH1981:0803:001-040
Description:
Portfolio of photographs has a title page and a list of plates on verso of title page: Table générale des planches I. Villas maritimes - Architectes 1. Villa au bord de la mer, à Elberon - McKim, Mead & White 2. Villa au bord de la mer, à Elberon - V.C. Taylor 3. Villa au bord de la mer, Newport - G.B. Post 4. Villa au bord de la mer, Newport - Peabody et Stearns 5. Villa au bord de la mer, Bar Harbour - Rotch et Tilden 7. Villa au bord de la mer, Bar Harbour - Rotch et Tilden II. Maisons de campagne 8. Maison de campagne, à Orange - P.J. Boticher 9. Maison de campagne, à Orange - P.J. Boticher 10. Maison de campagne, à Orange - P.J. Boticher 11. Maison de campagne, à Orange - P.J. Boticher 12. Maison de campagne, Hartford - G. Keller 13. Maison de campagne, Hartford - T.C. Withers 14. Maison de campagne, Hartford - Kimball et Wisedell 15. Maison de campagne, Hartford - Kimball et Wisedell 16. Maison de campagne, Brookline - C.S. Luce 17. Maison de campagne, Brookline - Peabody et Stearns 18. Maison de campagne, Brookline - Peabody et Stearns 19. Maison de campagne, Brookline - S.E. Toby 20. Maison de campagne, Brookline - E.A.P. Newcomb 21. Maison de campagne, à Jamaica-Plain - W.R. Emerson 22. Maison de campagne, à Jamaica-Plain - W.R. Emerson 23. Maison de campagne, Détroit - Mason et Rice 24. Maison de campagne, W. Scott et Cie. 25. Maison de campagne, Buffalo - J.-L. Silsbee 26. Maison de campagne, Buffalo - J.-L. Silsbee 27. Maison de campagne, Buffalo - J.-L. Silsbee 28. Maison de campagne, Chicago - Cobb et Frost 29. Maison de campagne, Chicago - J.J. Flanders 30. Maison de campagne, Dorcester - Cabot et Chandler 31. Maison de campagne, Milwaukee - Cabot et Chandler 32. Maison de campagne, Cleveland - Peabody et Stearns 33. Maison de campagne, Rochester - J.G. Cutter 34. Maison de campagne, Walnut-Hills - Bruce Price 35. Hôtel privé suburbain, à Chicago - Bruce Price 36. Hôtel privé suburbain, à Chicago - Peabody et Stearns 37. Petite maison de campagne, à Chicago III Dépendances 38. Maison de garde, à North-Easton - H.H. Richardson 39. Maison de garde, à North-Easton - H.H. Richardson 40. Loge de gardien, à Newport - H.H. Richardson
Architecture Américaine, Troisième Série: Habitations Suburbaines: Villas, Maisons de Campagne, Cottages, Dépendances
Actions:
PH1981:0803:001-040
Description:
Portfolio of photographs has a title page and a list of plates on verso of title page: Table générale des planches I. Villas maritimes - Architectes 1. Villa au bord de la mer, à Elberon - McKim, Mead & White 2. Villa au bord de la mer, à Elberon - V.C. Taylor 3. Villa au bord de la mer, Newport - G.B. Post 4. Villa au bord de la mer, Newport - Peabody et Stearns 5. Villa au bord de la mer, Bar Harbour - Rotch et Tilden 7. Villa au bord de la mer, Bar Harbour - Rotch et Tilden II. Maisons de campagne 8. Maison de campagne, à Orange - P.J. Boticher 9. Maison de campagne, à Orange - P.J. Boticher 10. Maison de campagne, à Orange - P.J. Boticher 11. Maison de campagne, à Orange - P.J. Boticher 12. Maison de campagne, Hartford - G. Keller 13. Maison de campagne, Hartford - T.C. Withers 14. Maison de campagne, Hartford - Kimball et Wisedell 15. Maison de campagne, Hartford - Kimball et Wisedell 16. Maison de campagne, Brookline - C.S. Luce 17. Maison de campagne, Brookline - Peabody et Stearns 18. Maison de campagne, Brookline - Peabody et Stearns 19. Maison de campagne, Brookline - S.E. Toby 20. Maison de campagne, Brookline - E.A.P. Newcomb 21. Maison de campagne, à Jamaica-Plain - W.R. Emerson 22. Maison de campagne, à Jamaica-Plain - W.R. Emerson 23. Maison de campagne, Détroit - Mason et Rice 24. Maison de campagne, W. Scott et Cie. 25. Maison de campagne, Buffalo - J.-L. Silsbee 26. Maison de campagne, Buffalo - J.-L. Silsbee 27. Maison de campagne, Buffalo - J.-L. Silsbee 28. Maison de campagne, Chicago - Cobb et Frost 29. Maison de campagne, Chicago - J.J. Flanders 30. Maison de campagne, Dorcester - Cabot et Chandler 31. Maison de campagne, Milwaukee - Cabot et Chandler 32. Maison de campagne, Cleveland - Peabody et Stearns 33. Maison de campagne, Rochester - J.G. Cutter 34. Maison de campagne, Walnut-Hills - Bruce Price 35. Hôtel privé suburbain, à Chicago - Bruce Price 36. Hôtel privé suburbain, à Chicago - Peabody et Stearns 37. Petite maison de campagne, à Chicago III Dépendances 38. Maison de garde, à North-Easton - H.H. Richardson 39. Maison de garde, à North-Easton - H.H. Richardson 40. Loge de gardien, à Newport - H.H. Richardson
Classification:
photographies
photographies
Date:
early 1886
early 1886
Personnes et institutions:
Sujet:
architecture
architecture
Niveau de description archivistique:
Projet
Projet
Titre:
Inter-Action Centre
Inter-Action Centre
Numéro de référence:
AP144.S2.D82
Description:
File documents Inter-Action Centre, a completed project for a community centre commissioned by Ed Berman and the Inter-Action Trust, for a disused site at Talacre Public Open Space in Kentish Town, Camden, London. The construction was divided into two phases. Foundations, steel frame and trusses were constructed first and could be used for open-air community events while funds were being raised for the second phase. Phase II included cladding, fittings, finishes, services prefabricated units, and log cabins. The building was intended as a flexible short life-span building in which the interior spaces would be independent of the roof and exterior walls. Functional areas suggested by Cedric Price include: assembly halls, classrooms, rehearsal rooms, studios, areas for performance, media resources, lounging and dining, and a gym and a nursery. Cedric Price had been engaged by the concepts of flexible architecture, indeterminacy, impermanence, and the fusion of information technology, entertainment, and educational activities in earlier unrealized projects such as Fun Palace (AP144.S2.D46) and Oxford Corner House (AP144.S2.D59). Existing conditions drawings include photographs of the site; reprographic copies of electrical and drainage systems; ordinance surveys of Kentish Town; and landscape and playground layout. Conceptual drawings include sketches of overall massing; diagrammatic plans; drawings and diagrams of site conditions; notes for the structural framework; rendered interior elevations; plans showing impact of site context on building design; diagrammatic sketches of relationship between functional requirements and structural form. Schematic drawings include diagrammatic plans; sections of structural system and exterior wall; cladding details; and axonometric views of supports. Design development drawings and working drawings include plans, elevations, sections, details and axonometric views. Presentation drawings include watercolours and other renderings; reprographic copies, possibly for publication; and perspectives drawings. Some material from this file was published in "Inter-action Centre." 'RIBA Journal'. (November 1977), 458-465; "Intervista A Cedric Price: London Interaction Centre." 'Domus'. (April 1978), 17-21; "Kentish Town West Amalgam, London." 'Architectural Record'. (January 1973), 19; Lyall, Sutherland. 'The State of British Architecture'. (London: Architectural Press, 1980), 107-109; 130 and 'Cedric Price-Works II' (London: Architectural Press, 1984), 54, 62-63. Material in this file was produced between 1964 and 1992, but predominantly between 1970 and 1981. File contains technical drawings that are attributed to the following consultants, contractors, and manufacturers: Coseley Buildings Ltd; H.G. Deacon Ltd; Kayanson Engineers; H.J. Knights & Co. Ltd; Woodcemair; Metal Sections Ltd; Spaceway; Gascoigne, Gush & Dent (Engineering Ltd); UBM Engineering; J. Murphy & Sons Ltd; Maurice Pickering Associates, Architects & Landscape Consultants; David Lee Architect & Landscape Architect; J. Starkie Gardner Ltd; Dibben Structural Engineers; Zisman, Bowyer & Partners; Felix J. Samuely and Partners; Ruberoid Contracts Ltd; Whitbread London Limited; and Portakabin. Paul Hyett and Will Alsop were Cedric Price's main assistants for this project. 'Inter-Action Trust Limited', 'Inter-Action Centre', and 'Talacre Centre Limited' appear as the client(s) at various stages of this project. File contains cartographic materials, conceptual drawings, consultant drawings, design development drawings, models, panels, photographic materials, presentation drawings, an illustration, textual records, and working drawings.
AP144.S2.D82
Description:
File documents Inter-Action Centre, a completed project for a community centre commissioned by Ed Berman and the Inter-Action Trust, for a disused site at Talacre Public Open Space in Kentish Town, Camden, London. The construction was divided into two phases. Foundations, steel frame and trusses were constructed first and could be used for open-air community events while funds were being raised for the second phase. Phase II included cladding, fittings, finishes, services prefabricated units, and log cabins. The building was intended as a flexible short life-span building in which the interior spaces would be independent of the roof and exterior walls. Functional areas suggested by Cedric Price include: assembly halls, classrooms, rehearsal rooms, studios, areas for performance, media resources, lounging and dining, and a gym and a nursery. Cedric Price had been engaged by the concepts of flexible architecture, indeterminacy, impermanence, and the fusion of information technology, entertainment, and educational activities in earlier unrealized projects such as Fun Palace (AP144.S2.D46) and Oxford Corner House (AP144.S2.D59). Existing conditions drawings include photographs of the site; reprographic copies of electrical and drainage systems; ordinance surveys of Kentish Town; and landscape and playground layout. Conceptual drawings include sketches of overall massing; diagrammatic plans; drawings and diagrams of site conditions; notes for the structural framework; rendered interior elevations; plans showing impact of site context on building design; diagrammatic sketches of relationship between functional requirements and structural form. Schematic drawings include diagrammatic plans; sections of structural system and exterior wall; cladding details; and axonometric views of supports. Design development drawings and working drawings include plans, elevations, sections, details and axonometric views. Presentation drawings include watercolours and other renderings; reprographic copies, possibly for publication; and perspectives drawings. Some material from this file was published in "Inter-action Centre." 'RIBA Journal'. (November 1977), 458-465; "Intervista A Cedric Price: London Interaction Centre." 'Domus'. (April 1978), 17-21; "Kentish Town West Amalgam, London." 'Architectural Record'. (January 1973), 19; Lyall, Sutherland. 'The State of British Architecture'. (London: Architectural Press, 1980), 107-109; 130 and 'Cedric Price-Works II' (London: Architectural Press, 1984), 54, 62-63. Material in this file was produced between 1964 and 1992, but predominantly between 1970 and 1981. File contains technical drawings that are attributed to the following consultants, contractors, and manufacturers: Coseley Buildings Ltd; H.G. Deacon Ltd; Kayanson Engineers; H.J. Knights & Co. Ltd; Woodcemair; Metal Sections Ltd; Spaceway; Gascoigne, Gush & Dent (Engineering Ltd); UBM Engineering; J. Murphy & Sons Ltd; Maurice Pickering Associates, Architects & Landscape Consultants; David Lee Architect & Landscape Architect; J. Starkie Gardner Ltd; Dibben Structural Engineers; Zisman, Bowyer & Partners; Felix J. Samuely and Partners; Ruberoid Contracts Ltd; Whitbread London Limited; and Portakabin. Paul Hyett and Will Alsop were Cedric Price's main assistants for this project. 'Inter-Action Trust Limited', 'Inter-Action Centre', and 'Talacre Centre Limited' appear as the client(s) at various stages of this project. File contains cartographic materials, conceptual drawings, consultant drawings, design development drawings, models, panels, photographic materials, presentation drawings, an illustration, textual records, and working drawings.
Personnes et institutions:
Date:
1964-1992, predominant 1970-1981
1964-1992, predominant 1970-1981
Titre:
Inter-Action Centre
Actions:
AP144.S2.D82
Description:
File documents Inter-Action Centre, a completed project for a community centre commissioned by Ed Berman and the Inter-Action Trust, for a disused site at Talacre Public Open Space in Kentish Town, Camden, London. The construction was divided into two phases. Foundations, steel frame and trusses were constructed first and could be used for open-air community events while funds were being raised for the second phase. Phase II included cladding, fittings, finishes, services prefabricated units, and log cabins. The building was intended as a flexible short life-span building in which the interior spaces would be independent of the roof and exterior walls. Functional areas suggested by Cedric Price include: assembly halls, classrooms, rehearsal rooms, studios, areas for performance, media resources, lounging and dining, and a gym and a nursery. Cedric Price had been engaged by the concepts of flexible architecture, indeterminacy, impermanence, and the fusion of information technology, entertainment, and educational activities in earlier unrealized projects such as Fun Palace (AP144.S2.D46) and Oxford Corner House (AP144.S2.D59). Existing conditions drawings include photographs of the site; reprographic copies of electrical and drainage systems; ordinance surveys of Kentish Town; and landscape and playground layout. Conceptual drawings include sketches of overall massing; diagrammatic plans; drawings and diagrams of site conditions; notes for the structural framework; rendered interior elevations; plans showing impact of site context on building design; diagrammatic sketches of relationship between functional requirements and structural form. Schematic drawings include diagrammatic plans; sections of structural system and exterior wall; cladding details; and axonometric views of supports. Design development drawings and working drawings include plans, elevations, sections, details and axonometric views. Presentation drawings include watercolours and other renderings; reprographic copies, possibly for publication; and perspectives drawings. Some material from this file was published in "Inter-action Centre." 'RIBA Journal'. (November 1977), 458-465; "Intervista A Cedric Price: London Interaction Centre." 'Domus'. (April 1978), 17-21; "Kentish Town West Amalgam, London." 'Architectural Record'. (January 1973), 19; Lyall, Sutherland. 'The State of British Architecture'. (London: Architectural Press, 1980), 107-109; 130 and 'Cedric Price-Works II' (London: Architectural Press, 1984), 54, 62-63. Material in this file was produced between 1964 and 1992, but predominantly between 1970 and 1981. File contains technical drawings that are attributed to the following consultants, contractors, and manufacturers: Coseley Buildings Ltd; H.G. Deacon Ltd; Kayanson Engineers; H.J. Knights & Co. Ltd; Woodcemair; Metal Sections Ltd; Spaceway; Gascoigne, Gush & Dent (Engineering Ltd); UBM Engineering; J. Murphy & Sons Ltd; Maurice Pickering Associates, Architects & Landscape Consultants; David Lee Architect & Landscape Architect; J. Starkie Gardner Ltd; Dibben Structural Engineers; Zisman, Bowyer & Partners; Felix J. Samuely and Partners; Ruberoid Contracts Ltd; Whitbread London Limited; and Portakabin. Paul Hyett and Will Alsop were Cedric Price's main assistants for this project. 'Inter-Action Trust Limited', 'Inter-Action Centre', and 'Talacre Centre Limited' appear as the client(s) at various stages of this project. File contains cartographic materials, conceptual drawings, consultant drawings, design development drawings, models, panels, photographic materials, presentation drawings, an illustration, textual records, and working drawings.
Inter-Action Centre
Actions:
AP144.S2.D82
Description:
File documents Inter-Action Centre, a completed project for a community centre commissioned by Ed Berman and the Inter-Action Trust, for a disused site at Talacre Public Open Space in Kentish Town, Camden, London. The construction was divided into two phases. Foundations, steel frame and trusses were constructed first and could be used for open-air community events while funds were being raised for the second phase. Phase II included cladding, fittings, finishes, services prefabricated units, and log cabins. The building was intended as a flexible short life-span building in which the interior spaces would be independent of the roof and exterior walls. Functional areas suggested by Cedric Price include: assembly halls, classrooms, rehearsal rooms, studios, areas for performance, media resources, lounging and dining, and a gym and a nursery. Cedric Price had been engaged by the concepts of flexible architecture, indeterminacy, impermanence, and the fusion of information technology, entertainment, and educational activities in earlier unrealized projects such as Fun Palace (AP144.S2.D46) and Oxford Corner House (AP144.S2.D59). Existing conditions drawings include photographs of the site; reprographic copies of electrical and drainage systems; ordinance surveys of Kentish Town; and landscape and playground layout. Conceptual drawings include sketches of overall massing; diagrammatic plans; drawings and diagrams of site conditions; notes for the structural framework; rendered interior elevations; plans showing impact of site context on building design; diagrammatic sketches of relationship between functional requirements and structural form. Schematic drawings include diagrammatic plans; sections of structural system and exterior wall; cladding details; and axonometric views of supports. Design development drawings and working drawings include plans, elevations, sections, details and axonometric views. Presentation drawings include watercolours and other renderings; reprographic copies, possibly for publication; and perspectives drawings. Some material from this file was published in "Inter-action Centre." 'RIBA Journal'. (November 1977), 458-465; "Intervista A Cedric Price: London Interaction Centre." 'Domus'. (April 1978), 17-21; "Kentish Town West Amalgam, London." 'Architectural Record'. (January 1973), 19; Lyall, Sutherland. 'The State of British Architecture'. (London: Architectural Press, 1980), 107-109; 130 and 'Cedric Price-Works II' (London: Architectural Press, 1984), 54, 62-63. Material in this file was produced between 1964 and 1992, but predominantly between 1970 and 1981. File contains technical drawings that are attributed to the following consultants, contractors, and manufacturers: Coseley Buildings Ltd; H.G. Deacon Ltd; Kayanson Engineers; H.J. Knights & Co. Ltd; Woodcemair; Metal Sections Ltd; Spaceway; Gascoigne, Gush & Dent (Engineering Ltd); UBM Engineering; J. Murphy & Sons Ltd; Maurice Pickering Associates, Architects & Landscape Consultants; David Lee Architect & Landscape Architect; J. Starkie Gardner Ltd; Dibben Structural Engineers; Zisman, Bowyer & Partners; Felix J. Samuely and Partners; Ruberoid Contracts Ltd; Whitbread London Limited; and Portakabin. Paul Hyett and Will Alsop were Cedric Price's main assistants for this project. 'Inter-Action Trust Limited', 'Inter-Action Centre', and 'Talacre Centre Limited' appear as the client(s) at various stages of this project. File contains cartographic materials, conceptual drawings, consultant drawings, design development drawings, models, panels, photographic materials, presentation drawings, an illustration, textual records, and working drawings.
Niveau de description archivistique:
File 82
File 82
Date:
1964-1992, predominant 1970-1981
1964-1992, predominant 1970-1981
Personnes et institutions:
Niveau de description archivistique:
Série(s)
Série(s)
Numéro de référence:
AP193.S1
Description:
Series 1, Water Flux and Scrambled Flat, 2002-2010, documents the conception and evolution of a project that was originally a farm building and later became a geology and glaciology museum and research center focused on the Swiss Alps. The project was never realized. R&Sie(n) conceptualized Scrambled Flat as an experimental farm. The project goal was to reconcile European Union’s agricultural regulations, imposing a separation between animal and human living, to the community of Évolène traditional way of living, contiguously with animals, benefiting from the resources they offer. As conceived, Scrambled Flat creates an environment where fluidity between the existence of the animals and the humans is materialized. The size of the form is also adapted from a typical local rural house and exploits the heat of the animals and the insulation of the hay. For this project, R&Sie(n) approached the mayor of the community with the design proposition. The mayor then called for a competition, while also changing the program to an ecology museum and research center illustrating the local effects of global warming and the thawing of the Alps. R&Sie(n) won the competition with Water Flux, a reinterpretation of Scrambled Flat. The project was intended to uncover and exorcise the anxieties of ecological disaster, and the principle of flux related to seasonal change and, more broadly, climate change. The firm designed rooms that reproduce the geological and meteorological environment of the high mountains making it visible and experimental, offering refrigerated spaces for art installations and scientific demonstrations. The concept was also to build with the use of new technologies such as digital modelling, point scanning, and computer numerical control (CNC), combined with ancient local knowledge of knocking on trees to decide which specific pines have the best wood for construction. The building is designed to be constructed with local lamellar wood milled by nearby CNC. The resulting parts would be used for the structure, the insulation, the waterproofing and both the interior and exterior finishes. The design includes a grille wrapping the building, reproducing the profile of traditional houses and enclosure and making it possible to hold the snow inside a typo-morphological imprint. Therefore, the transformable envelope of the building reacts to the rhythm of the seasons. In the winter, the structure would appear like a solid cut-out of ice and snow, with cavities similar to those found in glaciers. In the summer, it would resemble piles of stones used in these areas to make borders. A small pool would collect rainwater and supply it to an interior artificial snowmaking system designed for the gallery. Transformation of the water is an integral part of the design. The records contain images of plans, sections, details for the structure of the façade, renderings, plans of the engineered structure, and photographs documenting the conception of the models with the CNC machinery. The Rhino 3D modelling files are also part of the records along with AutoCAD models and a video documenting the process. The records contain two physical models: a smaller polymer model at 1:20 scale representing the whole structure of the building, and a larger 1:1 latch wood fragment representing detail of the structure in its integrality.
AP193.S1
Description:
Series 1, Water Flux and Scrambled Flat, 2002-2010, documents the conception and evolution of a project that was originally a farm building and later became a geology and glaciology museum and research center focused on the Swiss Alps. The project was never realized. R&Sie(n) conceptualized Scrambled Flat as an experimental farm. The project goal was to reconcile European Union’s agricultural regulations, imposing a separation between animal and human living, to the community of Évolène traditional way of living, contiguously with animals, benefiting from the resources they offer. As conceived, Scrambled Flat creates an environment where fluidity between the existence of the animals and the humans is materialized. The size of the form is also adapted from a typical local rural house and exploits the heat of the animals and the insulation of the hay. For this project, R&Sie(n) approached the mayor of the community with the design proposition. The mayor then called for a competition, while also changing the program to an ecology museum and research center illustrating the local effects of global warming and the thawing of the Alps. R&Sie(n) won the competition with Water Flux, a reinterpretation of Scrambled Flat. The project was intended to uncover and exorcise the anxieties of ecological disaster, and the principle of flux related to seasonal change and, more broadly, climate change. The firm designed rooms that reproduce the geological and meteorological environment of the high mountains making it visible and experimental, offering refrigerated spaces for art installations and scientific demonstrations. The concept was also to build with the use of new technologies such as digital modelling, point scanning, and computer numerical control (CNC), combined with ancient local knowledge of knocking on trees to decide which specific pines have the best wood for construction. The building is designed to be constructed with local lamellar wood milled by nearby CNC. The resulting parts would be used for the structure, the insulation, the waterproofing and both the interior and exterior finishes. The design includes a grille wrapping the building, reproducing the profile of traditional houses and enclosure and making it possible to hold the snow inside a typo-morphological imprint. Therefore, the transformable envelope of the building reacts to the rhythm of the seasons. In the winter, the structure would appear like a solid cut-out of ice and snow, with cavities similar to those found in glaciers. In the summer, it would resemble piles of stones used in these areas to make borders. A small pool would collect rainwater and supply it to an interior artificial snowmaking system designed for the gallery. Transformation of the water is an integral part of the design. The records contain images of plans, sections, details for the structure of the façade, renderings, plans of the engineered structure, and photographs documenting the conception of the models with the CNC machinery. The Rhino 3D modelling files are also part of the records along with AutoCAD models and a video documenting the process. The records contain two physical models: a smaller polymer model at 1:20 scale representing the whole structure of the building, and a larger 1:1 latch wood fragment representing detail of the structure in its integrality.
Personnes et institutions:
Date:
2002-2010
2002-2010
Titre:
Water Flux and Scrambled Flat
Actions:
AP193.S1
Description:
Series 1, Water Flux and Scrambled Flat, 2002-2010, documents the conception and evolution of a project that was originally a farm building and later became a geology and glaciology museum and research center focused on the Swiss Alps. The project was never realized. R&Sie(n) conceptualized Scrambled Flat as an experimental farm. The project goal was to reconcile European Union’s agricultural regulations, imposing a separation between animal and human living, to the community of Évolène traditional way of living, contiguously with animals, benefiting from the resources they offer. As conceived, Scrambled Flat creates an environment where fluidity between the existence of the animals and the humans is materialized. The size of the form is also adapted from a typical local rural house and exploits the heat of the animals and the insulation of the hay. For this project, R&Sie(n) approached the mayor of the community with the design proposition. The mayor then called for a competition, while also changing the program to an ecology museum and research center illustrating the local effects of global warming and the thawing of the Alps. R&Sie(n) won the competition with Water Flux, a reinterpretation of Scrambled Flat. The project was intended to uncover and exorcise the anxieties of ecological disaster, and the principle of flux related to seasonal change and, more broadly, climate change. The firm designed rooms that reproduce the geological and meteorological environment of the high mountains making it visible and experimental, offering refrigerated spaces for art installations and scientific demonstrations. The concept was also to build with the use of new technologies such as digital modelling, point scanning, and computer numerical control (CNC), combined with ancient local knowledge of knocking on trees to decide which specific pines have the best wood for construction. The building is designed to be constructed with local lamellar wood milled by nearby CNC. The resulting parts would be used for the structure, the insulation, the waterproofing and both the interior and exterior finishes. The design includes a grille wrapping the building, reproducing the profile of traditional houses and enclosure and making it possible to hold the snow inside a typo-morphological imprint. Therefore, the transformable envelope of the building reacts to the rhythm of the seasons. In the winter, the structure would appear like a solid cut-out of ice and snow, with cavities similar to those found in glaciers. In the summer, it would resemble piles of stones used in these areas to make borders. A small pool would collect rainwater and supply it to an interior artificial snowmaking system designed for the gallery. Transformation of the water is an integral part of the design. The records contain images of plans, sections, details for the structure of the façade, renderings, plans of the engineered structure, and photographs documenting the conception of the models with the CNC machinery. The Rhino 3D modelling files are also part of the records along with AutoCAD models and a video documenting the process. The records contain two physical models: a smaller polymer model at 1:20 scale representing the whole structure of the building, and a larger 1:1 latch wood fragment representing detail of the structure in its integrality.
Water Flux and Scrambled Flat
Actions:
AP193.S1
Description:
Series 1, Water Flux and Scrambled Flat, 2002-2010, documents the conception and evolution of a project that was originally a farm building and later became a geology and glaciology museum and research center focused on the Swiss Alps. The project was never realized. R&Sie(n) conceptualized Scrambled Flat as an experimental farm. The project goal was to reconcile European Union’s agricultural regulations, imposing a separation between animal and human living, to the community of Évolène traditional way of living, contiguously with animals, benefiting from the resources they offer. As conceived, Scrambled Flat creates an environment where fluidity between the existence of the animals and the humans is materialized. The size of the form is also adapted from a typical local rural house and exploits the heat of the animals and the insulation of the hay. For this project, R&Sie(n) approached the mayor of the community with the design proposition. The mayor then called for a competition, while also changing the program to an ecology museum and research center illustrating the local effects of global warming and the thawing of the Alps. R&Sie(n) won the competition with Water Flux, a reinterpretation of Scrambled Flat. The project was intended to uncover and exorcise the anxieties of ecological disaster, and the principle of flux related to seasonal change and, more broadly, climate change. The firm designed rooms that reproduce the geological and meteorological environment of the high mountains making it visible and experimental, offering refrigerated spaces for art installations and scientific demonstrations. The concept was also to build with the use of new technologies such as digital modelling, point scanning, and computer numerical control (CNC), combined with ancient local knowledge of knocking on trees to decide which specific pines have the best wood for construction. The building is designed to be constructed with local lamellar wood milled by nearby CNC. The resulting parts would be used for the structure, the insulation, the waterproofing and both the interior and exterior finishes. The design includes a grille wrapping the building, reproducing the profile of traditional houses and enclosure and making it possible to hold the snow inside a typo-morphological imprint. Therefore, the transformable envelope of the building reacts to the rhythm of the seasons. In the winter, the structure would appear like a solid cut-out of ice and snow, with cavities similar to those found in glaciers. In the summer, it would resemble piles of stones used in these areas to make borders. A small pool would collect rainwater and supply it to an interior artificial snowmaking system designed for the gallery. Transformation of the water is an integral part of the design. The records contain images of plans, sections, details for the structure of the façade, renderings, plans of the engineered structure, and photographs documenting the conception of the models with the CNC machinery. The Rhino 3D modelling files are also part of the records along with AutoCAD models and a video documenting the process. The records contain two physical models: a smaller polymer model at 1:20 scale representing the whole structure of the building, and a larger 1:1 latch wood fragment representing detail of the structure in its integrality.
Niveau de description archivistique:
Series
Series
Date:
2002-2010
2002-2010
Personnes et institutions:
Niveau de description archivistique:
Projet
Projet
Titre:
Two Tree Island
Two Tree Island
Numéro de référence:
AP144.S2.D84
Description:
File documents an unexecuted project for Two Tree Island, the last uninhabited island in the Thames Estuary, in Essex, England. Cedric Price collaborated with Yorke Rosenberg Mardall Architects (YMR) on the project for client David Keddie, to develop a 178-hectare site on the island which encompassed both existing and reclaimed land, some of which was reserved under a trust for nature conservation. Early proposals showed residential areas, commercial, as well as, industrial zones, and facilities for recreation and leisure activities, including a marina. The final design proposed a much smaller residential area and harbour and included larger conservation and marshland areas in response to local concerns. The project was rejected and a portion of Two Tree Island was leased to the Nature Conservancy (NERC). An Appeal and Public Enquiry lodged by the client was subsequently indefinitely postponed. The architects produced several versions of a consultant's report, created a 'logbook' for the project, and published a brochure and promotional material for a public meeting. Existing conditions and reference material in the file includes maps of the area showing locations for a photo survey; Port of Authority of London plans showing water depths at various locations; a drawing of Marine Island, Essex; and a collage of photos of the area mounted on a board. Sketches by Cedric Price show development plans for the island and explore alternate "open" and "closed" configurations for the basin. Sketch sections show established maximum flood heights on the proposed schemes (see sketches in Works II, p. 86). A series of schematic drawings by YMR develop preliminary schemes exploring alternate layouts in relation to the primary basin configuration. A perspective drawing shows a view of the site from the main road to the island. Design development drawings include both original drawings and reprographic copies and include bird's-eye view perspective sketches; diagrams showing "domestic development" and projected "typical patterning"; and diagrammatic plans/charts showing existing and reclaimed areas, compatibility of activities, and degrees of accessibility (see typical diagram in Works II, p. 87). Other design development drawings include standard plans, sections and elevations, as well as site plans, land-use plans for the marina, plans showing alternate layouts for the marina dock, plans showing Thames tidal defences, site sections, and breakwater profiles. Working drawings for the marina by consulting engineers Sir Frederick Snow and Partners include survey plans, detailed sections illustrating the reinforcement and stabilization of the marine bed, and task sequencing diagrams and charts. Publication and presentation material includes photographs of rendered perspectives, over 18 watercolour renderings of Two Tree Island by Cedric Price, and a mock-up for a 13-page brochure or report summarizing the project. Many drawings are also included in the textual records, which also include Cedric Price's diary on the project. Some material in this file was published in 'Cedric Price-Works II' (London: Architectural Press, 1984), 72, 86-87. Material in this file was produced between 1963 and 1989, but predominantly between 1971 and 1974. Cedric Price's office lists the following firms as the main consultants for this project: Felix J. Samuely & Partners and Sir Frederick Snow & Partners, Consulting Engineers; Baker Wilkins & Smith, Quantity Surveyors; Prof. Peter Cowan, Director, Joint Unit for Planning Research; Prof. Peter Willmott, Director Institute of Community Studies; Prof. G. P. Wibberley, Professor of Countryside Planning, University of London; M. A. B. Boddington, Rural Planning Services. One drawing in DR1995:0255:011-021 is attributed to Costain Civil Engineering Ltd. File contains cartographic materials, conceptual drawings, design development drawings, presentation drawings, consultant drawings, model, and textual records.
AP144.S2.D84
Description:
File documents an unexecuted project for Two Tree Island, the last uninhabited island in the Thames Estuary, in Essex, England. Cedric Price collaborated with Yorke Rosenberg Mardall Architects (YMR) on the project for client David Keddie, to develop a 178-hectare site on the island which encompassed both existing and reclaimed land, some of which was reserved under a trust for nature conservation. Early proposals showed residential areas, commercial, as well as, industrial zones, and facilities for recreation and leisure activities, including a marina. The final design proposed a much smaller residential area and harbour and included larger conservation and marshland areas in response to local concerns. The project was rejected and a portion of Two Tree Island was leased to the Nature Conservancy (NERC). An Appeal and Public Enquiry lodged by the client was subsequently indefinitely postponed. The architects produced several versions of a consultant's report, created a 'logbook' for the project, and published a brochure and promotional material for a public meeting. Existing conditions and reference material in the file includes maps of the area showing locations for a photo survey; Port of Authority of London plans showing water depths at various locations; a drawing of Marine Island, Essex; and a collage of photos of the area mounted on a board. Sketches by Cedric Price show development plans for the island and explore alternate "open" and "closed" configurations for the basin. Sketch sections show established maximum flood heights on the proposed schemes (see sketches in Works II, p. 86). A series of schematic drawings by YMR develop preliminary schemes exploring alternate layouts in relation to the primary basin configuration. A perspective drawing shows a view of the site from the main road to the island. Design development drawings include both original drawings and reprographic copies and include bird's-eye view perspective sketches; diagrams showing "domestic development" and projected "typical patterning"; and diagrammatic plans/charts showing existing and reclaimed areas, compatibility of activities, and degrees of accessibility (see typical diagram in Works II, p. 87). Other design development drawings include standard plans, sections and elevations, as well as site plans, land-use plans for the marina, plans showing alternate layouts for the marina dock, plans showing Thames tidal defences, site sections, and breakwater profiles. Working drawings for the marina by consulting engineers Sir Frederick Snow and Partners include survey plans, detailed sections illustrating the reinforcement and stabilization of the marine bed, and task sequencing diagrams and charts. Publication and presentation material includes photographs of rendered perspectives, over 18 watercolour renderings of Two Tree Island by Cedric Price, and a mock-up for a 13-page brochure or report summarizing the project. Many drawings are also included in the textual records, which also include Cedric Price's diary on the project. Some material in this file was published in 'Cedric Price-Works II' (London: Architectural Press, 1984), 72, 86-87. Material in this file was produced between 1963 and 1989, but predominantly between 1971 and 1974. Cedric Price's office lists the following firms as the main consultants for this project: Felix J. Samuely & Partners and Sir Frederick Snow & Partners, Consulting Engineers; Baker Wilkins & Smith, Quantity Surveyors; Prof. Peter Cowan, Director, Joint Unit for Planning Research; Prof. Peter Willmott, Director Institute of Community Studies; Prof. G. P. Wibberley, Professor of Countryside Planning, University of London; M. A. B. Boddington, Rural Planning Services. One drawing in DR1995:0255:011-021 is attributed to Costain Civil Engineering Ltd. File contains cartographic materials, conceptual drawings, design development drawings, presentation drawings, consultant drawings, model, and textual records.
Personnes et institutions:
Date:
1963-1989, predominant 1971-1974
1963-1989, predominant 1971-1974
Titre:
Two Tree Island
Actions:
AP144.S2.D84
Description:
File documents an unexecuted project for Two Tree Island, the last uninhabited island in the Thames Estuary, in Essex, England. Cedric Price collaborated with Yorke Rosenberg Mardall Architects (YMR) on the project for client David Keddie, to develop a 178-hectare site on the island which encompassed both existing and reclaimed land, some of which was reserved under a trust for nature conservation. Early proposals showed residential areas, commercial, as well as, industrial zones, and facilities for recreation and leisure activities, including a marina. The final design proposed a much smaller residential area and harbour and included larger conservation and marshland areas in response to local concerns. The project was rejected and a portion of Two Tree Island was leased to the Nature Conservancy (NERC). An Appeal and Public Enquiry lodged by the client was subsequently indefinitely postponed. The architects produced several versions of a consultant's report, created a 'logbook' for the project, and published a brochure and promotional material for a public meeting. Existing conditions and reference material in the file includes maps of the area showing locations for a photo survey; Port of Authority of London plans showing water depths at various locations; a drawing of Marine Island, Essex; and a collage of photos of the area mounted on a board. Sketches by Cedric Price show development plans for the island and explore alternate "open" and "closed" configurations for the basin. Sketch sections show established maximum flood heights on the proposed schemes (see sketches in Works II, p. 86). A series of schematic drawings by YMR develop preliminary schemes exploring alternate layouts in relation to the primary basin configuration. A perspective drawing shows a view of the site from the main road to the island. Design development drawings include both original drawings and reprographic copies and include bird's-eye view perspective sketches; diagrams showing "domestic development" and projected "typical patterning"; and diagrammatic plans/charts showing existing and reclaimed areas, compatibility of activities, and degrees of accessibility (see typical diagram in Works II, p. 87). Other design development drawings include standard plans, sections and elevations, as well as site plans, land-use plans for the marina, plans showing alternate layouts for the marina dock, plans showing Thames tidal defences, site sections, and breakwater profiles. Working drawings for the marina by consulting engineers Sir Frederick Snow and Partners include survey plans, detailed sections illustrating the reinforcement and stabilization of the marine bed, and task sequencing diagrams and charts. Publication and presentation material includes photographs of rendered perspectives, over 18 watercolour renderings of Two Tree Island by Cedric Price, and a mock-up for a 13-page brochure or report summarizing the project. Many drawings are also included in the textual records, which also include Cedric Price's diary on the project. Some material in this file was published in 'Cedric Price-Works II' (London: Architectural Press, 1984), 72, 86-87. Material in this file was produced between 1963 and 1989, but predominantly between 1971 and 1974. Cedric Price's office lists the following firms as the main consultants for this project: Felix J. Samuely & Partners and Sir Frederick Snow & Partners, Consulting Engineers; Baker Wilkins & Smith, Quantity Surveyors; Prof. Peter Cowan, Director, Joint Unit for Planning Research; Prof. Peter Willmott, Director Institute of Community Studies; Prof. G. P. Wibberley, Professor of Countryside Planning, University of London; M. A. B. Boddington, Rural Planning Services. One drawing in DR1995:0255:011-021 is attributed to Costain Civil Engineering Ltd. File contains cartographic materials, conceptual drawings, design development drawings, presentation drawings, consultant drawings, model, and textual records.
Two Tree Island
Actions:
AP144.S2.D84
Description:
File documents an unexecuted project for Two Tree Island, the last uninhabited island in the Thames Estuary, in Essex, England. Cedric Price collaborated with Yorke Rosenberg Mardall Architects (YMR) on the project for client David Keddie, to develop a 178-hectare site on the island which encompassed both existing and reclaimed land, some of which was reserved under a trust for nature conservation. Early proposals showed residential areas, commercial, as well as, industrial zones, and facilities for recreation and leisure activities, including a marina. The final design proposed a much smaller residential area and harbour and included larger conservation and marshland areas in response to local concerns. The project was rejected and a portion of Two Tree Island was leased to the Nature Conservancy (NERC). An Appeal and Public Enquiry lodged by the client was subsequently indefinitely postponed. The architects produced several versions of a consultant's report, created a 'logbook' for the project, and published a brochure and promotional material for a public meeting. Existing conditions and reference material in the file includes maps of the area showing locations for a photo survey; Port of Authority of London plans showing water depths at various locations; a drawing of Marine Island, Essex; and a collage of photos of the area mounted on a board. Sketches by Cedric Price show development plans for the island and explore alternate "open" and "closed" configurations for the basin. Sketch sections show established maximum flood heights on the proposed schemes (see sketches in Works II, p. 86). A series of schematic drawings by YMR develop preliminary schemes exploring alternate layouts in relation to the primary basin configuration. A perspective drawing shows a view of the site from the main road to the island. Design development drawings include both original drawings and reprographic copies and include bird's-eye view perspective sketches; diagrams showing "domestic development" and projected "typical patterning"; and diagrammatic plans/charts showing existing and reclaimed areas, compatibility of activities, and degrees of accessibility (see typical diagram in Works II, p. 87). Other design development drawings include standard plans, sections and elevations, as well as site plans, land-use plans for the marina, plans showing alternate layouts for the marina dock, plans showing Thames tidal defences, site sections, and breakwater profiles. Working drawings for the marina by consulting engineers Sir Frederick Snow and Partners include survey plans, detailed sections illustrating the reinforcement and stabilization of the marine bed, and task sequencing diagrams and charts. Publication and presentation material includes photographs of rendered perspectives, over 18 watercolour renderings of Two Tree Island by Cedric Price, and a mock-up for a 13-page brochure or report summarizing the project. Many drawings are also included in the textual records, which also include Cedric Price's diary on the project. Some material in this file was published in 'Cedric Price-Works II' (London: Architectural Press, 1984), 72, 86-87. Material in this file was produced between 1963 and 1989, but predominantly between 1971 and 1974. Cedric Price's office lists the following firms as the main consultants for this project: Felix J. Samuely & Partners and Sir Frederick Snow & Partners, Consulting Engineers; Baker Wilkins & Smith, Quantity Surveyors; Prof. Peter Cowan, Director, Joint Unit for Planning Research; Prof. Peter Willmott, Director Institute of Community Studies; Prof. G. P. Wibberley, Professor of Countryside Planning, University of London; M. A. B. Boddington, Rural Planning Services. One drawing in DR1995:0255:011-021 is attributed to Costain Civil Engineering Ltd. File contains cartographic materials, conceptual drawings, design development drawings, presentation drawings, consultant drawings, model, and textual records.
Niveau de description archivistique:
File 84
File 84
Date:
1963-1989, predominant 1971-1974
1963-1989, predominant 1971-1974
Personnes et institutions:
Niveau de description archivistique:
Série(s)
Série(s)
Numéro de référence:
AP181.S1
Description:
Series 1, BMW Welt development and construction records, 1994-2015, documents the design development and construction phases of COOP HIMMELB(L)AU BMW Welt building, located nearby the BMW headquarters in Munich. This series also contains some materials from the competition phase, corresponding to less than 2000 digital files, and models from the third phase of the competition. More than half of the records were created from 2003 to 2006. Records show how COOP HIMMELB(L)AU, and the numerous consultants on the project, materialized the original concept, from Wolf Prix sketch, of this cloud-like roof emerging from a double cone suggesting an hurricane eye. To achieve this, extensive digital structural testing was done with engineers Bollinger + Grohmann. Consultants list also include: - Hans Lechner ZT GmbH for in-house project management; - Schmitt, Stumpf, Frühauf + Partner for construction documents of concrete works, interior fittings, tender and construction administration; - Emmer Pfenninger + Partner AG for the facade; - Transsolar, Klima Engineering for the photovoltaic plant on the roof; - PRO, Elektroplan for electrical systems and lifts; - AG-Licht for lighting; - Büro Dr. Pfeiler for structural physics or building physics; - Theater Projekte Daberto+Kollegen for the stage and auditorium; - PBB Planungsbüro Balke for kitchen technology - realgruen Landschaftsarchitekten for lansdcape design; - Kersken & Kirchner for fire protection; - TAW Weisse for height accessibility planning, in consideration for maintenance access; - Lang & Brukhardt for traffic engineering; - Ingenieurbüro Schoenenberg for civil engineering and road construction; - Büro für Gestaltung / Wangler & Abele for signage; - And Zilch, Müller, Henneke as inspection engineers. The approximately 52,400 digital files include raster images, CAD drawings and 3D digital models, plotter files, standard office documents, databases, and scripts. Design files are predominantly in AutoCAD, but the archive also includes over 1,100 Rhinoceros files (primarily in Rhino version 2, with some files in versions 3 and 4) and a smaller number of files in Maya, 3D Studio, Microstation, form*Z, and Revit formats. Because the firm’s computing environment included Macs, the archive also includes a few AppleDouble resource forks. Often, CAD drawings were also saved as PDF files. Photographs and screen captures were most times saved as JPEG files. Finally, design files also include wireframes and renderings. Most often, design files are plans of a designated area, a complete level of the building for example, but they also often show very specific and technical details, such as a few millimetres to be corrected on a panel or a structural element. These types of corrections are frequently shown in PDF files where annotations were either made digitally, or they were handwritten on a printed version which would then be digitized. Design files document all parts of the building including the facade, the roof, the double cone (Doppelkegel), the restaurants, the shops, the exhibition areas, the auditorium, etc. Accompanying textual records are at times quite technical in their content, such as lists of construction elements required in a given room, or analysis reports from consulting engineers. They also take into account the organization and planning of the work, for example including documentation’s exchange or meeting agendas. Finally, they show the design development through presentations, either PDF or Powerpoint files, and through a portfolio of the project and the preparation of the book Dynamic Forces. The archive’s physical component includes 52 physical study models, which were used in combination with digital modeling tools to iteratively refine the building’s design. These are a selection made by the firm of study models from the later stages of the competition and the early stages of the design development. Source: Feireiss, Kristin, editor. “Dynamic Forces, BMW WELT Munich”. Munich: Prestel Verlag, 2007.
AP181.S1
Description:
Series 1, BMW Welt development and construction records, 1994-2015, documents the design development and construction phases of COOP HIMMELB(L)AU BMW Welt building, located nearby the BMW headquarters in Munich. This series also contains some materials from the competition phase, corresponding to less than 2000 digital files, and models from the third phase of the competition. More than half of the records were created from 2003 to 2006. Records show how COOP HIMMELB(L)AU, and the numerous consultants on the project, materialized the original concept, from Wolf Prix sketch, of this cloud-like roof emerging from a double cone suggesting an hurricane eye. To achieve this, extensive digital structural testing was done with engineers Bollinger + Grohmann. Consultants list also include: - Hans Lechner ZT GmbH for in-house project management; - Schmitt, Stumpf, Frühauf + Partner for construction documents of concrete works, interior fittings, tender and construction administration; - Emmer Pfenninger + Partner AG for the facade; - Transsolar, Klima Engineering for the photovoltaic plant on the roof; - PRO, Elektroplan for electrical systems and lifts; - AG-Licht for lighting; - Büro Dr. Pfeiler for structural physics or building physics; - Theater Projekte Daberto+Kollegen for the stage and auditorium; - PBB Planungsbüro Balke for kitchen technology - realgruen Landschaftsarchitekten for lansdcape design; - Kersken & Kirchner for fire protection; - TAW Weisse for height accessibility planning, in consideration for maintenance access; - Lang & Brukhardt for traffic engineering; - Ingenieurbüro Schoenenberg for civil engineering and road construction; - Büro für Gestaltung / Wangler & Abele for signage; - And Zilch, Müller, Henneke as inspection engineers. The approximately 52,400 digital files include raster images, CAD drawings and 3D digital models, plotter files, standard office documents, databases, and scripts. Design files are predominantly in AutoCAD, but the archive also includes over 1,100 Rhinoceros files (primarily in Rhino version 2, with some files in versions 3 and 4) and a smaller number of files in Maya, 3D Studio, Microstation, form*Z, and Revit formats. Because the firm’s computing environment included Macs, the archive also includes a few AppleDouble resource forks. Often, CAD drawings were also saved as PDF files. Photographs and screen captures were most times saved as JPEG files. Finally, design files also include wireframes and renderings. Most often, design files are plans of a designated area, a complete level of the building for example, but they also often show very specific and technical details, such as a few millimetres to be corrected on a panel or a structural element. These types of corrections are frequently shown in PDF files where annotations were either made digitally, or they were handwritten on a printed version which would then be digitized. Design files document all parts of the building including the facade, the roof, the double cone (Doppelkegel), the restaurants, the shops, the exhibition areas, the auditorium, etc. Accompanying textual records are at times quite technical in their content, such as lists of construction elements required in a given room, or analysis reports from consulting engineers. They also take into account the organization and planning of the work, for example including documentation’s exchange or meeting agendas. Finally, they show the design development through presentations, either PDF or Powerpoint files, and through a portfolio of the project and the preparation of the book Dynamic Forces. The archive’s physical component includes 52 physical study models, which were used in combination with digital modeling tools to iteratively refine the building’s design. These are a selection made by the firm of study models from the later stages of the competition and the early stages of the design development. Source: Feireiss, Kristin, editor. “Dynamic Forces, BMW WELT Munich”. Munich: Prestel Verlag, 2007.
Personnes et institutions:
Date:
1994-2015
1994-2015
Titre:
BMW Welt development and construction records
Actions:
AP181.S1
Description:
Series 1, BMW Welt development and construction records, 1994-2015, documents the design development and construction phases of COOP HIMMELB(L)AU BMW Welt building, located nearby the BMW headquarters in Munich. This series also contains some materials from the competition phase, corresponding to less than 2000 digital files, and models from the third phase of the competition. More than half of the records were created from 2003 to 2006. Records show how COOP HIMMELB(L)AU, and the numerous consultants on the project, materialized the original concept, from Wolf Prix sketch, of this cloud-like roof emerging from a double cone suggesting an hurricane eye. To achieve this, extensive digital structural testing was done with engineers Bollinger + Grohmann. Consultants list also include: - Hans Lechner ZT GmbH for in-house project management; - Schmitt, Stumpf, Frühauf + Partner for construction documents of concrete works, interior fittings, tender and construction administration; - Emmer Pfenninger + Partner AG for the facade; - Transsolar, Klima Engineering for the photovoltaic plant on the roof; - PRO, Elektroplan for electrical systems and lifts; - AG-Licht for lighting; - Büro Dr. Pfeiler for structural physics or building physics; - Theater Projekte Daberto+Kollegen for the stage and auditorium; - PBB Planungsbüro Balke for kitchen technology - realgruen Landschaftsarchitekten for lansdcape design; - Kersken & Kirchner for fire protection; - TAW Weisse for height accessibility planning, in consideration for maintenance access; - Lang & Brukhardt for traffic engineering; - Ingenieurbüro Schoenenberg for civil engineering and road construction; - Büro für Gestaltung / Wangler & Abele for signage; - And Zilch, Müller, Henneke as inspection engineers. The approximately 52,400 digital files include raster images, CAD drawings and 3D digital models, plotter files, standard office documents, databases, and scripts. Design files are predominantly in AutoCAD, but the archive also includes over 1,100 Rhinoceros files (primarily in Rhino version 2, with some files in versions 3 and 4) and a smaller number of files in Maya, 3D Studio, Microstation, form*Z, and Revit formats. Because the firm’s computing environment included Macs, the archive also includes a few AppleDouble resource forks. Often, CAD drawings were also saved as PDF files. Photographs and screen captures were most times saved as JPEG files. Finally, design files also include wireframes and renderings. Most often, design files are plans of a designated area, a complete level of the building for example, but they also often show very specific and technical details, such as a few millimetres to be corrected on a panel or a structural element. These types of corrections are frequently shown in PDF files where annotations were either made digitally, or they were handwritten on a printed version which would then be digitized. Design files document all parts of the building including the facade, the roof, the double cone (Doppelkegel), the restaurants, the shops, the exhibition areas, the auditorium, etc. Accompanying textual records are at times quite technical in their content, such as lists of construction elements required in a given room, or analysis reports from consulting engineers. They also take into account the organization and planning of the work, for example including documentation’s exchange or meeting agendas. Finally, they show the design development through presentations, either PDF or Powerpoint files, and through a portfolio of the project and the preparation of the book Dynamic Forces. The archive’s physical component includes 52 physical study models, which were used in combination with digital modeling tools to iteratively refine the building’s design. These are a selection made by the firm of study models from the later stages of the competition and the early stages of the design development. Source: Feireiss, Kristin, editor. “Dynamic Forces, BMW WELT Munich”. Munich: Prestel Verlag, 2007.
BMW Welt development and construction records
Actions:
AP181.S1
Description:
Series 1, BMW Welt development and construction records, 1994-2015, documents the design development and construction phases of COOP HIMMELB(L)AU BMW Welt building, located nearby the BMW headquarters in Munich. This series also contains some materials from the competition phase, corresponding to less than 2000 digital files, and models from the third phase of the competition. More than half of the records were created from 2003 to 2006. Records show how COOP HIMMELB(L)AU, and the numerous consultants on the project, materialized the original concept, from Wolf Prix sketch, of this cloud-like roof emerging from a double cone suggesting an hurricane eye. To achieve this, extensive digital structural testing was done with engineers Bollinger + Grohmann. Consultants list also include: - Hans Lechner ZT GmbH for in-house project management; - Schmitt, Stumpf, Frühauf + Partner for construction documents of concrete works, interior fittings, tender and construction administration; - Emmer Pfenninger + Partner AG for the facade; - Transsolar, Klima Engineering for the photovoltaic plant on the roof; - PRO, Elektroplan for electrical systems and lifts; - AG-Licht for lighting; - Büro Dr. Pfeiler for structural physics or building physics; - Theater Projekte Daberto+Kollegen for the stage and auditorium; - PBB Planungsbüro Balke for kitchen technology - realgruen Landschaftsarchitekten for lansdcape design; - Kersken & Kirchner for fire protection; - TAW Weisse for height accessibility planning, in consideration for maintenance access; - Lang & Brukhardt for traffic engineering; - Ingenieurbüro Schoenenberg for civil engineering and road construction; - Büro für Gestaltung / Wangler & Abele for signage; - And Zilch, Müller, Henneke as inspection engineers. The approximately 52,400 digital files include raster images, CAD drawings and 3D digital models, plotter files, standard office documents, databases, and scripts. Design files are predominantly in AutoCAD, but the archive also includes over 1,100 Rhinoceros files (primarily in Rhino version 2, with some files in versions 3 and 4) and a smaller number of files in Maya, 3D Studio, Microstation, form*Z, and Revit formats. Because the firm’s computing environment included Macs, the archive also includes a few AppleDouble resource forks. Often, CAD drawings were also saved as PDF files. Photographs and screen captures were most times saved as JPEG files. Finally, design files also include wireframes and renderings. Most often, design files are plans of a designated area, a complete level of the building for example, but they also often show very specific and technical details, such as a few millimetres to be corrected on a panel or a structural element. These types of corrections are frequently shown in PDF files where annotations were either made digitally, or they were handwritten on a printed version which would then be digitized. Design files document all parts of the building including the facade, the roof, the double cone (Doppelkegel), the restaurants, the shops, the exhibition areas, the auditorium, etc. Accompanying textual records are at times quite technical in their content, such as lists of construction elements required in a given room, or analysis reports from consulting engineers. They also take into account the organization and planning of the work, for example including documentation’s exchange or meeting agendas. Finally, they show the design development through presentations, either PDF or Powerpoint files, and through a portfolio of the project and the preparation of the book Dynamic Forces. The archive’s physical component includes 52 physical study models, which were used in combination with digital modeling tools to iteratively refine the building’s design. These are a selection made by the firm of study models from the later stages of the competition and the early stages of the design development. Source: Feireiss, Kristin, editor. “Dynamic Forces, BMW WELT Munich”. Munich: Prestel Verlag, 2007.
Niveau de description archivistique:
Series
Series
Date:
1994-2015
1994-2015
Personnes et institutions:
Classification:
dessins
dessins
Numéro de référence:
DR2006:0003
Description:
Le collage intitulé " Galerie de la grande architecture canadienne " a été produit dans le contexte de l'exposition " Canada-Trajectoires 1973 " présentée au Musée national d'art moderne de la ville de Paris au cours de l'été 1973. Le collage, appliqué sur papier cartonné, représente une sélection de textes et d'images d'œuvres exposées par Melvin Charney lors de cette exposition. L'objectif de l'exposition "Canada-Trajectoires 1973 " était de réunir des artistes ou des regroupements d'artistes engagés dans des discours critiques et de présenter leur travail non pas tant comme des oeuvres d'art mais plutôt " comme symptômes d'un certain climat ." (1) Selon le catalogue de l'exposition, et les divers comptes rendus qui en ont été fait dans la presse spécialisée, celle-ci était divisée en cinq sections. Quatre de ces sections étaient consacrées à des médiums spécifiques : art céramique, vidéo, peinture et sculpture, cinéma. Une cinquième section présentait des œuvres produites par des collectif d'artistes quelques soit le médium employé: galerie coopérative, coop d'artistes, workshop, banques d'images. C'est dans cette dernière section que Melvin Charney présenta trois projets créé avec l'assistance d'un groupe d'"action photographique", soit un "pavillon d'exposition" réalisé en 1969, une "monument à l'aviation" (1969) et "une galerie de la grande architecture" (1973). Dans un texte de Melvin Charney publié dans le catalogue de l'exposition, ces trois projets furent présentés sous l'intitulé "Quelques monuments nationaux". Le collage incorpore en une première strate collée obliquement par rapport au sens du carton d'œuvre, une image (en partie rognée), un texte manifeste (en partie coupée) et un intitulé. Ces trois éléments de toutes évidences se rapportent à L'ensemble des trois projets présenté par Charney. Sur une seconde strate, collée dans le sens du carton d'œuvres, Charney a collé des textes et des images se rapportant à deux des projets soit "une galerie de la grande architecture" (image et texte 25, 26 31 et 34, et monument à l'aviation, image et texte 50. Le collage est signé et daté en bas à droite. Des indications d'intercalation d'illustration au crayon graphite, - avec la mention "cut line" - détermine à même le carton d'œuvre, une zone regroupant l'ensemble des textes et des images collés. Au dos du collage figure à nouveau la signature de Charney et une numéro d'inventaire renvoyant possiblement à un catalogue constitué par Charney de son œuvre : "MC 1973 ? 02". Ce collage a servi de maquette pour la production d'une affiche publicisant l'exposition, ce qui explique la présence d'indications d'intercalation d'illustrations - une donnée signalant en règle générale que l'œuvre a été produite pour être publiée. (2) Ceci dit on ne sait pas si celle-ci fut effectivement tirée (nous n'en connaissons aucun exemplaire) avant, pendant ou après l'exposition. Cet aspect de l'historique de cette œuvre reste encore au moment où nous écrivons, à éclaircir. On peut établir toutefois avec certitude que cette œuvre, ou l'affiche qui en fut éventuellement tirée, a servi à produire la mise en page d'un article de Melvin Charney publié en avril 1974 dans la revue britannique Architectural Design. Un transparent a sans doute été pris du collage puis envoyé avec l'article de Charney à l'éditeur. Ce dernier a, à son tour, cadré l'image en fonction des indications d'intercalation d'illustrations latérales et supérieure,- on observe que le 3 de 1973 est bel et bien coupé - puis a éliminé les trois quart inférieur pour y placer le texte de l'article. La présence dans l'article publié du nom du musée d'art moderne de la ville de Paris - section arc, et son absence dans le collage est du à une perte. Un examen attentif révèle des marques sans doute de colle pour la bandelette de papier. Dans cet article publié en anglais Charney. 1- Suzanne Page, Canada trajectoires 73 : Musée d'art moderne de la ville de Paris, [Montréal?] : Publié par les Éditions Médiart pour le compte du Conseil des arts du Canada, [1973], [introduction] 2- Information fournie par l,artiste; voir aussi la légende de l'œuvre lors de sa reproduction dans un catalogue en 2000 où elle est décrite comme étant une maquette pour une affiche en offset sur papier.
DR2006:0003
Description:
Le collage intitulé " Galerie de la grande architecture canadienne " a été produit dans le contexte de l'exposition " Canada-Trajectoires 1973 " présentée au Musée national d'art moderne de la ville de Paris au cours de l'été 1973. Le collage, appliqué sur papier cartonné, représente une sélection de textes et d'images d'œuvres exposées par Melvin Charney lors de cette exposition. L'objectif de l'exposition "Canada-Trajectoires 1973 " était de réunir des artistes ou des regroupements d'artistes engagés dans des discours critiques et de présenter leur travail non pas tant comme des oeuvres d'art mais plutôt " comme symptômes d'un certain climat ." (1) Selon le catalogue de l'exposition, et les divers comptes rendus qui en ont été fait dans la presse spécialisée, celle-ci était divisée en cinq sections. Quatre de ces sections étaient consacrées à des médiums spécifiques : art céramique, vidéo, peinture et sculpture, cinéma. Une cinquième section présentait des œuvres produites par des collectif d'artistes quelques soit le médium employé: galerie coopérative, coop d'artistes, workshop, banques d'images. C'est dans cette dernière section que Melvin Charney présenta trois projets créé avec l'assistance d'un groupe d'"action photographique", soit un "pavillon d'exposition" réalisé en 1969, une "monument à l'aviation" (1969) et "une galerie de la grande architecture" (1973). Dans un texte de Melvin Charney publié dans le catalogue de l'exposition, ces trois projets furent présentés sous l'intitulé "Quelques monuments nationaux". Le collage incorpore en une première strate collée obliquement par rapport au sens du carton d'œuvre, une image (en partie rognée), un texte manifeste (en partie coupée) et un intitulé. Ces trois éléments de toutes évidences se rapportent à L'ensemble des trois projets présenté par Charney. Sur une seconde strate, collée dans le sens du carton d'œuvres, Charney a collé des textes et des images se rapportant à deux des projets soit "une galerie de la grande architecture" (image et texte 25, 26 31 et 34, et monument à l'aviation, image et texte 50. Le collage est signé et daté en bas à droite. Des indications d'intercalation d'illustration au crayon graphite, - avec la mention "cut line" - détermine à même le carton d'œuvre, une zone regroupant l'ensemble des textes et des images collés. Au dos du collage figure à nouveau la signature de Charney et une numéro d'inventaire renvoyant possiblement à un catalogue constitué par Charney de son œuvre : "MC 1973 ? 02". Ce collage a servi de maquette pour la production d'une affiche publicisant l'exposition, ce qui explique la présence d'indications d'intercalation d'illustrations - une donnée signalant en règle générale que l'œuvre a été produite pour être publiée. (2) Ceci dit on ne sait pas si celle-ci fut effectivement tirée (nous n'en connaissons aucun exemplaire) avant, pendant ou après l'exposition. Cet aspect de l'historique de cette œuvre reste encore au moment où nous écrivons, à éclaircir. On peut établir toutefois avec certitude que cette œuvre, ou l'affiche qui en fut éventuellement tirée, a servi à produire la mise en page d'un article de Melvin Charney publié en avril 1974 dans la revue britannique Architectural Design. Un transparent a sans doute été pris du collage puis envoyé avec l'article de Charney à l'éditeur. Ce dernier a, à son tour, cadré l'image en fonction des indications d'intercalation d'illustrations latérales et supérieure,- on observe que le 3 de 1973 est bel et bien coupé - puis a éliminé les trois quart inférieur pour y placer le texte de l'article. La présence dans l'article publié du nom du musée d'art moderne de la ville de Paris - section arc, et son absence dans le collage est du à une perte. Un examen attentif révèle des marques sans doute de colle pour la bandelette de papier. Dans cet article publié en anglais Charney. 1- Suzanne Page, Canada trajectoires 73 : Musée d'art moderne de la ville de Paris, [Montréal?] : Publié par les Éditions Médiart pour le compte du Conseil des arts du Canada, [1973], [introduction] 2- Information fournie par l,artiste; voir aussi la légende de l'œuvre lors de sa reproduction dans un catalogue en 2000 où elle est décrite comme étant une maquette pour une affiche en offset sur papier.
Personnes et institutions:
Date:
1973
1973
Titre:
Some national monuments, Canada trajectories
Actions:
DR2006:0003
Description:
Le collage intitulé " Galerie de la grande architecture canadienne " a été produit dans le contexte de l'exposition " Canada-Trajectoires 1973 " présentée au Musée national d'art moderne de la ville de Paris au cours de l'été 1973. Le collage, appliqué sur papier cartonné, représente une sélection de textes et d'images d'œuvres exposées par Melvin Charney lors de cette exposition. L'objectif de l'exposition "Canada-Trajectoires 1973 " était de réunir des artistes ou des regroupements d'artistes engagés dans des discours critiques et de présenter leur travail non pas tant comme des oeuvres d'art mais plutôt " comme symptômes d'un certain climat ." (1) Selon le catalogue de l'exposition, et les divers comptes rendus qui en ont été fait dans la presse spécialisée, celle-ci était divisée en cinq sections. Quatre de ces sections étaient consacrées à des médiums spécifiques : art céramique, vidéo, peinture et sculpture, cinéma. Une cinquième section présentait des œuvres produites par des collectif d'artistes quelques soit le médium employé: galerie coopérative, coop d'artistes, workshop, banques d'images. C'est dans cette dernière section que Melvin Charney présenta trois projets créé avec l'assistance d'un groupe d'"action photographique", soit un "pavillon d'exposition" réalisé en 1969, une "monument à l'aviation" (1969) et "une galerie de la grande architecture" (1973). Dans un texte de Melvin Charney publié dans le catalogue de l'exposition, ces trois projets furent présentés sous l'intitulé "Quelques monuments nationaux". Le collage incorpore en une première strate collée obliquement par rapport au sens du carton d'œuvre, une image (en partie rognée), un texte manifeste (en partie coupée) et un intitulé. Ces trois éléments de toutes évidences se rapportent à L'ensemble des trois projets présenté par Charney. Sur une seconde strate, collée dans le sens du carton d'œuvres, Charney a collé des textes et des images se rapportant à deux des projets soit "une galerie de la grande architecture" (image et texte 25, 26 31 et 34, et monument à l'aviation, image et texte 50. Le collage est signé et daté en bas à droite. Des indications d'intercalation d'illustration au crayon graphite, - avec la mention "cut line" - détermine à même le carton d'œuvre, une zone regroupant l'ensemble des textes et des images collés. Au dos du collage figure à nouveau la signature de Charney et une numéro d'inventaire renvoyant possiblement à un catalogue constitué par Charney de son œuvre : "MC 1973 ? 02". Ce collage a servi de maquette pour la production d'une affiche publicisant l'exposition, ce qui explique la présence d'indications d'intercalation d'illustrations - une donnée signalant en règle générale que l'œuvre a été produite pour être publiée. (2) Ceci dit on ne sait pas si celle-ci fut effectivement tirée (nous n'en connaissons aucun exemplaire) avant, pendant ou après l'exposition. Cet aspect de l'historique de cette œuvre reste encore au moment où nous écrivons, à éclaircir. On peut établir toutefois avec certitude que cette œuvre, ou l'affiche qui en fut éventuellement tirée, a servi à produire la mise en page d'un article de Melvin Charney publié en avril 1974 dans la revue britannique Architectural Design. Un transparent a sans doute été pris du collage puis envoyé avec l'article de Charney à l'éditeur. Ce dernier a, à son tour, cadré l'image en fonction des indications d'intercalation d'illustrations latérales et supérieure,- on observe que le 3 de 1973 est bel et bien coupé - puis a éliminé les trois quart inférieur pour y placer le texte de l'article. La présence dans l'article publié du nom du musée d'art moderne de la ville de Paris - section arc, et son absence dans le collage est du à une perte. Un examen attentif révèle des marques sans doute de colle pour la bandelette de papier. Dans cet article publié en anglais Charney. 1- Suzanne Page, Canada trajectoires 73 : Musée d'art moderne de la ville de Paris, [Montréal?] : Publié par les Éditions Médiart pour le compte du Conseil des arts du Canada, [1973], [introduction] 2- Information fournie par l,artiste; voir aussi la légende de l'œuvre lors de sa reproduction dans un catalogue en 2000 où elle est décrite comme étant une maquette pour une affiche en offset sur papier.
Some national monuments, Canada trajectories
Actions:
DR2006:0003
Description:
Le collage intitulé " Galerie de la grande architecture canadienne " a été produit dans le contexte de l'exposition " Canada-Trajectoires 1973 " présentée au Musée national d'art moderne de la ville de Paris au cours de l'été 1973. Le collage, appliqué sur papier cartonné, représente une sélection de textes et d'images d'œuvres exposées par Melvin Charney lors de cette exposition. L'objectif de l'exposition "Canada-Trajectoires 1973 " était de réunir des artistes ou des regroupements d'artistes engagés dans des discours critiques et de présenter leur travail non pas tant comme des oeuvres d'art mais plutôt " comme symptômes d'un certain climat ." (1) Selon le catalogue de l'exposition, et les divers comptes rendus qui en ont été fait dans la presse spécialisée, celle-ci était divisée en cinq sections. Quatre de ces sections étaient consacrées à des médiums spécifiques : art céramique, vidéo, peinture et sculpture, cinéma. Une cinquième section présentait des œuvres produites par des collectif d'artistes quelques soit le médium employé: galerie coopérative, coop d'artistes, workshop, banques d'images. C'est dans cette dernière section que Melvin Charney présenta trois projets créé avec l'assistance d'un groupe d'"action photographique", soit un "pavillon d'exposition" réalisé en 1969, une "monument à l'aviation" (1969) et "une galerie de la grande architecture" (1973). Dans un texte de Melvin Charney publié dans le catalogue de l'exposition, ces trois projets furent présentés sous l'intitulé "Quelques monuments nationaux". Le collage incorpore en une première strate collée obliquement par rapport au sens du carton d'œuvre, une image (en partie rognée), un texte manifeste (en partie coupée) et un intitulé. Ces trois éléments de toutes évidences se rapportent à L'ensemble des trois projets présenté par Charney. Sur une seconde strate, collée dans le sens du carton d'œuvres, Charney a collé des textes et des images se rapportant à deux des projets soit "une galerie de la grande architecture" (image et texte 25, 26 31 et 34, et monument à l'aviation, image et texte 50. Le collage est signé et daté en bas à droite. Des indications d'intercalation d'illustration au crayon graphite, - avec la mention "cut line" - détermine à même le carton d'œuvre, une zone regroupant l'ensemble des textes et des images collés. Au dos du collage figure à nouveau la signature de Charney et une numéro d'inventaire renvoyant possiblement à un catalogue constitué par Charney de son œuvre : "MC 1973 ? 02". Ce collage a servi de maquette pour la production d'une affiche publicisant l'exposition, ce qui explique la présence d'indications d'intercalation d'illustrations - une donnée signalant en règle générale que l'œuvre a été produite pour être publiée. (2) Ceci dit on ne sait pas si celle-ci fut effectivement tirée (nous n'en connaissons aucun exemplaire) avant, pendant ou après l'exposition. Cet aspect de l'historique de cette œuvre reste encore au moment où nous écrivons, à éclaircir. On peut établir toutefois avec certitude que cette œuvre, ou l'affiche qui en fut éventuellement tirée, a servi à produire la mise en page d'un article de Melvin Charney publié en avril 1974 dans la revue britannique Architectural Design. Un transparent a sans doute été pris du collage puis envoyé avec l'article de Charney à l'éditeur. Ce dernier a, à son tour, cadré l'image en fonction des indications d'intercalation d'illustrations latérales et supérieure,- on observe que le 3 de 1973 est bel et bien coupé - puis a éliminé les trois quart inférieur pour y placer le texte de l'article. La présence dans l'article publié du nom du musée d'art moderne de la ville de Paris - section arc, et son absence dans le collage est du à une perte. Un examen attentif révèle des marques sans doute de colle pour la bandelette de papier. Dans cet article publié en anglais Charney. 1- Suzanne Page, Canada trajectoires 73 : Musée d'art moderne de la ville de Paris, [Montréal?] : Publié par les Éditions Médiart pour le compte du Conseil des arts du Canada, [1973], [introduction] 2- Information fournie par l,artiste; voir aussi la légende de l'œuvre lors de sa reproduction dans un catalogue en 2000 où elle est décrite comme étant une maquette pour une affiche en offset sur papier.
Classification:
dessins
dessins
Date:
1973
1973
Personnes et institutions:
Numéro de référence:
PH1979:0605
Description:
This 98-page book illustrated with 73 photogravures, shows a pictorial record of San Diego's built and natural environment including beaches (like La Jolla) and back country scenes, after photographs by Herve Friend. Title page: Picturesque San Diego with Historical and Descriptive Notes by Douglas Gunn. San Diego, California, July 1, 1887. Chicago: Knight & Leonard Co., Printers 1887. Photogravures: .001 Old Palm Trees, foot of Presidio Hill Frontispiece .002 Point Lonea, and Entrance to San Diego harbor - from Coronado Beach .003 Ruins of the Old Mission, San Diego .004 Old Mission of San Diego, from the Olive Grove .005 Scene of the Battle of San Pasqual, December 6th, 1846 .006 Mission San Luis Rey .007 Bell Tower, Pala Mission .008 San Diego, looking West - Point Loma in Right Distance .009 San Diego, looking Southwest - Coronado Beach opposite .010 San Diego, looking Southeast .011 City Water Front - Babcock & Story Wharves .012 City Water Front - Pacific Coast Steamship Co.'s Wharves .013 Country Court House, San Diego .014 Interior Consolidated National Bank, San Diego .015 The "Russ" Public School, San Diego .016 Morse-Pierce Building, corner Sixth and F streets, San Diego .017 St. Paul's Episcopal Church, San Diego .018 Residence of A.E. Horton .019 First National Bank, corner Fifth and E streets .020 Woolwine, Spring & Nerney's Abstract and Real Estate Office, cor. Fourth and D streets .021 The Dells, Chollas Valley - Suburbs of San Diego .022 Initial Monument, marking Mexican Boundary .023 Tia Juana - American side .024 Tia Juana - Mexican side .025 "Point of Rocks" - 1 .026 "Point of Rocks" - 2 .027 "Point of Rocks" - 3 .028 Hotel Del Coronado Beach, San Diego .029 The Caves, La Jolla .030 La Jolla Beach .031 Cathedral Rocks, La Jolla .032 "Ocean Beach" .033 Seaside View at Del Mar .034 Escondido - Old Ranch House and Orange Orchard .035 View on Linda Lake, El Cajon Valley, 15 miles from San Diego .036 The Hotel at Murietta .037 Temecula Canon - 1. "The Big Curve", C.S.R.R. .038 Temecula Canon - 2. .039 Temecula Canon - 3. .040 Santa Margarita Ranch House, from the Vineyard .041 Courtyard, Couts' Estate, Guajome .042 View near Entrance to Bear Valley .043 View in San Pasqual Valley - Bernardo River .044 "Eagle's Nest" - Agua Caliente Mountains .045 Santa Rosa Mountains, near Elsinore .046 View from "The Glen" - Agua Tibia and Pala in Distance .047 San Jacinto Mountain .048 The Cajon Mountain, from the Northeast .049 Public School (Banner District) near mouth of San Felipe Canon .050 Home and Orchard of John Mitchell, Fall Brook .051 Agua Tibia - The Pond .052 Orchard and Home of James Madison, Julian .053 View at Elsinore Lake, West Side .054 Home and Orchard of Chester Gunn, Julian .055 West in Poway Valley .056 San Diego River, North of El Cajon .057 Cuyamaca Lake - Storage Water of San Diego Flume Co. .058 Diverting Dam, San Diego River - San Diego Flume Co. .059 Upper Valley of the San Diego River - "Capitan Grande" .060 Falls (146 ft.) East Branch of San Diego River .061 Santa Isabel Creek .062 Falls of Pauma Creek .063 View near Farm of Hubert Howe Bancroft, Spring Valley .064 Water Works of San Diego Town and Land Company .065 Gedney's Orchard, Mesa Grande .066 Public School, Spencer Valley, near Julian .067 Orchard and Farm of B.S. Scheckler, Cottonwood .069 Campo .070 Entrance to Colorado Desert, mouth of Mountain Springs Canon .071 Mountain Scenery, Agua Caliente - Overlooking Warner's Ranch .072 Indian Village. Agua Caliente .073 Indian Village and Church at Pauma, Upper San Luis Rey Valley
PH1979:0605
Description:
This 98-page book illustrated with 73 photogravures, shows a pictorial record of San Diego's built and natural environment including beaches (like La Jolla) and back country scenes, after photographs by Herve Friend. Title page: Picturesque San Diego with Historical and Descriptive Notes by Douglas Gunn. San Diego, California, July 1, 1887. Chicago: Knight & Leonard Co., Printers 1887. Photogravures: .001 Old Palm Trees, foot of Presidio Hill Frontispiece .002 Point Lonea, and Entrance to San Diego harbor - from Coronado Beach .003 Ruins of the Old Mission, San Diego .004 Old Mission of San Diego, from the Olive Grove .005 Scene of the Battle of San Pasqual, December 6th, 1846 .006 Mission San Luis Rey .007 Bell Tower, Pala Mission .008 San Diego, looking West - Point Loma in Right Distance .009 San Diego, looking Southwest - Coronado Beach opposite .010 San Diego, looking Southeast .011 City Water Front - Babcock & Story Wharves .012 City Water Front - Pacific Coast Steamship Co.'s Wharves .013 Country Court House, San Diego .014 Interior Consolidated National Bank, San Diego .015 The "Russ" Public School, San Diego .016 Morse-Pierce Building, corner Sixth and F streets, San Diego .017 St. Paul's Episcopal Church, San Diego .018 Residence of A.E. Horton .019 First National Bank, corner Fifth and E streets .020 Woolwine, Spring & Nerney's Abstract and Real Estate Office, cor. Fourth and D streets .021 The Dells, Chollas Valley - Suburbs of San Diego .022 Initial Monument, marking Mexican Boundary .023 Tia Juana - American side .024 Tia Juana - Mexican side .025 "Point of Rocks" - 1 .026 "Point of Rocks" - 2 .027 "Point of Rocks" - 3 .028 Hotel Del Coronado Beach, San Diego .029 The Caves, La Jolla .030 La Jolla Beach .031 Cathedral Rocks, La Jolla .032 "Ocean Beach" .033 Seaside View at Del Mar .034 Escondido - Old Ranch House and Orange Orchard .035 View on Linda Lake, El Cajon Valley, 15 miles from San Diego .036 The Hotel at Murietta .037 Temecula Canon - 1. "The Big Curve", C.S.R.R. .038 Temecula Canon - 2. .039 Temecula Canon - 3. .040 Santa Margarita Ranch House, from the Vineyard .041 Courtyard, Couts' Estate, Guajome .042 View near Entrance to Bear Valley .043 View in San Pasqual Valley - Bernardo River .044 "Eagle's Nest" - Agua Caliente Mountains .045 Santa Rosa Mountains, near Elsinore .046 View from "The Glen" - Agua Tibia and Pala in Distance .047 San Jacinto Mountain .048 The Cajon Mountain, from the Northeast .049 Public School (Banner District) near mouth of San Felipe Canon .050 Home and Orchard of John Mitchell, Fall Brook .051 Agua Tibia - The Pond .052 Orchard and Home of James Madison, Julian .053 View at Elsinore Lake, West Side .054 Home and Orchard of Chester Gunn, Julian .055 West in Poway Valley .056 San Diego River, North of El Cajon .057 Cuyamaca Lake - Storage Water of San Diego Flume Co. .058 Diverting Dam, San Diego River - San Diego Flume Co. .059 Upper Valley of the San Diego River - "Capitan Grande" .060 Falls (146 ft.) East Branch of San Diego River .061 Santa Isabel Creek .062 Falls of Pauma Creek .063 View near Farm of Hubert Howe Bancroft, Spring Valley .064 Water Works of San Diego Town and Land Company .065 Gedney's Orchard, Mesa Grande .066 Public School, Spencer Valley, near Julian .067 Orchard and Farm of B.S. Scheckler, Cottonwood .069 Campo .070 Entrance to Colorado Desert, mouth of Mountain Springs Canon .071 Mountain Scenery, Agua Caliente - Overlooking Warner's Ranch .072 Indian Village. Agua Caliente .073 Indian Village and Church at Pauma, Upper San Luis Rey Valley
Personnes et institutions:
Sujet:
architecture
architecture
Date:
1887
1887
Titre:
Picturesque San Diego with Historical and Descriptive Notes
Actions:
PH1979:0605
Description:
This 98-page book illustrated with 73 photogravures, shows a pictorial record of San Diego's built and natural environment including beaches (like La Jolla) and back country scenes, after photographs by Herve Friend. Title page: Picturesque San Diego with Historical and Descriptive Notes by Douglas Gunn. San Diego, California, July 1, 1887. Chicago: Knight & Leonard Co., Printers 1887. Photogravures: .001 Old Palm Trees, foot of Presidio Hill Frontispiece .002 Point Lonea, and Entrance to San Diego harbor - from Coronado Beach .003 Ruins of the Old Mission, San Diego .004 Old Mission of San Diego, from the Olive Grove .005 Scene of the Battle of San Pasqual, December 6th, 1846 .006 Mission San Luis Rey .007 Bell Tower, Pala Mission .008 San Diego, looking West - Point Loma in Right Distance .009 San Diego, looking Southwest - Coronado Beach opposite .010 San Diego, looking Southeast .011 City Water Front - Babcock & Story Wharves .012 City Water Front - Pacific Coast Steamship Co.'s Wharves .013 Country Court House, San Diego .014 Interior Consolidated National Bank, San Diego .015 The "Russ" Public School, San Diego .016 Morse-Pierce Building, corner Sixth and F streets, San Diego .017 St. Paul's Episcopal Church, San Diego .018 Residence of A.E. Horton .019 First National Bank, corner Fifth and E streets .020 Woolwine, Spring & Nerney's Abstract and Real Estate Office, cor. Fourth and D streets .021 The Dells, Chollas Valley - Suburbs of San Diego .022 Initial Monument, marking Mexican Boundary .023 Tia Juana - American side .024 Tia Juana - Mexican side .025 "Point of Rocks" - 1 .026 "Point of Rocks" - 2 .027 "Point of Rocks" - 3 .028 Hotel Del Coronado Beach, San Diego .029 The Caves, La Jolla .030 La Jolla Beach .031 Cathedral Rocks, La Jolla .032 "Ocean Beach" .033 Seaside View at Del Mar .034 Escondido - Old Ranch House and Orange Orchard .035 View on Linda Lake, El Cajon Valley, 15 miles from San Diego .036 The Hotel at Murietta .037 Temecula Canon - 1. "The Big Curve", C.S.R.R. .038 Temecula Canon - 2. .039 Temecula Canon - 3. .040 Santa Margarita Ranch House, from the Vineyard .041 Courtyard, Couts' Estate, Guajome .042 View near Entrance to Bear Valley .043 View in San Pasqual Valley - Bernardo River .044 "Eagle's Nest" - Agua Caliente Mountains .045 Santa Rosa Mountains, near Elsinore .046 View from "The Glen" - Agua Tibia and Pala in Distance .047 San Jacinto Mountain .048 The Cajon Mountain, from the Northeast .049 Public School (Banner District) near mouth of San Felipe Canon .050 Home and Orchard of John Mitchell, Fall Brook .051 Agua Tibia - The Pond .052 Orchard and Home of James Madison, Julian .053 View at Elsinore Lake, West Side .054 Home and Orchard of Chester Gunn, Julian .055 West in Poway Valley .056 San Diego River, North of El Cajon .057 Cuyamaca Lake - Storage Water of San Diego Flume Co. .058 Diverting Dam, San Diego River - San Diego Flume Co. .059 Upper Valley of the San Diego River - "Capitan Grande" .060 Falls (146 ft.) East Branch of San Diego River .061 Santa Isabel Creek .062 Falls of Pauma Creek .063 View near Farm of Hubert Howe Bancroft, Spring Valley .064 Water Works of San Diego Town and Land Company .065 Gedney's Orchard, Mesa Grande .066 Public School, Spencer Valley, near Julian .067 Orchard and Farm of B.S. Scheckler, Cottonwood .069 Campo .070 Entrance to Colorado Desert, mouth of Mountain Springs Canon .071 Mountain Scenery, Agua Caliente - Overlooking Warner's Ranch .072 Indian Village. Agua Caliente .073 Indian Village and Church at Pauma, Upper San Luis Rey Valley
Picturesque San Diego with Historical and Descriptive Notes
Actions:
PH1979:0605
Description:
This 98-page book illustrated with 73 photogravures, shows a pictorial record of San Diego's built and natural environment including beaches (like La Jolla) and back country scenes, after photographs by Herve Friend. Title page: Picturesque San Diego with Historical and Descriptive Notes by Douglas Gunn. San Diego, California, July 1, 1887. Chicago: Knight & Leonard Co., Printers 1887. Photogravures: .001 Old Palm Trees, foot of Presidio Hill Frontispiece .002 Point Lonea, and Entrance to San Diego harbor - from Coronado Beach .003 Ruins of the Old Mission, San Diego .004 Old Mission of San Diego, from the Olive Grove .005 Scene of the Battle of San Pasqual, December 6th, 1846 .006 Mission San Luis Rey .007 Bell Tower, Pala Mission .008 San Diego, looking West - Point Loma in Right Distance .009 San Diego, looking Southwest - Coronado Beach opposite .010 San Diego, looking Southeast .011 City Water Front - Babcock & Story Wharves .012 City Water Front - Pacific Coast Steamship Co.'s Wharves .013 Country Court House, San Diego .014 Interior Consolidated National Bank, San Diego .015 The "Russ" Public School, San Diego .016 Morse-Pierce Building, corner Sixth and F streets, San Diego .017 St. Paul's Episcopal Church, San Diego .018 Residence of A.E. Horton .019 First National Bank, corner Fifth and E streets .020 Woolwine, Spring & Nerney's Abstract and Real Estate Office, cor. Fourth and D streets .021 The Dells, Chollas Valley - Suburbs of San Diego .022 Initial Monument, marking Mexican Boundary .023 Tia Juana - American side .024 Tia Juana - Mexican side .025 "Point of Rocks" - 1 .026 "Point of Rocks" - 2 .027 "Point of Rocks" - 3 .028 Hotel Del Coronado Beach, San Diego .029 The Caves, La Jolla .030 La Jolla Beach .031 Cathedral Rocks, La Jolla .032 "Ocean Beach" .033 Seaside View at Del Mar .034 Escondido - Old Ranch House and Orange Orchard .035 View on Linda Lake, El Cajon Valley, 15 miles from San Diego .036 The Hotel at Murietta .037 Temecula Canon - 1. "The Big Curve", C.S.R.R. .038 Temecula Canon - 2. .039 Temecula Canon - 3. .040 Santa Margarita Ranch House, from the Vineyard .041 Courtyard, Couts' Estate, Guajome .042 View near Entrance to Bear Valley .043 View in San Pasqual Valley - Bernardo River .044 "Eagle's Nest" - Agua Caliente Mountains .045 Santa Rosa Mountains, near Elsinore .046 View from "The Glen" - Agua Tibia and Pala in Distance .047 San Jacinto Mountain .048 The Cajon Mountain, from the Northeast .049 Public School (Banner District) near mouth of San Felipe Canon .050 Home and Orchard of John Mitchell, Fall Brook .051 Agua Tibia - The Pond .052 Orchard and Home of James Madison, Julian .053 View at Elsinore Lake, West Side .054 Home and Orchard of Chester Gunn, Julian .055 West in Poway Valley .056 San Diego River, North of El Cajon .057 Cuyamaca Lake - Storage Water of San Diego Flume Co. .058 Diverting Dam, San Diego River - San Diego Flume Co. .059 Upper Valley of the San Diego River - "Capitan Grande" .060 Falls (146 ft.) East Branch of San Diego River .061 Santa Isabel Creek .062 Falls of Pauma Creek .063 View near Farm of Hubert Howe Bancroft, Spring Valley .064 Water Works of San Diego Town and Land Company .065 Gedney's Orchard, Mesa Grande .066 Public School, Spencer Valley, near Julian .067 Orchard and Farm of B.S. Scheckler, Cottonwood .069 Campo .070 Entrance to Colorado Desert, mouth of Mountain Springs Canon .071 Mountain Scenery, Agua Caliente - Overlooking Warner's Ranch .072 Indian Village. Agua Caliente .073 Indian Village and Church at Pauma, Upper San Luis Rey Valley
Date:
1887
1887
Personnes et institutions:
Sujet:
architecture
architecture
Classification:
périodiques
périodiques
Titre:
Revue de photographie.
Revue de photographie.
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Description:
4 volumes : illustrations ; 24 cm
Description:
4 volumes : illustrations ; 24 cm
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Publication:
Genève : Société genevoise de photographie, de la Société photographique de Lausanne et du Club zuricois de photographie, 1891-1894.
Genève : Société genevoise de photographie, de la Société photographique de Lausanne et du Club zuricois de photographie, 1891-1894.
Classification:
périodiques
périodiques
Publication:
Genève : Société genevoise de photographie, de la Société photographique de Lausanne et du Club zuricois de photographie, 1891-1894.
Genève : Société genevoise de photographie, de la Société photographique de Lausanne et du Club zuricois de photographie, 1891-1894.
Auteur:
Sujet:
Classification:
périodiques
périodiques
Titre:
La Photographie.
La Photographie.
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Description:
volumes
Description:
volumes
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[Paris] : [La Photographie]
[Paris] : [La Photographie]
Classification:
périodiques
périodiques
Publication:
[Paris] : [La Photographie]
[Paris] : [La Photographie]
Auteur:
Sujet:
Classification:
périodiques
périodiques
Titre:
Photographie.
Photographie.
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Description:
11 volumes : illustrations ; 32 cm
Description:
11 volumes : illustrations ; 32 cm
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Paris : Arts et métiers graphiques, ©1930-©1947.
Paris : Arts et métiers graphiques, ©1930-©1947.
Classification:
périodiques
périodiques
Publication:
Paris : Arts et métiers graphiques, ©1930-©1947.
Paris : Arts et métiers graphiques, ©1930-©1947.
Auteur:
Sujet:
