574 Résultats
Classification:
expositions
expositions
Titre:
Seconde vie
Seconde vie
Actions:
Description:
Seconde vie s’intéresse aux lieux particuliers — réels, imaginaires et virtuels — qui existent quelque part au-delà des contraintes ordinaires de l’espace et du temps, non seulement comme issus des rêves (et des désirs), mais aussi comme résultant du passage (naturel) du temps.
Seconde vie s’intéresse aux lieux particuliers — réels, imaginaires et virtuels — qui existent quelque part au-delà des contraintes ordinaires de l’espace et du temps, non seulement comme issus des rêves (et des désirs), mais aussi comme résultant du passage (naturel) du temps.
Date:
27 mars 2019 au 24 novembre 2019
27 mars 2019 au 24 novembre 2019
Titre:
Seconde vie
Actions:
Description:
Seconde vie s’intéresse aux lieux particuliers — réels, imaginaires et virtuels — qui existent quelque part au-delà des contraintes ordinaires de l’espace et du temps, non seulement comme issus des rêves (et des désirs), mais aussi comme résultant du passage (naturel) du temps.
Seconde vie
Actions:
Description:
Seconde vie s’intéresse aux lieux particuliers — réels, imaginaires et virtuels — qui existent quelque part au-delà des contraintes ordinaires de l’espace et du temps, non seulement comme issus des rêves (et des désirs), mais aussi comme résultant du passage (naturel) du temps.
Classification:
expositions
expositions
Date:
27 mars 2019 au
24 novembre 2019
27 mars 2019 au
24 novembre 2019
Classification:
archives
Niveau de description archivistique:
Fonds
archives
Niveau de description archivistique:
Fonds
Titre:
Fonds Wells Coates
Fonds Wells Coates
Numéro de référence:
AP030
Résumé:
The Wells Coates Fonds, 1909-1986, documents the professional career and personal life of architect Wells Wintemute Coates. The fonds consists of the following materials: approximately 1,937 photographic materials, 530 drawings (including reprographic copies), 3 l.m. textual records, 200 slides, 37 books, 2 reels of 16mm film (400 feet Cine- Kodak Film), 2 medals, 1 box of buttons and 1 box of keys.
AP030
Résumé:
The Wells Coates Fonds, 1909-1986, documents the professional career and personal life of architect Wells Wintemute Coates. The fonds consists of the following materials: approximately 1,937 photographic materials, 530 drawings (including reprographic copies), 3 l.m. textual records, 200 slides, 37 books, 2 reels of 16mm film (400 feet Cine- Kodak Film), 2 medals, 1 box of buttons and 1 box of keys.
Personnes et institutions:
Date:
1909-1986
1909-1986
Titre:
Fonds Wells Coates
Actions:
AP030
Résumé:
The Wells Coates Fonds, 1909-1986, documents the professional career and personal life of architect Wells Wintemute Coates. The fonds consists of the following materials: approximately 1,937 photographic materials, 530 drawings (including reprographic copies), 3 l.m. textual records, 200 slides, 37 books, 2 reels of 16mm film (400 feet Cine- Kodak Film), 2 medals, 1 box of buttons and 1 box of keys.
Fonds Wells Coates
Actions:
AP030
Résumé:
The Wells Coates Fonds, 1909-1986, documents the professional career and personal life of architect Wells Wintemute Coates. The fonds consists of the following materials: approximately 1,937 photographic materials, 530 drawings (including reprographic copies), 3 l.m. textual records, 200 slides, 37 books, 2 reels of 16mm film (400 feet Cine- Kodak Film), 2 medals, 1 box of buttons and 1 box of keys.
Classification:
archives
Niveau de description archivistique:
Fonds
archives
Niveau de description archivistique:
Fonds
Date:
1909-1986
1909-1986
Personnes et institutions:
Classification:
expositions
expositions
Description:
Dans cette deuxième exposition de la série Sortis du cadre : Amancio Williams, Claudia Shmidt centre les lettres envoyées et reçues par Amancio Williams. Ces relations épistolaires avec des politiciens, des institutions culturelles de premier plan et des architectes influents, permet de situer la pratique de Williams et dexpliquer sa persévérance à vouloir concrétiser ses projets.
Dans cette deuxième exposition de la série Sortis du cadre : Amancio Williams, Claudia Shmidt centre les lettres envoyées et reçues par Amancio Williams. Ces relations épistolaires avec des politiciens, des institutions culturelles de premier plan et des architectes influents, permet de situer la pratique de Williams et dexpliquer sa persévérance à vouloir concrétiser ses projets.
Localisation:
Salle octogonale Mot(s)-clé(s):
Amancio Williams, Claudia Shmidt, Buenos Aires, sortis du cadre, Argentine
Salle octogonale Mot(s)-clé(s):
Amancio Williams, Claudia Shmidt, Buenos Aires, sortis du cadre, Argentine
Date:
12 octobre 2023 au 28 janvier 2024
12 octobre 2023 au 28 janvier 2024
Titre:
Sans nostalgie : Amancio Williams revu par Claudia Shmidt
Actions:
Description:
Dans cette deuxième exposition de la série Sortis du cadre : Amancio Williams, Claudia Shmidt centre les lettres envoyées et reçues par Amancio Williams. Ces relations épistolaires avec des politiciens, des institutions culturelles de premier plan et des architectes influents, permet de situer la pratique de Williams et dexpliquer sa persévérance à vouloir concrétiser ses projets.
Sans nostalgie : Amancio Williams revu par Claudia Shmidt
Actions:
Description:
Dans cette deuxième exposition de la série Sortis du cadre : Amancio Williams, Claudia Shmidt centre les lettres envoyées et reçues par Amancio Williams. Ces relations épistolaires avec des politiciens, des institutions culturelles de premier plan et des architectes influents, permet de situer la pratique de Williams et dexpliquer sa persévérance à vouloir concrétiser ses projets.
Classification:
expositions
expositions
Date:
12 octobre 2023 au
28 janvier 2024
12 octobre 2023 au
28 janvier 2024
Localisation:
Salle octogonale Mot(s)-clé(s):
Amancio Williams, Claudia Shmidt, Buenos Aires, sortis du cadre, Argentine
Salle octogonale Mot(s)-clé(s):
Amancio Williams, Claudia Shmidt, Buenos Aires, sortis du cadre, Argentine
Classification:
archives
Niveau de description archivistique:
Fonds
archives
Niveau de description archivistique:
Fonds
Numéro de référence:
CP138
Résumé:
The Gordon Matta-Clark collection documents the personal and professional activities of Gordon Matta-Clark through his correspondence, texts, library, artwork and films, created predominantly between 1969 and 1978. Additionally the collection contains correspondence and photographs collected by Anne Alpert, Matta-Clark's mother, and documentation on his work collected by his widow Jane Crawford following his death.
CP138
Résumé:
The Gordon Matta-Clark collection documents the personal and professional activities of Gordon Matta-Clark through his correspondence, texts, library, artwork and films, created predominantly between 1969 and 1978. Additionally the collection contains correspondence and photographs collected by Anne Alpert, Matta-Clark's mother, and documentation on his work collected by his widow Jane Crawford following his death.
Personnes et institutions:
Date:
1914-2008
1914-2008
Titre:
Collection Gordon Matta-Clark
Actions:
CP138
Résumé:
The Gordon Matta-Clark collection documents the personal and professional activities of Gordon Matta-Clark through his correspondence, texts, library, artwork and films, created predominantly between 1969 and 1978. Additionally the collection contains correspondence and photographs collected by Anne Alpert, Matta-Clark's mother, and documentation on his work collected by his widow Jane Crawford following his death.
Collection Gordon Matta-Clark
Actions:
CP138
Résumé:
The Gordon Matta-Clark collection documents the personal and professional activities of Gordon Matta-Clark through his correspondence, texts, library, artwork and films, created predominantly between 1969 and 1978. Additionally the collection contains correspondence and photographs collected by Anne Alpert, Matta-Clark's mother, and documentation on his work collected by his widow Jane Crawford following his death.
Classification:
archives
Niveau de description archivistique:
Collection
archives
Niveau de description archivistique:
Collection
Date:
1914-2008
1914-2008
Personnes et institutions:
Niveau de description archivistique:
Projet
Projet
Numéro de référence:
AP164.S1.1996.D4
Description:
The project series documents the competition entry for the design and construction of the Valdemingómez recycling plant for urban waste, as well as offices. The plant is located in the Southeast Regional Park (Parque Regional del Sureste). In 1997, Abalos & Herreros in collaboration with Vertresa won first place in the competition. The firm identified this project as number 99. The plant has “[…] two complementary constructions, one intended for the elaboration of compounds from organic waste, and the second, the control and weighing of the lorries that enter the area. […] The facility has a working life of 25 years. After that time it can be recycled as an amenity for the Regional Park or be dismantled by recycling its components” (ARCH270971). The firm received several awards and recognitions for the Valdemingómez plant. In 2000, they received the award of Urbanismo, Arquitectura y Obra Pública 1999 from the Madrid City Council, made it to the selection process at the premios FAD de Arquitectura e Interiorismo 2000, and obtained a prize from the Colegio Oficial de Arquitectos de Madrid. In 2001, this project was also a finalist for the Premio Mies van der Rohe and received second place for the Premio Manuel de la Dehesa. The plant received an award at the fourteenth Premio Grupo Dragados de Arquitectura de la Fundación CEOE and was also selected at the third Bienal Iberoamericana de Arquitectura e Ingenieria Civil in 2002. Documenting the project are competition and working drawings, logbooks, notes, correspondence, studies, reports, proposals, receipts, press releases, clippings promotional, reference, digital, photographic and graphic materials, and a model.
AP164.S1.1996.D4
Description:
The project series documents the competition entry for the design and construction of the Valdemingómez recycling plant for urban waste, as well as offices. The plant is located in the Southeast Regional Park (Parque Regional del Sureste). In 1997, Abalos & Herreros in collaboration with Vertresa won first place in the competition. The firm identified this project as number 99. The plant has “[…] two complementary constructions, one intended for the elaboration of compounds from organic waste, and the second, the control and weighing of the lorries that enter the area. […] The facility has a working life of 25 years. After that time it can be recycled as an amenity for the Regional Park or be dismantled by recycling its components” (ARCH270971). The firm received several awards and recognitions for the Valdemingómez plant. In 2000, they received the award of Urbanismo, Arquitectura y Obra Pública 1999 from the Madrid City Council, made it to the selection process at the premios FAD de Arquitectura e Interiorismo 2000, and obtained a prize from the Colegio Oficial de Arquitectos de Madrid. In 2001, this project was also a finalist for the Premio Mies van der Rohe and received second place for the Premio Manuel de la Dehesa. The plant received an award at the fourteenth Premio Grupo Dragados de Arquitectura de la Fundación CEOE and was also selected at the third Bienal Iberoamericana de Arquitectura e Ingenieria Civil in 2002. Documenting the project are competition and working drawings, logbooks, notes, correspondence, studies, reports, proposals, receipts, press releases, clippings promotional, reference, digital, photographic and graphic materials, and a model.
Personnes et institutions:
Date:
1995-2001
1995-2001
Titre:
Planta de reciclaje de residuos urbanos de Valdemingómez, Madrid, Spain (1996-1999)
Actions:
AP164.S1.1996.D4
Description:
The project series documents the competition entry for the design and construction of the Valdemingómez recycling plant for urban waste, as well as offices. The plant is located in the Southeast Regional Park (Parque Regional del Sureste). In 1997, Abalos & Herreros in collaboration with Vertresa won first place in the competition. The firm identified this project as number 99. The plant has “[…] two complementary constructions, one intended for the elaboration of compounds from organic waste, and the second, the control and weighing of the lorries that enter the area. […] The facility has a working life of 25 years. After that time it can be recycled as an amenity for the Regional Park or be dismantled by recycling its components” (ARCH270971). The firm received several awards and recognitions for the Valdemingómez plant. In 2000, they received the award of Urbanismo, Arquitectura y Obra Pública 1999 from the Madrid City Council, made it to the selection process at the premios FAD de Arquitectura e Interiorismo 2000, and obtained a prize from the Colegio Oficial de Arquitectos de Madrid. In 2001, this project was also a finalist for the Premio Mies van der Rohe and received second place for the Premio Manuel de la Dehesa. The plant received an award at the fourteenth Premio Grupo Dragados de Arquitectura de la Fundación CEOE and was also selected at the third Bienal Iberoamericana de Arquitectura e Ingenieria Civil in 2002. Documenting the project are competition and working drawings, logbooks, notes, correspondence, studies, reports, proposals, receipts, press releases, clippings promotional, reference, digital, photographic and graphic materials, and a model.
Planta de reciclaje de residuos urbanos de Valdemingómez, Madrid, Spain (1996-1999)
Actions:
AP164.S1.1996.D4
Description:
The project series documents the competition entry for the design and construction of the Valdemingómez recycling plant for urban waste, as well as offices. The plant is located in the Southeast Regional Park (Parque Regional del Sureste). In 1997, Abalos & Herreros in collaboration with Vertresa won first place in the competition. The firm identified this project as number 99. The plant has “[…] two complementary constructions, one intended for the elaboration of compounds from organic waste, and the second, the control and weighing of the lorries that enter the area. […] The facility has a working life of 25 years. After that time it can be recycled as an amenity for the Regional Park or be dismantled by recycling its components” (ARCH270971). The firm received several awards and recognitions for the Valdemingómez plant. In 2000, they received the award of Urbanismo, Arquitectura y Obra Pública 1999 from the Madrid City Council, made it to the selection process at the premios FAD de Arquitectura e Interiorismo 2000, and obtained a prize from the Colegio Oficial de Arquitectos de Madrid. In 2001, this project was also a finalist for the Premio Mies van der Rohe and received second place for the Premio Manuel de la Dehesa. The plant received an award at the fourteenth Premio Grupo Dragados de Arquitectura de la Fundación CEOE and was also selected at the third Bienal Iberoamericana de Arquitectura e Ingenieria Civil in 2002. Documenting the project are competition and working drawings, logbooks, notes, correspondence, studies, reports, proposals, receipts, press releases, clippings promotional, reference, digital, photographic and graphic materials, and a model.
Niveau de description archivistique:
Project
Project
Date:
1995-2001
1995-2001
Personnes et institutions:
Classification:
archives
Niveau de description archivistique:
Fonds
archives
Niveau de description archivistique:
Fonds
Titre:
Fonds Ernest Isbell Barott
Fonds Ernest Isbell Barott
Numéro de référence:
AP003
Résumé:
The Ernest Isbell Barott fonds, 1912-1983, documents architect Ernest Isbell Barott’s design and construction of over 380 built projects in Canada. The fonds comprises of materials relating to projects executed by Ernest Isbell Barott during his active years at the firm, 1912-1962, as well as projects exclusively completed by the firm after Barott’s retirement, 1962-1983. Materials in this fonds consist of approximately 11 764 drawings (including reprographic copies), approximately 1795 photographic materials, 8.75 l.m. of textual records, 4 medals, and 1 key.
AP003
Résumé:
The Ernest Isbell Barott fonds, 1912-1983, documents architect Ernest Isbell Barott’s design and construction of over 380 built projects in Canada. The fonds comprises of materials relating to projects executed by Ernest Isbell Barott during his active years at the firm, 1912-1962, as well as projects exclusively completed by the firm after Barott’s retirement, 1962-1983. Materials in this fonds consist of approximately 11 764 drawings (including reprographic copies), approximately 1795 photographic materials, 8.75 l.m. of textual records, 4 medals, and 1 key.
Personnes et institutions:
Date:
1912-1983
1912-1983
Titre:
Fonds Ernest Isbell Barott
Actions:
AP003
Résumé:
The Ernest Isbell Barott fonds, 1912-1983, documents architect Ernest Isbell Barott’s design and construction of over 380 built projects in Canada. The fonds comprises of materials relating to projects executed by Ernest Isbell Barott during his active years at the firm, 1912-1962, as well as projects exclusively completed by the firm after Barott’s retirement, 1962-1983. Materials in this fonds consist of approximately 11 764 drawings (including reprographic copies), approximately 1795 photographic materials, 8.75 l.m. of textual records, 4 medals, and 1 key.
Fonds Ernest Isbell Barott
Actions:
AP003
Résumé:
The Ernest Isbell Barott fonds, 1912-1983, documents architect Ernest Isbell Barott’s design and construction of over 380 built projects in Canada. The fonds comprises of materials relating to projects executed by Ernest Isbell Barott during his active years at the firm, 1912-1962, as well as projects exclusively completed by the firm after Barott’s retirement, 1962-1983. Materials in this fonds consist of approximately 11 764 drawings (including reprographic copies), approximately 1795 photographic materials, 8.75 l.m. of textual records, 4 medals, and 1 key.
Classification:
archives
Niveau de description archivistique:
Fonds
archives
Niveau de description archivistique:
Fonds
Date:
1912-1983
1912-1983
Personnes et institutions:
Classification:
expositions
expositions
Actions:
Description:
Les enseignements de Bernard Rudofsky est la première rétrospective qui examine la vie et l’œuvre de l’architecte, designer et critique controversé, dont les constructions, les expositions et les concepts de mode ont remis en question les idées mêmes de confort et de culture dans le monde occidental. L’exposition jette un regard sur la diversité des contributions d’un(...)
Les enseignements de Bernard Rudofsky est la première rétrospective qui examine la vie et l’œuvre de l’architecte, designer et critique controversé, dont les constructions, les expositions et les concepts de mode ont remis en question les idées mêmes de confort et de culture dans le monde occidental. L’exposition jette un regard sur la diversité des contributions d’un(...)
Localisation:
Salles principales
Salles principales
Date:
4 juillet 2007 au 30 septembre 2007
4 juillet 2007 au 30 septembre 2007
Titre:
Les enseignements de Bernard Rudofsky
Actions:
Description:
Les enseignements de Bernard Rudofsky est la première rétrospective qui examine la vie et l’œuvre de l’architecte, designer et critique controversé, dont les constructions, les expositions et les concepts de mode ont remis en question les idées mêmes de confort et de culture dans le monde occidental. L’exposition jette un regard sur la diversité des contributions d’un(...)
Les enseignements de Bernard Rudofsky
Actions:
Description:
Les enseignements de Bernard Rudofsky est la première rétrospective qui examine la vie et l’œuvre de l’architecte, designer et critique controversé, dont les constructions, les expositions et les concepts de mode ont remis en question les idées mêmes de confort et de culture dans le monde occidental. L’exposition jette un regard sur la diversité des contributions d’un(...)
Classification:
expositions
expositions
Date:
4 juillet 2007 au
30 septembre 2007
4 juillet 2007 au
30 septembre 2007
Localisation:
Salles principales
Salles principales
Classification:
archives
Niveau de description archivistique:
Fonds
archives
Niveau de description archivistique:
Fonds
Titre:
Lionel March fonds
Lionel March fonds
Numéro de référence:
AP208
Résumé:
The Lionel March fonds, circa 1957-2017, documents the work and activities of architect and professor Lionel March. The records within this fonds illustrate March’s architectural career, representing five professional and personal building projects, including the 1964 Whitehall plan; as well as his academic career in research and teaching, spanning England and North America, most notably March’s work with the Centre for Land Use and Built Form Studies (now the Martin Centre) and his research at UCLA. The fonds is largely composed of books from March’s library, textual records, slides and photographs, and drawings.
AP208
Résumé:
The Lionel March fonds, circa 1957-2017, documents the work and activities of architect and professor Lionel March. The records within this fonds illustrate March’s architectural career, representing five professional and personal building projects, including the 1964 Whitehall plan; as well as his academic career in research and teaching, spanning England and North America, most notably March’s work with the Centre for Land Use and Built Form Studies (now the Martin Centre) and his research at UCLA. The fonds is largely composed of books from March’s library, textual records, slides and photographs, and drawings.
Personnes et institutions:
Date:
circa 1957-2017
circa 1957-2017
Titre:
Lionel March fonds
Actions:
AP208
Résumé:
The Lionel March fonds, circa 1957-2017, documents the work and activities of architect and professor Lionel March. The records within this fonds illustrate March’s architectural career, representing five professional and personal building projects, including the 1964 Whitehall plan; as well as his academic career in research and teaching, spanning England and North America, most notably March’s work with the Centre for Land Use and Built Form Studies (now the Martin Centre) and his research at UCLA. The fonds is largely composed of books from March’s library, textual records, slides and photographs, and drawings.
Lionel March fonds
Actions:
AP208
Résumé:
The Lionel March fonds, circa 1957-2017, documents the work and activities of architect and professor Lionel March. The records within this fonds illustrate March’s architectural career, representing five professional and personal building projects, including the 1964 Whitehall plan; as well as his academic career in research and teaching, spanning England and North America, most notably March’s work with the Centre for Land Use and Built Form Studies (now the Martin Centre) and his research at UCLA. The fonds is largely composed of books from March’s library, textual records, slides and photographs, and drawings.
Classification:
archives
Niveau de description archivistique:
Fonds
archives
Niveau de description archivistique:
Fonds
Date:
circa 1957-2017
circa 1957-2017
Personnes et institutions:
Classification:
documents textuels, né numérique, archives
Niveau de description archivistique:
Fonds
documents textuels, né numérique, archives
Niveau de description archivistique:
Fonds
Titre:
Fonds Anyone Corporation
Fonds Anyone Corporation
Numéro de référence:
AP116
Résumé:
The Anyone Corporation fonds is composed primarily of textual and photographic records which document the activities of the Anyone Corporation over the course of its planned ten year life span from 1990 to 2001. The non-profit, New York City based organization, was founded by Peter Eisenman, Cynthia Davidson, Arata Isozaki, and Ignasi de Solà-Morales Rubio in order to stimulate a fruitful dialogue between architecture and general culture at the dawn of the new millennium. To this end, ANY (acronym for Architecture New York) organised ten international conferences and numerous public seminars, as well as publishing conference journals, a series of architecture related books, and ANY, a theory driven bi-monthly magazine.
AP116
Résumé:
The Anyone Corporation fonds is composed primarily of textual and photographic records which document the activities of the Anyone Corporation over the course of its planned ten year life span from 1990 to 2001. The non-profit, New York City based organization, was founded by Peter Eisenman, Cynthia Davidson, Arata Isozaki, and Ignasi de Solà-Morales Rubio in order to stimulate a fruitful dialogue between architecture and general culture at the dawn of the new millennium. To this end, ANY (acronym for Architecture New York) organised ten international conferences and numerous public seminars, as well as publishing conference journals, a series of architecture related books, and ANY, a theory driven bi-monthly magazine.
Personnes et institutions:
Date:
1990-2001
1990-2001
Titre:
Fonds Anyone Corporation
Actions:
AP116
Résumé:
The Anyone Corporation fonds is composed primarily of textual and photographic records which document the activities of the Anyone Corporation over the course of its planned ten year life span from 1990 to 2001. The non-profit, New York City based organization, was founded by Peter Eisenman, Cynthia Davidson, Arata Isozaki, and Ignasi de Solà-Morales Rubio in order to stimulate a fruitful dialogue between architecture and general culture at the dawn of the new millennium. To this end, ANY (acronym for Architecture New York) organised ten international conferences and numerous public seminars, as well as publishing conference journals, a series of architecture related books, and ANY, a theory driven bi-monthly magazine.
Fonds Anyone Corporation
Actions:
AP116
Résumé:
The Anyone Corporation fonds is composed primarily of textual and photographic records which document the activities of the Anyone Corporation over the course of its planned ten year life span from 1990 to 2001. The non-profit, New York City based organization, was founded by Peter Eisenman, Cynthia Davidson, Arata Isozaki, and Ignasi de Solà-Morales Rubio in order to stimulate a fruitful dialogue between architecture and general culture at the dawn of the new millennium. To this end, ANY (acronym for Architecture New York) organised ten international conferences and numerous public seminars, as well as publishing conference journals, a series of architecture related books, and ANY, a theory driven bi-monthly magazine.
Classification:
documents textuels, né numérique, archives
Niveau de description archivistique:
Fonds
documents textuels, né numérique, archives
Niveau de description archivistique:
Fonds
Date:
1990-2001
1990-2001
Personnes et institutions:
Niveau de description archivistique:
Projet
Projet
Numéro de référence:
AP206.S1.1975.PR01
Description:
This project series documents Aditya Prakash's proposal for an alternative plan for Chandigarh, India, which came to be known as the Linear City. Prakash began developing and advocating for this idea around the early 1970s. The Linear City had two fundamental ideas at its core. The first was to raise the roadways in Chandigarh (or any future city) 10-12 feet from ground level. This, he proposed, would separate vehicular traffic from pedestrians, eliminating all the hazardous impacts of traffic on daily life. The large part of the drawings for this project show sector plans and city blocks with evenly dispersed roundabout roadways as major transit hubs, wrapping around but high above centres of pedestrian activity that included shops, markets and green spaces. The sale of the land below the roadways would pay for the upheaval. He also recommended building this city only a few sectors deep, but endlessly expanding it length-wise, with a raised canal along one side to provide an additional transpiration network and irrigation. The second fundamental idea of this city was the creation of self-sustaining sectors in the city plan, advocating that each neighbourhood should have the infrastructure to provide food and recycling for its residents. He fervently argued for the reimagination of modernist Chandigarh by incorporating sustainable, local traditions - the rural should exist in harmony with the urban. In opposition to Le Corbusier and Pierre Jeanneret, he believed areas for recycling, animal husbandry, and growing food should be incorporated into the fabric of the city.[1] This project is recorded largely through original drawings of city plans, perspectives and axonometric views detailing Prakash's new vision for the city. It seems that many of the perspectives were drawn by family friend Sandeep Virmani, after listening to Prakash's ideas.[2] The project is also recorded through photographs, negatives and slides showing plans and the project model. A small amount of notes and an article on the project are also included. [1]Vikramaditya Prakash, One Continuous Line: Art, Architecture and Urbanism of Aditya Prakash (Ahmedabad, India: Mapin Publishing Pvt. Ltd., 2019), 164-181. [2]Prakash, One Continuous Line, 169.
AP206.S1.1975.PR01
Description:
This project series documents Aditya Prakash's proposal for an alternative plan for Chandigarh, India, which came to be known as the Linear City. Prakash began developing and advocating for this idea around the early 1970s. The Linear City had two fundamental ideas at its core. The first was to raise the roadways in Chandigarh (or any future city) 10-12 feet from ground level. This, he proposed, would separate vehicular traffic from pedestrians, eliminating all the hazardous impacts of traffic on daily life. The large part of the drawings for this project show sector plans and city blocks with evenly dispersed roundabout roadways as major transit hubs, wrapping around but high above centres of pedestrian activity that included shops, markets and green spaces. The sale of the land below the roadways would pay for the upheaval. He also recommended building this city only a few sectors deep, but endlessly expanding it length-wise, with a raised canal along one side to provide an additional transpiration network and irrigation. The second fundamental idea of this city was the creation of self-sustaining sectors in the city plan, advocating that each neighbourhood should have the infrastructure to provide food and recycling for its residents. He fervently argued for the reimagination of modernist Chandigarh by incorporating sustainable, local traditions - the rural should exist in harmony with the urban. In opposition to Le Corbusier and Pierre Jeanneret, he believed areas for recycling, animal husbandry, and growing food should be incorporated into the fabric of the city.[1] This project is recorded largely through original drawings of city plans, perspectives and axonometric views detailing Prakash's new vision for the city. It seems that many of the perspectives were drawn by family friend Sandeep Virmani, after listening to Prakash's ideas.[2] The project is also recorded through photographs, negatives and slides showing plans and the project model. A small amount of notes and an article on the project are also included. [1]Vikramaditya Prakash, One Continuous Line: Art, Architecture and Urbanism of Aditya Prakash (Ahmedabad, India: Mapin Publishing Pvt. Ltd., 2019), 164-181. [2]Prakash, One Continuous Line, 169.
Personnes et institutions:
Date:
circa 1975-2003
circa 1975-2003
Titre:
Linear city, Chandigarh, India (circa 1975-1987)
Actions:
AP206.S1.1975.PR01
Description:
This project series documents Aditya Prakash's proposal for an alternative plan for Chandigarh, India, which came to be known as the Linear City. Prakash began developing and advocating for this idea around the early 1970s. The Linear City had two fundamental ideas at its core. The first was to raise the roadways in Chandigarh (or any future city) 10-12 feet from ground level. This, he proposed, would separate vehicular traffic from pedestrians, eliminating all the hazardous impacts of traffic on daily life. The large part of the drawings for this project show sector plans and city blocks with evenly dispersed roundabout roadways as major transit hubs, wrapping around but high above centres of pedestrian activity that included shops, markets and green spaces. The sale of the land below the roadways would pay for the upheaval. He also recommended building this city only a few sectors deep, but endlessly expanding it length-wise, with a raised canal along one side to provide an additional transpiration network and irrigation. The second fundamental idea of this city was the creation of self-sustaining sectors in the city plan, advocating that each neighbourhood should have the infrastructure to provide food and recycling for its residents. He fervently argued for the reimagination of modernist Chandigarh by incorporating sustainable, local traditions - the rural should exist in harmony with the urban. In opposition to Le Corbusier and Pierre Jeanneret, he believed areas for recycling, animal husbandry, and growing food should be incorporated into the fabric of the city.[1] This project is recorded largely through original drawings of city plans, perspectives and axonometric views detailing Prakash's new vision for the city. It seems that many of the perspectives were drawn by family friend Sandeep Virmani, after listening to Prakash's ideas.[2] The project is also recorded through photographs, negatives and slides showing plans and the project model. A small amount of notes and an article on the project are also included. [1]Vikramaditya Prakash, One Continuous Line: Art, Architecture and Urbanism of Aditya Prakash (Ahmedabad, India: Mapin Publishing Pvt. Ltd., 2019), 164-181. [2]Prakash, One Continuous Line, 169.
Linear city, Chandigarh, India (circa 1975-1987)
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AP206.S1.1975.PR01
Description:
This project series documents Aditya Prakash's proposal for an alternative plan for Chandigarh, India, which came to be known as the Linear City. Prakash began developing and advocating for this idea around the early 1970s. The Linear City had two fundamental ideas at its core. The first was to raise the roadways in Chandigarh (or any future city) 10-12 feet from ground level. This, he proposed, would separate vehicular traffic from pedestrians, eliminating all the hazardous impacts of traffic on daily life. The large part of the drawings for this project show sector plans and city blocks with evenly dispersed roundabout roadways as major transit hubs, wrapping around but high above centres of pedestrian activity that included shops, markets and green spaces. The sale of the land below the roadways would pay for the upheaval. He also recommended building this city only a few sectors deep, but endlessly expanding it length-wise, with a raised canal along one side to provide an additional transpiration network and irrigation. The second fundamental idea of this city was the creation of self-sustaining sectors in the city plan, advocating that each neighbourhood should have the infrastructure to provide food and recycling for its residents. He fervently argued for the reimagination of modernist Chandigarh by incorporating sustainable, local traditions - the rural should exist in harmony with the urban. In opposition to Le Corbusier and Pierre Jeanneret, he believed areas for recycling, animal husbandry, and growing food should be incorporated into the fabric of the city.[1] This project is recorded largely through original drawings of city plans, perspectives and axonometric views detailing Prakash's new vision for the city. It seems that many of the perspectives were drawn by family friend Sandeep Virmani, after listening to Prakash's ideas.[2] The project is also recorded through photographs, negatives and slides showing plans and the project model. A small amount of notes and an article on the project are also included. [1]Vikramaditya Prakash, One Continuous Line: Art, Architecture and Urbanism of Aditya Prakash (Ahmedabad, India: Mapin Publishing Pvt. Ltd., 2019), 164-181. [2]Prakash, One Continuous Line, 169.
Niveau de description archivistique:
Project
Project
Date:
circa 1975-2003
circa 1975-2003
Personnes et institutions:
