10684 Résultats
Classification:
archives
Niveau de description archivistique:
Collection
archives
Niveau de description archivistique:
Collection
Numéro de référence:
CD033
Résumé:
The Aldo Cibic Microrealities project collection primarily consists of presentation materials, publications and born digital materials, like videos and photographs, by Aldo Cibic produced between 2003 and 2008 for the project “Microrealities”.
CD033
Résumé:
The Aldo Cibic Microrealities project collection primarily consists of presentation materials, publications and born digital materials, like videos and photographs, by Aldo Cibic produced between 2003 and 2008 for the project “Microrealities”.
Personnes et institutions:
Date:
2003-2008
2003-2008
Titre:
Collection d’Aldo Cibic pour le projet Microrealities
Actions:
CD033
Résumé:
The Aldo Cibic Microrealities project collection primarily consists of presentation materials, publications and born digital materials, like videos and photographs, by Aldo Cibic produced between 2003 and 2008 for the project “Microrealities”.
Collection d’Aldo Cibic pour le projet Microrealities
Actions:
CD033
Résumé:
The Aldo Cibic Microrealities project collection primarily consists of presentation materials, publications and born digital materials, like videos and photographs, by Aldo Cibic produced between 2003 and 2008 for the project “Microrealities”.
Classification:
archives
Niveau de description archivistique:
collection
archives
Niveau de description archivistique:
collection
Date:
2003-2008
2003-2008
Personnes et institutions:
Niveau de description archivistique:
Projet
Projet
Titre:
University Art Museum
University Art Museum
Numéro de référence:
AP143.S4.D65
Description:
File documents the unexecuted project for the University Art Museum, Long Beach, California. Material in this file was produced between 1986 and 1988. California State University, Long Beach (CSULB), commissioned Eisenman/Robertson Architects to design an art museum adjacent to the main campus entrance. The 67,500-square-foot building was to comprise four galleries, a black-box theater, an auditorium, a cafe, conference rooms, a library, offices, preparation spaces, and storage vaults. The project, sited on a 23-acre arboretum, included landscaping; terraced sculpture courtyards, botanical gardens, and a two-acre pond. Eisenman linked the northern and southern parts of the arboretum by an elevated public walkway through the museum. Sets of drawings were presented on 8 and 30 April, 2 June, and 5 Aug. In the first design phase Eisenman explores the cartographic figures which form the basis of his artificial excavation when superposed: a series of sketches establishes the analogical relationships which fix the relative scales of the plans and produce the superpositions; another series contextualizes the superposed figures by placing them within the museum site (DR1987:0859:087-090). The second phase concerns the building; the working model shows the building carved out of a square pit, from which spring an oil derrick and a reconstruction of a recreational pier (Rainbow Pier, 1920s) used here as circulatory bridge (DR1987:0859:160). In the third phase the architect systematizes his archeological procedure by using five significant cartographic dates - 1849, 1889, 1949, 1989, 2049 - each corresponding to a specific superposition (see DR1987:0859:274-277). In the fourth phase, Eisenman simplifies the superposition of 2049 to a few iconic colour-coded forms: ranch (green), ranch house (blue), campus site (red), and water forms (river and pond) (gold). Material for the fourth phase includes three relief models, four presentation drawings, and a model (property of the CSULB) (relief models: DR1987:0859:001-003; drawings: DR1987:0859:004-008). Eisenman "inhabits" his artifical archeology by detailed planning of interior spaces, and gives substance to the cartographic traces in a series of sketch sections, perspectives, and working models. Working models reveal how the central "canal" area gradually became the museum's access point (DR1987:0859:484-490); the museum, galleries, offices, and preparation areas are on one side of this deep cut, while the cafeteria and black-box theater are on the other. The upper level was to house offices, meeting rooms, and the library. File contains audiovisual material, conceptual drawings, design development drawings, presentation drawings, reference drawings, working drawings, photographic materials, and textual records.
AP143.S4.D65
Description:
File documents the unexecuted project for the University Art Museum, Long Beach, California. Material in this file was produced between 1986 and 1988. California State University, Long Beach (CSULB), commissioned Eisenman/Robertson Architects to design an art museum adjacent to the main campus entrance. The 67,500-square-foot building was to comprise four galleries, a black-box theater, an auditorium, a cafe, conference rooms, a library, offices, preparation spaces, and storage vaults. The project, sited on a 23-acre arboretum, included landscaping; terraced sculpture courtyards, botanical gardens, and a two-acre pond. Eisenman linked the northern and southern parts of the arboretum by an elevated public walkway through the museum. Sets of drawings were presented on 8 and 30 April, 2 June, and 5 Aug. In the first design phase Eisenman explores the cartographic figures which form the basis of his artificial excavation when superposed: a series of sketches establishes the analogical relationships which fix the relative scales of the plans and produce the superpositions; another series contextualizes the superposed figures by placing them within the museum site (DR1987:0859:087-090). The second phase concerns the building; the working model shows the building carved out of a square pit, from which spring an oil derrick and a reconstruction of a recreational pier (Rainbow Pier, 1920s) used here as circulatory bridge (DR1987:0859:160). In the third phase the architect systematizes his archeological procedure by using five significant cartographic dates - 1849, 1889, 1949, 1989, 2049 - each corresponding to a specific superposition (see DR1987:0859:274-277). In the fourth phase, Eisenman simplifies the superposition of 2049 to a few iconic colour-coded forms: ranch (green), ranch house (blue), campus site (red), and water forms (river and pond) (gold). Material for the fourth phase includes three relief models, four presentation drawings, and a model (property of the CSULB) (relief models: DR1987:0859:001-003; drawings: DR1987:0859:004-008). Eisenman "inhabits" his artifical archeology by detailed planning of interior spaces, and gives substance to the cartographic traces in a series of sketch sections, perspectives, and working models. Working models reveal how the central "canal" area gradually became the museum's access point (DR1987:0859:484-490); the museum, galleries, offices, and preparation areas are on one side of this deep cut, while the cafeteria and black-box theater are on the other. The upper level was to house offices, meeting rooms, and the library. File contains audiovisual material, conceptual drawings, design development drawings, presentation drawings, reference drawings, working drawings, photographic materials, and textual records.
Personnes et institutions:
Date:
1986-1988
1986-1988
Titre:
University Art Museum
Actions:
AP143.S4.D65
Description:
File documents the unexecuted project for the University Art Museum, Long Beach, California. Material in this file was produced between 1986 and 1988. California State University, Long Beach (CSULB), commissioned Eisenman/Robertson Architects to design an art museum adjacent to the main campus entrance. The 67,500-square-foot building was to comprise four galleries, a black-box theater, an auditorium, a cafe, conference rooms, a library, offices, preparation spaces, and storage vaults. The project, sited on a 23-acre arboretum, included landscaping; terraced sculpture courtyards, botanical gardens, and a two-acre pond. Eisenman linked the northern and southern parts of the arboretum by an elevated public walkway through the museum. Sets of drawings were presented on 8 and 30 April, 2 June, and 5 Aug. In the first design phase Eisenman explores the cartographic figures which form the basis of his artificial excavation when superposed: a series of sketches establishes the analogical relationships which fix the relative scales of the plans and produce the superpositions; another series contextualizes the superposed figures by placing them within the museum site (DR1987:0859:087-090). The second phase concerns the building; the working model shows the building carved out of a square pit, from which spring an oil derrick and a reconstruction of a recreational pier (Rainbow Pier, 1920s) used here as circulatory bridge (DR1987:0859:160). In the third phase the architect systematizes his archeological procedure by using five significant cartographic dates - 1849, 1889, 1949, 1989, 2049 - each corresponding to a specific superposition (see DR1987:0859:274-277). In the fourth phase, Eisenman simplifies the superposition of 2049 to a few iconic colour-coded forms: ranch (green), ranch house (blue), campus site (red), and water forms (river and pond) (gold). Material for the fourth phase includes three relief models, four presentation drawings, and a model (property of the CSULB) (relief models: DR1987:0859:001-003; drawings: DR1987:0859:004-008). Eisenman "inhabits" his artifical archeology by detailed planning of interior spaces, and gives substance to the cartographic traces in a series of sketch sections, perspectives, and working models. Working models reveal how the central "canal" area gradually became the museum's access point (DR1987:0859:484-490); the museum, galleries, offices, and preparation areas are on one side of this deep cut, while the cafeteria and black-box theater are on the other. The upper level was to house offices, meeting rooms, and the library. File contains audiovisual material, conceptual drawings, design development drawings, presentation drawings, reference drawings, working drawings, photographic materials, and textual records.
University Art Museum
Actions:
AP143.S4.D65
Description:
File documents the unexecuted project for the University Art Museum, Long Beach, California. Material in this file was produced between 1986 and 1988. California State University, Long Beach (CSULB), commissioned Eisenman/Robertson Architects to design an art museum adjacent to the main campus entrance. The 67,500-square-foot building was to comprise four galleries, a black-box theater, an auditorium, a cafe, conference rooms, a library, offices, preparation spaces, and storage vaults. The project, sited on a 23-acre arboretum, included landscaping; terraced sculpture courtyards, botanical gardens, and a two-acre pond. Eisenman linked the northern and southern parts of the arboretum by an elevated public walkway through the museum. Sets of drawings were presented on 8 and 30 April, 2 June, and 5 Aug. In the first design phase Eisenman explores the cartographic figures which form the basis of his artificial excavation when superposed: a series of sketches establishes the analogical relationships which fix the relative scales of the plans and produce the superpositions; another series contextualizes the superposed figures by placing them within the museum site (DR1987:0859:087-090). The second phase concerns the building; the working model shows the building carved out of a square pit, from which spring an oil derrick and a reconstruction of a recreational pier (Rainbow Pier, 1920s) used here as circulatory bridge (DR1987:0859:160). In the third phase the architect systematizes his archeological procedure by using five significant cartographic dates - 1849, 1889, 1949, 1989, 2049 - each corresponding to a specific superposition (see DR1987:0859:274-277). In the fourth phase, Eisenman simplifies the superposition of 2049 to a few iconic colour-coded forms: ranch (green), ranch house (blue), campus site (red), and water forms (river and pond) (gold). Material for the fourth phase includes three relief models, four presentation drawings, and a model (property of the CSULB) (relief models: DR1987:0859:001-003; drawings: DR1987:0859:004-008). Eisenman "inhabits" his artifical archeology by detailed planning of interior spaces, and gives substance to the cartographic traces in a series of sketch sections, perspectives, and working models. Working models reveal how the central "canal" area gradually became the museum's access point (DR1987:0859:484-490); the museum, galleries, offices, and preparation areas are on one side of this deep cut, while the cafeteria and black-box theater are on the other. The upper level was to house offices, meeting rooms, and the library. File contains audiovisual material, conceptual drawings, design development drawings, presentation drawings, reference drawings, working drawings, photographic materials, and textual records.
Niveau de description archivistique:
File 65
File 65
Date:
1986-1988
1986-1988
Personnes et institutions:
Niveau de description archivistique:
Projet
Projet
Numéro de référence:
AP148.S1.1970.PR02
Description:
The project series documents Poli's work on the Interplanetary Architecture project, which was also made into a film by Superstudio directed by Alessandro Poli (the film is not included in the fonds). The project reflects Poli's deep fascination with the moon landing in 1969. Poli uses this major media event as a catalyst for thinking about a new approach to architecture and tools for design, including the idea that film and the movie camera should become part of the toolset. The project also seems to be in some way a response to Epoch magazine's challenge for a "Primo concorso di architettura nello spazio" (the first architectural competition in space), and includes much imagery and textual references to a new road or architectural links between the earth and other planets, including an earth moon highway. In his storyboard, Poli also makes reference to his earlier Piper project, and some imagery features wheels and an amusement park. The Interplanetary Architecture project was exhibited by Superstudio in Rome in 1972 and featured in "Casabella" magazine in April 1972 (no. 364). The project was also featured in the 2010 CCA exhibition "Other Space Odysseys". In the accompanying CCA publication, Poli describes this project as "a voyage off earthbound routes in quest of architecture unfettered by the urban nightmare, by induced needs or by planning as the only tool for regulating and solving the world's problems" (Poli quoted in Borasi and Zardini, 2010, 110). Poli's work on this project is deeply tied to the Zeno project, which was also featured in this exhibition and is included in this fonds (see AP148.S1.1972.PR01). For the Zeno project, Poli envisioned a dialogue between astronaut Buzz Aldrin and an Italian peasant, Zeno of Riparbella. Poli felt that these two shared a similarity in that both their homes were isolated capsules, one that provided a lens from which to see the rest of the world and understand their place in it. The material in the series includes numerous photomontages and collages of astronauts in space, as well as drawings of plantery shapes and structures. There are also texts, some of which include calculations of distances and diameters of planets, as well as notebooks and sketchbooks, many of which Poli included in a folder he entitled "Storyboard." The series also includes an unsent letter from Poli to Adolfo Natalini which describes how, after the moon landing, everything - the planet, the moon, the stars - is architecture, and that this will necessitate the need for new design tools, such as the movie camera. Some works are signed Alessandro Poli-Superstudio. Source cited: Giovanna Borasi and Mirko Zardini, eds., Other Space Odysseys, Montreal and Baden: Canadian Centre for Architecture/Lars Müller Publishers, 2010.
AP148.S1.1970.PR02
Description:
The project series documents Poli's work on the Interplanetary Architecture project, which was also made into a film by Superstudio directed by Alessandro Poli (the film is not included in the fonds). The project reflects Poli's deep fascination with the moon landing in 1969. Poli uses this major media event as a catalyst for thinking about a new approach to architecture and tools for design, including the idea that film and the movie camera should become part of the toolset. The project also seems to be in some way a response to Epoch magazine's challenge for a "Primo concorso di architettura nello spazio" (the first architectural competition in space), and includes much imagery and textual references to a new road or architectural links between the earth and other planets, including an earth moon highway. In his storyboard, Poli also makes reference to his earlier Piper project, and some imagery features wheels and an amusement park. The Interplanetary Architecture project was exhibited by Superstudio in Rome in 1972 and featured in "Casabella" magazine in April 1972 (no. 364). The project was also featured in the 2010 CCA exhibition "Other Space Odysseys". In the accompanying CCA publication, Poli describes this project as "a voyage off earthbound routes in quest of architecture unfettered by the urban nightmare, by induced needs or by planning as the only tool for regulating and solving the world's problems" (Poli quoted in Borasi and Zardini, 2010, 110). Poli's work on this project is deeply tied to the Zeno project, which was also featured in this exhibition and is included in this fonds (see AP148.S1.1972.PR01). For the Zeno project, Poli envisioned a dialogue between astronaut Buzz Aldrin and an Italian peasant, Zeno of Riparbella. Poli felt that these two shared a similarity in that both their homes were isolated capsules, one that provided a lens from which to see the rest of the world and understand their place in it. The material in the series includes numerous photomontages and collages of astronauts in space, as well as drawings of plantery shapes and structures. There are also texts, some of which include calculations of distances and diameters of planets, as well as notebooks and sketchbooks, many of which Poli included in a folder he entitled "Storyboard." The series also includes an unsent letter from Poli to Adolfo Natalini which describes how, after the moon landing, everything - the planet, the moon, the stars - is architecture, and that this will necessitate the need for new design tools, such as the movie camera. Some works are signed Alessandro Poli-Superstudio. Source cited: Giovanna Borasi and Mirko Zardini, eds., Other Space Odysseys, Montreal and Baden: Canadian Centre for Architecture/Lars Müller Publishers, 2010.
Personnes et institutions:
Date:
1969-1971
1969-1971
Titre:
Architettura Interplanetaria [Interplanetary Architecture] (1970-1971)
Actions:
AP148.S1.1970.PR02
Description:
The project series documents Poli's work on the Interplanetary Architecture project, which was also made into a film by Superstudio directed by Alessandro Poli (the film is not included in the fonds). The project reflects Poli's deep fascination with the moon landing in 1969. Poli uses this major media event as a catalyst for thinking about a new approach to architecture and tools for design, including the idea that film and the movie camera should become part of the toolset. The project also seems to be in some way a response to Epoch magazine's challenge for a "Primo concorso di architettura nello spazio" (the first architectural competition in space), and includes much imagery and textual references to a new road or architectural links between the earth and other planets, including an earth moon highway. In his storyboard, Poli also makes reference to his earlier Piper project, and some imagery features wheels and an amusement park. The Interplanetary Architecture project was exhibited by Superstudio in Rome in 1972 and featured in "Casabella" magazine in April 1972 (no. 364). The project was also featured in the 2010 CCA exhibition "Other Space Odysseys". In the accompanying CCA publication, Poli describes this project as "a voyage off earthbound routes in quest of architecture unfettered by the urban nightmare, by induced needs or by planning as the only tool for regulating and solving the world's problems" (Poli quoted in Borasi and Zardini, 2010, 110). Poli's work on this project is deeply tied to the Zeno project, which was also featured in this exhibition and is included in this fonds (see AP148.S1.1972.PR01). For the Zeno project, Poli envisioned a dialogue between astronaut Buzz Aldrin and an Italian peasant, Zeno of Riparbella. Poli felt that these two shared a similarity in that both their homes were isolated capsules, one that provided a lens from which to see the rest of the world and understand their place in it. The material in the series includes numerous photomontages and collages of astronauts in space, as well as drawings of plantery shapes and structures. There are also texts, some of which include calculations of distances and diameters of planets, as well as notebooks and sketchbooks, many of which Poli included in a folder he entitled "Storyboard." The series also includes an unsent letter from Poli to Adolfo Natalini which describes how, after the moon landing, everything - the planet, the moon, the stars - is architecture, and that this will necessitate the need for new design tools, such as the movie camera. Some works are signed Alessandro Poli-Superstudio. Source cited: Giovanna Borasi and Mirko Zardini, eds., Other Space Odysseys, Montreal and Baden: Canadian Centre for Architecture/Lars Müller Publishers, 2010.
Architettura Interplanetaria [Interplanetary Architecture] (1970-1971)
Actions:
AP148.S1.1970.PR02
Description:
The project series documents Poli's work on the Interplanetary Architecture project, which was also made into a film by Superstudio directed by Alessandro Poli (the film is not included in the fonds). The project reflects Poli's deep fascination with the moon landing in 1969. Poli uses this major media event as a catalyst for thinking about a new approach to architecture and tools for design, including the idea that film and the movie camera should become part of the toolset. The project also seems to be in some way a response to Epoch magazine's challenge for a "Primo concorso di architettura nello spazio" (the first architectural competition in space), and includes much imagery and textual references to a new road or architectural links between the earth and other planets, including an earth moon highway. In his storyboard, Poli also makes reference to his earlier Piper project, and some imagery features wheels and an amusement park. The Interplanetary Architecture project was exhibited by Superstudio in Rome in 1972 and featured in "Casabella" magazine in April 1972 (no. 364). The project was also featured in the 2010 CCA exhibition "Other Space Odysseys". In the accompanying CCA publication, Poli describes this project as "a voyage off earthbound routes in quest of architecture unfettered by the urban nightmare, by induced needs or by planning as the only tool for regulating and solving the world's problems" (Poli quoted in Borasi and Zardini, 2010, 110). Poli's work on this project is deeply tied to the Zeno project, which was also featured in this exhibition and is included in this fonds (see AP148.S1.1972.PR01). For the Zeno project, Poli envisioned a dialogue between astronaut Buzz Aldrin and an Italian peasant, Zeno of Riparbella. Poli felt that these two shared a similarity in that both their homes were isolated capsules, one that provided a lens from which to see the rest of the world and understand their place in it. The material in the series includes numerous photomontages and collages of astronauts in space, as well as drawings of plantery shapes and structures. There are also texts, some of which include calculations of distances and diameters of planets, as well as notebooks and sketchbooks, many of which Poli included in a folder he entitled "Storyboard." The series also includes an unsent letter from Poli to Adolfo Natalini which describes how, after the moon landing, everything - the planet, the moon, the stars - is architecture, and that this will necessitate the need for new design tools, such as the movie camera. Some works are signed Alessandro Poli-Superstudio. Source cited: Giovanna Borasi and Mirko Zardini, eds., Other Space Odysseys, Montreal and Baden: Canadian Centre for Architecture/Lars Müller Publishers, 2010.
Niveau de description archivistique:
Project
Project
Date:
1969-1971
1969-1971
Personnes et institutions:
Niveau de description archivistique:
Projet
Projet
Titre:
BMI/HQ
BMI/HQ
Numéro de référence:
AP144.S2.D74
Description:
File documents the unexecuted design for the headquarters of the Birmingham and Midland Institute (BMI), in Birmingham, England. This project is related to the Shantasea Development (AP144.S2.D72) from which Cedric Price resigned as architect to take on the role of architect for BMI, one of the proposed tenants for the Shantasea project. Cedric Price proposed a municipal and regional "nerve centre" to house seminar and study rooms, workshops, galleries, film, television and music studios, a library, a planetarium, and a theatre. A flexible life-cycle plan (expansion, static, contraction) for the building and the activities would allow BMI to expand in the short and medium term, and to shrink in the long term, when it was assumed that many of its roles would be replaced by the UK's Open University plan (Works II, 42). Work on the project came to a stop in 1970 under a new city council (Architectural Design, June 1971, 368). Existing conditions material consists of maps and a survey of Birmingham. Conceptual sketches and drawings include: annotated diagrammatic plans and sections used to develop the building's massing and the horizontal/vertical relationships between functional areas; axonometric views showing the building's general form/functions; plans used for calculating square footage; diagrams showing visual and physical movement through the building; information and movement charts; and flow charts showing the building's organization. Design development drawings consist of graphs showing how functional areas might be used over time. Design development and working drawings include: diagrammatic plans and sections; exploded axonometric views of the functional relationships between areas; exterior axonometric views; sectional perspectives; space allocation plans; circulation drawings; diagrams showing activities throughout the day; furniture equipment schedules; theatre seating and stair studies; and elevations for exterior cladding. Charts show links between activities/actions; activity distribution; activity/capacity; progress of pre-contract work; and the telephone network. File also includes drawings by engineering consultants Felix Samuely and Partners and Zisman, Bowyer and Partners. Presentation material includes: newspaper clippings and text concerning the project; diagrammatic plans, sections, and charts; and a photo collage of the site; and a text by Cedric Price entitled "The Present Position". Some materials in this file were published in "Cedric Price Supplement No. 3", 'Architectural Design', vol. 41, (June 1971), 364-368, and 'Cedric Price-Works II' (London: Architectural Press, 1984), 36, 42. Material in this file was produced between 1967 and 1971. Zisman Bowyer and Partners appear as the mechanical and electrical consulting engineers; Silk and Frazier as the quantity surveyors; and Versa-Serve Ltd as the catering consultants on this project. File contains cartographic materials, conceptual drawings, design development drawings, panels, photographic materials, presentation drawings, presentation panels, publication drawings, technical drawings, and textual records.
AP144.S2.D74
Description:
File documents the unexecuted design for the headquarters of the Birmingham and Midland Institute (BMI), in Birmingham, England. This project is related to the Shantasea Development (AP144.S2.D72) from which Cedric Price resigned as architect to take on the role of architect for BMI, one of the proposed tenants for the Shantasea project. Cedric Price proposed a municipal and regional "nerve centre" to house seminar and study rooms, workshops, galleries, film, television and music studios, a library, a planetarium, and a theatre. A flexible life-cycle plan (expansion, static, contraction) for the building and the activities would allow BMI to expand in the short and medium term, and to shrink in the long term, when it was assumed that many of its roles would be replaced by the UK's Open University plan (Works II, 42). Work on the project came to a stop in 1970 under a new city council (Architectural Design, June 1971, 368). Existing conditions material consists of maps and a survey of Birmingham. Conceptual sketches and drawings include: annotated diagrammatic plans and sections used to develop the building's massing and the horizontal/vertical relationships between functional areas; axonometric views showing the building's general form/functions; plans used for calculating square footage; diagrams showing visual and physical movement through the building; information and movement charts; and flow charts showing the building's organization. Design development drawings consist of graphs showing how functional areas might be used over time. Design development and working drawings include: diagrammatic plans and sections; exploded axonometric views of the functional relationships between areas; exterior axonometric views; sectional perspectives; space allocation plans; circulation drawings; diagrams showing activities throughout the day; furniture equipment schedules; theatre seating and stair studies; and elevations for exterior cladding. Charts show links between activities/actions; activity distribution; activity/capacity; progress of pre-contract work; and the telephone network. File also includes drawings by engineering consultants Felix Samuely and Partners and Zisman, Bowyer and Partners. Presentation material includes: newspaper clippings and text concerning the project; diagrammatic plans, sections, and charts; and a photo collage of the site; and a text by Cedric Price entitled "The Present Position". Some materials in this file were published in "Cedric Price Supplement No. 3", 'Architectural Design', vol. 41, (June 1971), 364-368, and 'Cedric Price-Works II' (London: Architectural Press, 1984), 36, 42. Material in this file was produced between 1967 and 1971. Zisman Bowyer and Partners appear as the mechanical and electrical consulting engineers; Silk and Frazier as the quantity surveyors; and Versa-Serve Ltd as the catering consultants on this project. File contains cartographic materials, conceptual drawings, design development drawings, panels, photographic materials, presentation drawings, presentation panels, publication drawings, technical drawings, and textual records.
Personnes et institutions:
Date:
1967-1971
1967-1971
Titre:
BMI/HQ
Actions:
AP144.S2.D74
Description:
File documents the unexecuted design for the headquarters of the Birmingham and Midland Institute (BMI), in Birmingham, England. This project is related to the Shantasea Development (AP144.S2.D72) from which Cedric Price resigned as architect to take on the role of architect for BMI, one of the proposed tenants for the Shantasea project. Cedric Price proposed a municipal and regional "nerve centre" to house seminar and study rooms, workshops, galleries, film, television and music studios, a library, a planetarium, and a theatre. A flexible life-cycle plan (expansion, static, contraction) for the building and the activities would allow BMI to expand in the short and medium term, and to shrink in the long term, when it was assumed that many of its roles would be replaced by the UK's Open University plan (Works II, 42). Work on the project came to a stop in 1970 under a new city council (Architectural Design, June 1971, 368). Existing conditions material consists of maps and a survey of Birmingham. Conceptual sketches and drawings include: annotated diagrammatic plans and sections used to develop the building's massing and the horizontal/vertical relationships between functional areas; axonometric views showing the building's general form/functions; plans used for calculating square footage; diagrams showing visual and physical movement through the building; information and movement charts; and flow charts showing the building's organization. Design development drawings consist of graphs showing how functional areas might be used over time. Design development and working drawings include: diagrammatic plans and sections; exploded axonometric views of the functional relationships between areas; exterior axonometric views; sectional perspectives; space allocation plans; circulation drawings; diagrams showing activities throughout the day; furniture equipment schedules; theatre seating and stair studies; and elevations for exterior cladding. Charts show links between activities/actions; activity distribution; activity/capacity; progress of pre-contract work; and the telephone network. File also includes drawings by engineering consultants Felix Samuely and Partners and Zisman, Bowyer and Partners. Presentation material includes: newspaper clippings and text concerning the project; diagrammatic plans, sections, and charts; and a photo collage of the site; and a text by Cedric Price entitled "The Present Position". Some materials in this file were published in "Cedric Price Supplement No. 3", 'Architectural Design', vol. 41, (June 1971), 364-368, and 'Cedric Price-Works II' (London: Architectural Press, 1984), 36, 42. Material in this file was produced between 1967 and 1971. Zisman Bowyer and Partners appear as the mechanical and electrical consulting engineers; Silk and Frazier as the quantity surveyors; and Versa-Serve Ltd as the catering consultants on this project. File contains cartographic materials, conceptual drawings, design development drawings, panels, photographic materials, presentation drawings, presentation panels, publication drawings, technical drawings, and textual records.
BMI/HQ
Actions:
AP144.S2.D74
Description:
File documents the unexecuted design for the headquarters of the Birmingham and Midland Institute (BMI), in Birmingham, England. This project is related to the Shantasea Development (AP144.S2.D72) from which Cedric Price resigned as architect to take on the role of architect for BMI, one of the proposed tenants for the Shantasea project. Cedric Price proposed a municipal and regional "nerve centre" to house seminar and study rooms, workshops, galleries, film, television and music studios, a library, a planetarium, and a theatre. A flexible life-cycle plan (expansion, static, contraction) for the building and the activities would allow BMI to expand in the short and medium term, and to shrink in the long term, when it was assumed that many of its roles would be replaced by the UK's Open University plan (Works II, 42). Work on the project came to a stop in 1970 under a new city council (Architectural Design, June 1971, 368). Existing conditions material consists of maps and a survey of Birmingham. Conceptual sketches and drawings include: annotated diagrammatic plans and sections used to develop the building's massing and the horizontal/vertical relationships between functional areas; axonometric views showing the building's general form/functions; plans used for calculating square footage; diagrams showing visual and physical movement through the building; information and movement charts; and flow charts showing the building's organization. Design development drawings consist of graphs showing how functional areas might be used over time. Design development and working drawings include: diagrammatic plans and sections; exploded axonometric views of the functional relationships between areas; exterior axonometric views; sectional perspectives; space allocation plans; circulation drawings; diagrams showing activities throughout the day; furniture equipment schedules; theatre seating and stair studies; and elevations for exterior cladding. Charts show links between activities/actions; activity distribution; activity/capacity; progress of pre-contract work; and the telephone network. File also includes drawings by engineering consultants Felix Samuely and Partners and Zisman, Bowyer and Partners. Presentation material includes: newspaper clippings and text concerning the project; diagrammatic plans, sections, and charts; and a photo collage of the site; and a text by Cedric Price entitled "The Present Position". Some materials in this file were published in "Cedric Price Supplement No. 3", 'Architectural Design', vol. 41, (June 1971), 364-368, and 'Cedric Price-Works II' (London: Architectural Press, 1984), 36, 42. Material in this file was produced between 1967 and 1971. Zisman Bowyer and Partners appear as the mechanical and electrical consulting engineers; Silk and Frazier as the quantity surveyors; and Versa-Serve Ltd as the catering consultants on this project. File contains cartographic materials, conceptual drawings, design development drawings, panels, photographic materials, presentation drawings, presentation panels, publication drawings, technical drawings, and textual records.
Niveau de description archivistique:
File 74
File 74
Date:
1967-1971
1967-1971
Personnes et institutions:
Classification:
articles
articles
Actions:
Entretien de Jack Self avec Hilary Sample sur la façon dont les architectes peuvent répondre aux nouvelles dynamiques urbaines du commerce en détail
Titre:
Du fait de sa simple existence, le commerce de détail est civique et politique
Entretien de Jack Self avec Hilary Sample sur la façon dont les architectes peuvent répondre aux nouvelles dynamiques urbaines du commerce en détail
Actions:
Du fait de sa simple existence, le commerce de détail est civique et politique
Entretien de Jack Self avec Hilary Sample sur la façon dont les architectes peuvent répondre aux nouvelles dynamiques urbaines du commerce en détail
Actions:
Classification:
articles
articles
Publié:
9 janvier 2023
9 janvier 2023
Classification:
archives
Niveau de description archivistique:
Fonds
archives
Niveau de description archivistique:
Fonds
Numéro de référence:
AP194
Résumé:
The Johan Bettum OCEAN North projects records, 1995-2000, consist of born-digital files and a physical drawing that document three projects by the OCEAN North collective: Synthetic Landscape (1995-2000), Jyväskylä Music and Arts Centre (competition, 1997), and Tölöö Football Stadium (competition, 1997). The archive also includes a small amount of additional born-digital reference materials on 11 projects from the collective, including the three projects mentioned above.
AP194
Résumé:
The Johan Bettum OCEAN North projects records, 1995-2000, consist of born-digital files and a physical drawing that document three projects by the OCEAN North collective: Synthetic Landscape (1995-2000), Jyväskylä Music and Arts Centre (competition, 1997), and Tölöö Football Stadium (competition, 1997). The archive also includes a small amount of additional born-digital reference materials on 11 projects from the collective, including the three projects mentioned above.
Personnes et institutions:
Date:
1995-2000
1995-2000
Titre:
Documents d’archives de Johan Bettum pour les projets de OCEAN North
Actions:
AP194
Résumé:
The Johan Bettum OCEAN North projects records, 1995-2000, consist of born-digital files and a physical drawing that document three projects by the OCEAN North collective: Synthetic Landscape (1995-2000), Jyväskylä Music and Arts Centre (competition, 1997), and Tölöö Football Stadium (competition, 1997). The archive also includes a small amount of additional born-digital reference materials on 11 projects from the collective, including the three projects mentioned above.
Documents d’archives de Johan Bettum pour les projets de OCEAN North
Actions:
AP194
Résumé:
The Johan Bettum OCEAN North projects records, 1995-2000, consist of born-digital files and a physical drawing that document three projects by the OCEAN North collective: Synthetic Landscape (1995-2000), Jyväskylä Music and Arts Centre (competition, 1997), and Tölöö Football Stadium (competition, 1997). The archive also includes a small amount of additional born-digital reference materials on 11 projects from the collective, including the three projects mentioned above.
Classification:
archives
Niveau de description archivistique:
Fonds
archives
Niveau de description archivistique:
Fonds
Date:
1995-2000
1995-2000
Personnes et institutions:
Classification:
événements
événements
Description:
Véritables archives des changements climatiques, les glaciers nous renseignent à la fois sur le passé et le présent, annonçant les climats encore à venir. Rejoignez-nous le 9 octobre lors d’une conférence par Cymene Howe, présentée dans le cadre de l’exposition Espaces Oscillants, autour du rôle que jouent les glaciers sur notre manière de concevoir le temps et(...)
Véritables archives des changements climatiques, les glaciers nous renseignent à la fois sur le passé et le présent, annonçant les climats encore à venir. Rejoignez-nous le 9 octobre lors d’une conférence par Cymene Howe, présentée dans le cadre de l’exposition Espaces Oscillants, autour du rôle que jouent les glaciers sur notre manière de concevoir le temps et(...)
Localisation:
Théâtre Paul-Desmarais
Théâtre Paul-Desmarais
Date:
9 octobre 2025, 18h
9 octobre 2025, 18h
Titre:
La naissance et la disparition des glaces, par Cymene Howe
Actions:
Description:
Véritables archives des changements climatiques, les glaciers nous renseignent à la fois sur le passé et le présent, annonçant les climats encore à venir. Rejoignez-nous le 9 octobre lors d’une conférence par Cymene Howe, présentée dans le cadre de l’exposition Espaces Oscillants, autour du rôle que jouent les glaciers sur notre manière de concevoir le temps et(...)
La naissance et la disparition des glaces, par Cymene Howe
Actions:
Description:
Véritables archives des changements climatiques, les glaciers nous renseignent à la fois sur le passé et le présent, annonçant les climats encore à venir. Rejoignez-nous le 9 octobre lors d’une conférence par Cymene Howe, présentée dans le cadre de l’exposition Espaces Oscillants, autour du rôle que jouent les glaciers sur notre manière de concevoir le temps et(...)
Classification:
événements
événements
Date:
9 octobre 2025
18h
9 octobre 2025
18h
Localisation:
Théâtre Paul-Desmarais
Théâtre Paul-Desmarais
Classification:
événements
événements
Titre:
Images parlantes
Images parlantes
Actions:
Description:
Sophie Dars et Carlo Menon, Stefano Graziani et Yasufumi Nakamori présentent des stratégies pour réinventer et employer des formats visuels tels le reportage photo, le roman photo et l’exposition de photos. L’événement s’inscrit dans le cadre d’un projet de recherche en cours au CCA portant sur la relation entre architecture et photographie, soutenu par la fondation(...)
Sophie Dars et Carlo Menon, Stefano Graziani et Yasufumi Nakamori présentent des stratégies pour réinventer et employer des formats visuels tels le reportage photo, le roman photo et l’exposition de photos. L’événement s’inscrit dans le cadre d’un projet de recherche en cours au CCA portant sur la relation entre architecture et photographie, soutenu par la fondation(...)
Date:
13 octobre 2016, 18h
13 octobre 2016, 18h
Titre:
Images parlantes
Actions:
Description:
Sophie Dars et Carlo Menon, Stefano Graziani et Yasufumi Nakamori présentent des stratégies pour réinventer et employer des formats visuels tels le reportage photo, le roman photo et l’exposition de photos. L’événement s’inscrit dans le cadre d’un projet de recherche en cours au CCA portant sur la relation entre architecture et photographie, soutenu par la fondation(...)
Images parlantes
Actions:
Description:
Sophie Dars et Carlo Menon, Stefano Graziani et Yasufumi Nakamori présentent des stratégies pour réinventer et employer des formats visuels tels le reportage photo, le roman photo et l’exposition de photos. L’événement s’inscrit dans le cadre d’un projet de recherche en cours au CCA portant sur la relation entre architecture et photographie, soutenu par la fondation(...)
Classification:
événements
événements
Date:
13 octobre 2016
18h
13 octobre 2016
18h
Classification:
événements
événements
Actions:
Description:
Rejoignez-nous le 8 mai pour une conférence de Noelia Monteiro portant sur son travail chez Estudio Flume. L’atelier, établi à São Paulo, développe des projets socio-environnementaux dans des régions reculées du Brasil, contribuant à la protection des communautés autochtones qui veillent sur la forêt amazonienne. Son travail pose une question clé : face à la rareté des(...)
Rejoignez-nous le 8 mai pour une conférence de Noelia Monteiro portant sur son travail chez Estudio Flume. L’atelier, établi à São Paulo, développe des projets socio-environnementaux dans des régions reculées du Brasil, contribuant à la protection des communautés autochtones qui veillent sur la forêt amazonienne. Son travail pose une question clé : face à la rareté des(...)
Localisation:
Théâtre Paul-Desmarais
Théâtre Paul-Desmarais
Date:
8 mai 2025, 18h
8 mai 2025, 18h
Titre:
Sur le terrain avec Noelia Monteiro
Actions:
Description:
Rejoignez-nous le 8 mai pour une conférence de Noelia Monteiro portant sur son travail chez Estudio Flume. L’atelier, établi à São Paulo, développe des projets socio-environnementaux dans des régions reculées du Brasil, contribuant à la protection des communautés autochtones qui veillent sur la forêt amazonienne. Son travail pose une question clé : face à la rareté des(...)
Sur le terrain avec Noelia Monteiro
Actions:
Description:
Rejoignez-nous le 8 mai pour une conférence de Noelia Monteiro portant sur son travail chez Estudio Flume. L’atelier, établi à São Paulo, développe des projets socio-environnementaux dans des régions reculées du Brasil, contribuant à la protection des communautés autochtones qui veillent sur la forêt amazonienne. Son travail pose une question clé : face à la rareté des(...)
Classification:
événements
événements
Date:
8 mai 2025
18h
8 mai 2025
18h
Localisation:
Théâtre Paul-Desmarais
Théâtre Paul-Desmarais
Classification:
archives
Niveau de description archivistique:
Collection
archives
Niveau de description archivistique:
Collection
Numéro de référence:
CD034
Résumé:
The SAAL Process exhibition collection consists of reproductions of several objects used in the exhibition “The SAAL Process, Housing in Portugal 1974–76.” It was created by the Museu Serralves and travelled to the Canadian Center for Architecture (CCA) in 2015. The collection contains reproductions of drawings, presentation panels and photographs dating from 1974 to 1979. Born out of the Portuguese Revolution of 25 April 1974, the Serviço Ambulatório de Apoio Local (Local Ambulatory Support Service) was a pioneering architectural and political experiment designed to address extreme housing shortages and poor living conditions in Portuguese cities.
CD034
Résumé:
The SAAL Process exhibition collection consists of reproductions of several objects used in the exhibition “The SAAL Process, Housing in Portugal 1974–76.” It was created by the Museu Serralves and travelled to the Canadian Center for Architecture (CCA) in 2015. The collection contains reproductions of drawings, presentation panels and photographs dating from 1974 to 1979. Born out of the Portuguese Revolution of 25 April 1974, the Serviço Ambulatório de Apoio Local (Local Ambulatory Support Service) was a pioneering architectural and political experiment designed to address extreme housing shortages and poor living conditions in Portuguese cities.
Personnes et institutions:
Date:
1974-1979
1974-1979
Titre:
Collection de l’exposition Le processus du SAAL
Actions:
CD034
Résumé:
The SAAL Process exhibition collection consists of reproductions of several objects used in the exhibition “The SAAL Process, Housing in Portugal 1974–76.” It was created by the Museu Serralves and travelled to the Canadian Center for Architecture (CCA) in 2015. The collection contains reproductions of drawings, presentation panels and photographs dating from 1974 to 1979. Born out of the Portuguese Revolution of 25 April 1974, the Serviço Ambulatório de Apoio Local (Local Ambulatory Support Service) was a pioneering architectural and political experiment designed to address extreme housing shortages and poor living conditions in Portuguese cities.
Collection de l’exposition Le processus du SAAL
Actions:
CD034
Résumé:
The SAAL Process exhibition collection consists of reproductions of several objects used in the exhibition “The SAAL Process, Housing in Portugal 1974–76.” It was created by the Museu Serralves and travelled to the Canadian Center for Architecture (CCA) in 2015. The collection contains reproductions of drawings, presentation panels and photographs dating from 1974 to 1979. Born out of the Portuguese Revolution of 25 April 1974, the Serviço Ambulatório de Apoio Local (Local Ambulatory Support Service) was a pioneering architectural and political experiment designed to address extreme housing shortages and poor living conditions in Portuguese cities.
Classification:
archives
Niveau de description archivistique:
collection
archives
Niveau de description archivistique:
collection
Date:
1974-1979
1974-1979
Personnes et institutions:
