1030 Results
Form:
drawings
drawings
Title:
Sketch with notes for Fortezza da Basso, National Centre for Arts and Crafts, Florence, Italy
Sketch with notes for Fortezza da Basso, National Centre for Arts and Crafts, Florence, Italy
Actions:
Reference number:
ARCH400001
ARCH400001
People:
Date:
1967-1968
1967-1968
Form:
drawings
drawings
Date:
1967-1968
1967-1968
People:
Form:
drawings
drawings
Title:
Collage with notes for Fortezza da Basso, National Centre for Arts and Crafts, Florence, Italy
Collage with notes for Fortezza da Basso, National Centre for Arts and Crafts, Florence, Italy
Actions:
Reference number:
ARCH400000
ARCH400000
People:
Date:
1967-1968
1967-1968
Form:
drawings
drawings
Date:
1967-1968
1967-1968
People:
Form:
drawings
drawings
Actions:
Reference number:
ARCH400004
ARCH400004
People:
Date:
1967-1968
1967-1968
Form:
drawings
drawings
Date:
1967-1968
1967-1968
People:
Title:
Album on South Asian domestic architecture showing ornaments, crafts and trade advertisements
Album on South Asian domestic architecture showing ornaments, crafts and trade advertisements
Actions:
Reference number:
PH1979:0432
Description:
This album titled Indian Domestic Architecture, is by Lockwood de Forest and a combination architectural book and trade catalogue. It reflects de Forest's goal to ensure the preservation of the arts, crafts and trades (with a particular attention given to carving) of South Asian workmen. 25 heliotype plates show Indian architecture and ornaments and the final 14 pages show advertisements, in the Indian graphic style, for various New York building craftsmen and home furnishers. The album comprises a title page, an Introduction by Lockwood de Forest, a list of contents, plates by Heliotype Printing Co., Boston and engravings. Contents I. House at Ahmedabad, 16th century II. House at Ahmedabad, 17th century III. House at Ahmedabad, 18th century IV. Copy of one of the Bhudder windows at Ahmedabad, full size 7 ff. x 10 ft. made by Mr. de Forest's men and sold to the South Kensington Museum V. Copy of the second Bhudder window in Mr. De Forest's possession in New York. VI. Front of a house at Ajmere VII. Tomb of the time of Akbar, red sandstone VIII. Marble tracery in the palace, Delhi IX. Window of a house at Amritza X. Brass door at Amritza XI. Front of a house at Lahore XII. Front of a house at Lahore XIII. Front of a house at Lahore XIV. Doorway of house, red sandstone, Multan XV. Front of a house at Multan XVI. Door of house, Multan XVII. Window of tomb in tile at Multan XVIII. Doorway of house, red sandstone, Multan XIX. Mr. De Forest's rooms, 9 East 17th Street, New York XX. Mr. De Forest's rooms, 9 East 17th Street, New York XXI. Door of a house at Ahmedabad, 19th century XXII. House at Ahmedabad, early 17th century XXIII. Window of a house at Lahore XXIV. Tomb of Ala-Ud-Din Khilji, old Delhi XXV. Marble Gateway of a tomb at Gualior
PH1979:0432
Description:
This album titled Indian Domestic Architecture, is by Lockwood de Forest and a combination architectural book and trade catalogue. It reflects de Forest's goal to ensure the preservation of the arts, crafts and trades (with a particular attention given to carving) of South Asian workmen. 25 heliotype plates show Indian architecture and ornaments and the final 14 pages show advertisements, in the Indian graphic style, for various New York building craftsmen and home furnishers. The album comprises a title page, an Introduction by Lockwood de Forest, a list of contents, plates by Heliotype Printing Co., Boston and engravings. Contents I. House at Ahmedabad, 16th century II. House at Ahmedabad, 17th century III. House at Ahmedabad, 18th century IV. Copy of one of the Bhudder windows at Ahmedabad, full size 7 ff. x 10 ft. made by Mr. de Forest's men and sold to the South Kensington Museum V. Copy of the second Bhudder window in Mr. De Forest's possession in New York. VI. Front of a house at Ajmere VII. Tomb of the time of Akbar, red sandstone VIII. Marble tracery in the palace, Delhi IX. Window of a house at Amritza X. Brass door at Amritza XI. Front of a house at Lahore XII. Front of a house at Lahore XIII. Front of a house at Lahore XIV. Doorway of house, red sandstone, Multan XV. Front of a house at Multan XVI. Door of house, Multan XVII. Window of tomb in tile at Multan XVIII. Doorway of house, red sandstone, Multan XIX. Mr. De Forest's rooms, 9 East 17th Street, New York XX. Mr. De Forest's rooms, 9 East 17th Street, New York XXI. Door of a house at Ahmedabad, 19th century XXII. House at Ahmedabad, early 17th century XXIII. Window of a house at Lahore XXIV. Tomb of Ala-Ud-Din Khilji, old Delhi XXV. Marble Gateway of a tomb at Gualior
People:
Subject:
architecture, ornament
architecture, ornament
Date:
1885
1885
Title:
Album on South Asian domestic architecture showing ornaments, crafts and trade advertisements
Actions:
PH1979:0432
Description:
This album titled Indian Domestic Architecture, is by Lockwood de Forest and a combination architectural book and trade catalogue. It reflects de Forest's goal to ensure the preservation of the arts, crafts and trades (with a particular attention given to carving) of South Asian workmen. 25 heliotype plates show Indian architecture and ornaments and the final 14 pages show advertisements, in the Indian graphic style, for various New York building craftsmen and home furnishers. The album comprises a title page, an Introduction by Lockwood de Forest, a list of contents, plates by Heliotype Printing Co., Boston and engravings. Contents I. House at Ahmedabad, 16th century II. House at Ahmedabad, 17th century III. House at Ahmedabad, 18th century IV. Copy of one of the Bhudder windows at Ahmedabad, full size 7 ff. x 10 ft. made by Mr. de Forest's men and sold to the South Kensington Museum V. Copy of the second Bhudder window in Mr. De Forest's possession in New York. VI. Front of a house at Ajmere VII. Tomb of the time of Akbar, red sandstone VIII. Marble tracery in the palace, Delhi IX. Window of a house at Amritza X. Brass door at Amritza XI. Front of a house at Lahore XII. Front of a house at Lahore XIII. Front of a house at Lahore XIV. Doorway of house, red sandstone, Multan XV. Front of a house at Multan XVI. Door of house, Multan XVII. Window of tomb in tile at Multan XVIII. Doorway of house, red sandstone, Multan XIX. Mr. De Forest's rooms, 9 East 17th Street, New York XX. Mr. De Forest's rooms, 9 East 17th Street, New York XXI. Door of a house at Ahmedabad, 19th century XXII. House at Ahmedabad, early 17th century XXIII. Window of a house at Lahore XXIV. Tomb of Ala-Ud-Din Khilji, old Delhi XXV. Marble Gateway of a tomb at Gualior
Album on South Asian domestic architecture showing ornaments, crafts and trade advertisements
Actions:
PH1979:0432
Description:
This album titled Indian Domestic Architecture, is by Lockwood de Forest and a combination architectural book and trade catalogue. It reflects de Forest's goal to ensure the preservation of the arts, crafts and trades (with a particular attention given to carving) of South Asian workmen. 25 heliotype plates show Indian architecture and ornaments and the final 14 pages show advertisements, in the Indian graphic style, for various New York building craftsmen and home furnishers. The album comprises a title page, an Introduction by Lockwood de Forest, a list of contents, plates by Heliotype Printing Co., Boston and engravings. Contents I. House at Ahmedabad, 16th century II. House at Ahmedabad, 17th century III. House at Ahmedabad, 18th century IV. Copy of one of the Bhudder windows at Ahmedabad, full size 7 ff. x 10 ft. made by Mr. de Forest's men and sold to the South Kensington Museum V. Copy of the second Bhudder window in Mr. De Forest's possession in New York. VI. Front of a house at Ajmere VII. Tomb of the time of Akbar, red sandstone VIII. Marble tracery in the palace, Delhi IX. Window of a house at Amritza X. Brass door at Amritza XI. Front of a house at Lahore XII. Front of a house at Lahore XIII. Front of a house at Lahore XIV. Doorway of house, red sandstone, Multan XV. Front of a house at Multan XVI. Door of house, Multan XVII. Window of tomb in tile at Multan XVIII. Doorway of house, red sandstone, Multan XIX. Mr. De Forest's rooms, 9 East 17th Street, New York XX. Mr. De Forest's rooms, 9 East 17th Street, New York XXI. Door of a house at Ahmedabad, 19th century XXII. House at Ahmedabad, early 17th century XXIII. Window of a house at Lahore XXIV. Tomb of Ala-Ud-Din Khilji, old Delhi XXV. Marble Gateway of a tomb at Gualior
Date:
1885
1885
People:
Subject:
architecture, ornament
architecture, ornament
Form:
articles
articles
Title:
Direct from Nature
Direct from Nature
Actions:
Issue:
Nature reorganized
Nature reorganized
Keyword(s):
Allemagne, Arts and Crafts, Arts et artisanats, Germany, ornament, ornement, photographie, photography, plant, Walter Benjamin
Allemagne, Arts and Crafts, Arts et artisanats, Germany, ornament, ornement, photographie, photography, plant, Walter Benjamin
Published:
22 January 2010
22 January 2010
Issue:
Nature reorganized
Nature reorganized
Form:
textual records
textual records
Actions:
Reference number:
ARCH255531
Description:
19 art magazines and gallery brochures - General Idea, Inuit Art and Crafts, Jerry Pethick, Sculpture in the Parks of the Nation's Capital, The Idea of North, Ippilie Oshoweetok, Uumajut: Animal Imagery in Inuit Art, fiction from The Art Gallery of Ontario, Arctic Vision: Art of the Canadian Inuit, About Arts and Crafts, Art Bank Catalogue, Azure, Canadian Art, Culture's Nature, En Route.
ARCH255531
Description:
19 art magazines and gallery brochures - General Idea, Inuit Art and Crafts, Jerry Pethick, Sculpture in the Parks of the Nation's Capital, The Idea of North, Ippilie Oshoweetok, Uumajut: Animal Imagery in Inuit Art, fiction from The Art Gallery of Ontario, Arctic Vision: Art of the Canadian Inuit, About Arts and Crafts, Art Bank Catalogue, Azure, Canadian Art, Culture's Nature, En Route.
People:
Date:
1981-1988
1981-1988
Title:
Art magazines and gallery brochures
Actions:
ARCH255531
Description:
19 art magazines and gallery brochures - General Idea, Inuit Art and Crafts, Jerry Pethick, Sculpture in the Parks of the Nation's Capital, The Idea of North, Ippilie Oshoweetok, Uumajut: Animal Imagery in Inuit Art, fiction from The Art Gallery of Ontario, Arctic Vision: Art of the Canadian Inuit, About Arts and Crafts, Art Bank Catalogue, Azure, Canadian Art, Culture's Nature, En Route.
Art magazines and gallery brochures
Actions:
ARCH255531
Description:
19 art magazines and gallery brochures - General Idea, Inuit Art and Crafts, Jerry Pethick, Sculpture in the Parks of the Nation's Capital, The Idea of North, Ippilie Oshoweetok, Uumajut: Animal Imagery in Inuit Art, fiction from The Art Gallery of Ontario, Arctic Vision: Art of the Canadian Inuit, About Arts and Crafts, Art Bank Catalogue, Azure, Canadian Art, Culture's Nature, En Route.
Form:
textual records
textual records
Date:
1981-1988
1981-1988
People:
Form:
textual records
textual records
Reference number:
AP206.S2.056
Description:
File was originally housed in a binder along with content arranged in AP206.S2.057, AP206.S2.058 and AP206.S2.059. This file includes the following papers: "The Courtyard," 1982 "The Cantilever," 1982 "Some Home Truths," 1982 "Czech Graphics," newspaper article, 1982 "City Garbageful," newspaper article, 1982 "Space? Sea? and Surrealism," 1982 "A Report on the Visits by the Visiting Boards of the Commonwealth Association of Architects" "54th Annual All India Art Exhibition 1982 of the All India Fine Arts and Crafts Society, New Delhi comes to Chandigarh in the Govt. Museum," 1982
AP206.S2.056
Description:
File was originally housed in a binder along with content arranged in AP206.S2.057, AP206.S2.058 and AP206.S2.059. This file includes the following papers: "The Courtyard," 1982 "The Cantilever," 1982 "Some Home Truths," 1982 "Czech Graphics," newspaper article, 1982 "City Garbageful," newspaper article, 1982 "Space? Sea? and Surrealism," 1982 "A Report on the Visits by the Visiting Boards of the Commonwealth Association of Architects" "54th Annual All India Art Exhibition 1982 of the All India Fine Arts and Crafts Society, New Delhi comes to Chandigarh in the Govt. Museum," 1982
People:
Date:
1982-1985
1982-1985
Title:
Published and unpublished papers (folder 1 of 4)
Actions:
AP206.S2.056
Description:
File was originally housed in a binder along with content arranged in AP206.S2.057, AP206.S2.058 and AP206.S2.059. This file includes the following papers: "The Courtyard," 1982 "The Cantilever," 1982 "Some Home Truths," 1982 "Czech Graphics," newspaper article, 1982 "City Garbageful," newspaper article, 1982 "Space? Sea? and Surrealism," 1982 "A Report on the Visits by the Visiting Boards of the Commonwealth Association of Architects" "54th Annual All India Art Exhibition 1982 of the All India Fine Arts and Crafts Society, New Delhi comes to Chandigarh in the Govt. Museum," 1982
Published and unpublished papers (folder 1 of 4)
Actions:
AP206.S2.056
Description:
File was originally housed in a binder along with content arranged in AP206.S2.057, AP206.S2.058 and AP206.S2.059. This file includes the following papers: "The Courtyard," 1982 "The Cantilever," 1982 "Some Home Truths," 1982 "Czech Graphics," newspaper article, 1982 "City Garbageful," newspaper article, 1982 "Space? Sea? and Surrealism," 1982 "A Report on the Visits by the Visiting Boards of the Commonwealth Association of Architects" "54th Annual All India Art Exhibition 1982 of the All India Fine Arts and Crafts Society, New Delhi comes to Chandigarh in the Govt. Museum," 1982
Form:
textual records
textual records
Date:
1982-1985
1982-1985
People:
Level of archival description:
Series
Series
Actions:
Reference number:
AP193.S2
Description:
Series 2, I’ve heard about and Hypnosis chamber, 2004-2006, relates to the conception of the urban structure “I’ve heard about”. The records contain algorithmically-generated images, renderings, pictures of models and exhibitions. There are also photographs of the contour crafting process, 3D models and animated renderings illustrating the construction process of the structure. The project is a conceptual, unbuilt project that is meant to be a habitable organism, an adaptive landscape in a constant state of evolution. By means of transitory scenarios in which the operational mode is entropy and uncertainty, it develops open algorithms based on growth scripts permeable not only to human expressions, but also to the most discrete data such as the chemical emissions (for example due to stress or anxiety) of those who inhabit it. The chemical information is harvested through nanoreceptors feeding the VIAB machine with information. This biostructure becomes the visible part of human contingencies and their negotiation in real time. The structure is conceptualized to be in constant construction through the VIAB machine which is also a constituent of the structure itself. It secretes fiber cement, shaping the landscape where it is located and through which it moves. It generates the reticular structure using a process modelled on contour crafting. The VIAB machine was developed with Robotics Research Lab of the University of Southern California and takes its name from the terms viability and variability. R&Sie(n) considers that due to its mode of emergence “I’ve heard about” fabrication is not subjugated to any political power. Hypnosis chamber is a component of “I’ve heard about”. It consists of an indoor chamber, which was realized as a full-scale sample constructed through automated machinery. The chamber is situated as a part of the whole urban structure presented by “I’ve heard about,” and its goal is to immerse the audience into the project, into a fictional environment only reachable by hypnosis. In this context, hypnosis is a way to help citizens escape from their social condition and experience the new condition of citizenship imagined in “I’ve heard about”, where democracy is re-evaluated as a process of self-determination. Both parts of the projects were shown in contemporary art museums. First at Musée d’art de la ville de Paris in Paris (2005), the Hypnotic chamber is permanently on view at Towada Art Center in Towanda, Japan. AP193.S4 contains a video orienting the project into François Roche theoretical stance, research as speculation, that can be summarize as the use of technological tools to take a critical and political position through esthetic in order to open new lines of thoughts. AP193.S4 contains an updated version of the VIAB machine
AP193.S2
Description:
Series 2, I’ve heard about and Hypnosis chamber, 2004-2006, relates to the conception of the urban structure “I’ve heard about”. The records contain algorithmically-generated images, renderings, pictures of models and exhibitions. There are also photographs of the contour crafting process, 3D models and animated renderings illustrating the construction process of the structure. The project is a conceptual, unbuilt project that is meant to be a habitable organism, an adaptive landscape in a constant state of evolution. By means of transitory scenarios in which the operational mode is entropy and uncertainty, it develops open algorithms based on growth scripts permeable not only to human expressions, but also to the most discrete data such as the chemical emissions (for example due to stress or anxiety) of those who inhabit it. The chemical information is harvested through nanoreceptors feeding the VIAB machine with information. This biostructure becomes the visible part of human contingencies and their negotiation in real time. The structure is conceptualized to be in constant construction through the VIAB machine which is also a constituent of the structure itself. It secretes fiber cement, shaping the landscape where it is located and through which it moves. It generates the reticular structure using a process modelled on contour crafting. The VIAB machine was developed with Robotics Research Lab of the University of Southern California and takes its name from the terms viability and variability. R&Sie(n) considers that due to its mode of emergence “I’ve heard about” fabrication is not subjugated to any political power. Hypnosis chamber is a component of “I’ve heard about”. It consists of an indoor chamber, which was realized as a full-scale sample constructed through automated machinery. The chamber is situated as a part of the whole urban structure presented by “I’ve heard about,” and its goal is to immerse the audience into the project, into a fictional environment only reachable by hypnosis. In this context, hypnosis is a way to help citizens escape from their social condition and experience the new condition of citizenship imagined in “I’ve heard about”, where democracy is re-evaluated as a process of self-determination. Both parts of the projects were shown in contemporary art museums. First at Musée d’art de la ville de Paris in Paris (2005), the Hypnotic chamber is permanently on view at Towada Art Center in Towanda, Japan. AP193.S4 contains a video orienting the project into François Roche theoretical stance, research as speculation, that can be summarize as the use of technological tools to take a critical and political position through esthetic in order to open new lines of thoughts. AP193.S4 contains an updated version of the VIAB machine
People:
Date:
2004-2006
2004-2006
Title:
I’ve heard about and Hypnosis chamber
Actions:
AP193.S2
Description:
Series 2, I’ve heard about and Hypnosis chamber, 2004-2006, relates to the conception of the urban structure “I’ve heard about”. The records contain algorithmically-generated images, renderings, pictures of models and exhibitions. There are also photographs of the contour crafting process, 3D models and animated renderings illustrating the construction process of the structure. The project is a conceptual, unbuilt project that is meant to be a habitable organism, an adaptive landscape in a constant state of evolution. By means of transitory scenarios in which the operational mode is entropy and uncertainty, it develops open algorithms based on growth scripts permeable not only to human expressions, but also to the most discrete data such as the chemical emissions (for example due to stress or anxiety) of those who inhabit it. The chemical information is harvested through nanoreceptors feeding the VIAB machine with information. This biostructure becomes the visible part of human contingencies and their negotiation in real time. The structure is conceptualized to be in constant construction through the VIAB machine which is also a constituent of the structure itself. It secretes fiber cement, shaping the landscape where it is located and through which it moves. It generates the reticular structure using a process modelled on contour crafting. The VIAB machine was developed with Robotics Research Lab of the University of Southern California and takes its name from the terms viability and variability. R&Sie(n) considers that due to its mode of emergence “I’ve heard about” fabrication is not subjugated to any political power. Hypnosis chamber is a component of “I’ve heard about”. It consists of an indoor chamber, which was realized as a full-scale sample constructed through automated machinery. The chamber is situated as a part of the whole urban structure presented by “I’ve heard about,” and its goal is to immerse the audience into the project, into a fictional environment only reachable by hypnosis. In this context, hypnosis is a way to help citizens escape from their social condition and experience the new condition of citizenship imagined in “I’ve heard about”, where democracy is re-evaluated as a process of self-determination. Both parts of the projects were shown in contemporary art museums. First at Musée d’art de la ville de Paris in Paris (2005), the Hypnotic chamber is permanently on view at Towada Art Center in Towanda, Japan. AP193.S4 contains a video orienting the project into François Roche theoretical stance, research as speculation, that can be summarize as the use of technological tools to take a critical and political position through esthetic in order to open new lines of thoughts. AP193.S4 contains an updated version of the VIAB machine
I’ve heard about and Hypnosis chamber
Actions:
AP193.S2
Description:
Series 2, I’ve heard about and Hypnosis chamber, 2004-2006, relates to the conception of the urban structure “I’ve heard about”. The records contain algorithmically-generated images, renderings, pictures of models and exhibitions. There are also photographs of the contour crafting process, 3D models and animated renderings illustrating the construction process of the structure. The project is a conceptual, unbuilt project that is meant to be a habitable organism, an adaptive landscape in a constant state of evolution. By means of transitory scenarios in which the operational mode is entropy and uncertainty, it develops open algorithms based on growth scripts permeable not only to human expressions, but also to the most discrete data such as the chemical emissions (for example due to stress or anxiety) of those who inhabit it. The chemical information is harvested through nanoreceptors feeding the VIAB machine with information. This biostructure becomes the visible part of human contingencies and their negotiation in real time. The structure is conceptualized to be in constant construction through the VIAB machine which is also a constituent of the structure itself. It secretes fiber cement, shaping the landscape where it is located and through which it moves. It generates the reticular structure using a process modelled on contour crafting. The VIAB machine was developed with Robotics Research Lab of the University of Southern California and takes its name from the terms viability and variability. R&Sie(n) considers that due to its mode of emergence “I’ve heard about” fabrication is not subjugated to any political power. Hypnosis chamber is a component of “I’ve heard about”. It consists of an indoor chamber, which was realized as a full-scale sample constructed through automated machinery. The chamber is situated as a part of the whole urban structure presented by “I’ve heard about,” and its goal is to immerse the audience into the project, into a fictional environment only reachable by hypnosis. In this context, hypnosis is a way to help citizens escape from their social condition and experience the new condition of citizenship imagined in “I’ve heard about”, where democracy is re-evaluated as a process of self-determination. Both parts of the projects were shown in contemporary art museums. First at Musée d’art de la ville de Paris in Paris (2005), the Hypnotic chamber is permanently on view at Towada Art Center in Towanda, Japan. AP193.S4 contains a video orienting the project into François Roche theoretical stance, research as speculation, that can be summarize as the use of technological tools to take a critical and political position through esthetic in order to open new lines of thoughts. AP193.S4 contains an updated version of the VIAB machine
Level of archival description:
Series
Series
Date:
2004-2006
2004-2006
People:
Form:
drawings
drawings
Actions:
Reference number:
DR1978:0014:005
Description:
- A student project for an ornate lakeside pavilion described in elevation, plan, and section. The pavilion, a richly decorated aedicular structure surmounted by a tall, mansard cupola, stands on a rusticated stone terrace connected to the shore by a double flight of stairs. Docking facilities for pleasure craft are housed within the terrace and are connected with the pavilion above by curved internal stairs. At the corners on one side of the terrace are two jets of water rising to the height of the pavilion's pediments.
DR1978:0014:005
Description:
- A student project for an ornate lakeside pavilion described in elevation, plan, and section. The pavilion, a richly decorated aedicular structure surmounted by a tall, mansard cupola, stands on a rusticated stone terrace connected to the shore by a double flight of stairs. Docking facilities for pleasure craft are housed within the terrace and are connected with the pavilion above by curved internal stairs. At the corners on one side of the terrace are two jets of water rising to the height of the pavilion's pediments.
People:
Subject:
architecture
architecture
Date:
1884
1884
Title:
Student project for a lakeside pavilion
Actions:
DR1978:0014:005
Description:
- A student project for an ornate lakeside pavilion described in elevation, plan, and section. The pavilion, a richly decorated aedicular structure surmounted by a tall, mansard cupola, stands on a rusticated stone terrace connected to the shore by a double flight of stairs. Docking facilities for pleasure craft are housed within the terrace and are connected with the pavilion above by curved internal stairs. At the corners on one side of the terrace are two jets of water rising to the height of the pavilion's pediments.
Student project for a lakeside pavilion
Actions:
DR1978:0014:005
Description:
- A student project for an ornate lakeside pavilion described in elevation, plan, and section. The pavilion, a richly decorated aedicular structure surmounted by a tall, mansard cupola, stands on a rusticated stone terrace connected to the shore by a double flight of stairs. Docking facilities for pleasure craft are housed within the terrace and are connected with the pavilion above by curved internal stairs. At the corners on one side of the terrace are two jets of water rising to the height of the pavilion's pediments.
Form:
drawings
drawings
Date:
1884
1884
People:
Subject:
architecture
architecture
Level of archival description:
Project
Project
Actions:
Reference number:
AP206.S1.1963.PR01
Description:
This project series documents the Punjab Agricultural University in Ludhiana, India from 1963-1968. With Prakash as the senior architect, this project consisted of the design of the entire campus, including the boys' hostel and mess, and the Agricultural Engineering College (AEC). Under this project, Prakash also designed campuses for the University in Hisar and Palampur. The boys' hostel, constructed first, consisted of a long, rectangular volume of exposed brick and concrete columns. Balconies lined its exterior, alternating on each floor so that every balcony had a view of the sky above. A covered walkway connected the hostel to the square mess, which was turned 45 degrees on its axis. The AEC, the campus's main building, was a long, single-storey building with a series of enclosed courtyards. Round exhaust openings were the only element that marked the building's façade. Prakash, developing his love of sculpture at this time, also crafted a large outdoor sculpture for the campus's main courtyard.[1] This project is recorded through a reprographic copy of a plan of the boys' hostel dating from around 1963. [1]Vikramaditya Prakash, One Continuous Line: Art, Architecture and Urbanism of Aditya Prakash (Ahmedabad, India: Mapin Publishing Pvt. Ltd., 2019), 107-132.
AP206.S1.1963.PR01
Description:
This project series documents the Punjab Agricultural University in Ludhiana, India from 1963-1968. With Prakash as the senior architect, this project consisted of the design of the entire campus, including the boys' hostel and mess, and the Agricultural Engineering College (AEC). Under this project, Prakash also designed campuses for the University in Hisar and Palampur. The boys' hostel, constructed first, consisted of a long, rectangular volume of exposed brick and concrete columns. Balconies lined its exterior, alternating on each floor so that every balcony had a view of the sky above. A covered walkway connected the hostel to the square mess, which was turned 45 degrees on its axis. The AEC, the campus's main building, was a long, single-storey building with a series of enclosed courtyards. Round exhaust openings were the only element that marked the building's façade. Prakash, developing his love of sculpture at this time, also crafted a large outdoor sculpture for the campus's main courtyard.[1] This project is recorded through a reprographic copy of a plan of the boys' hostel dating from around 1963. [1]Vikramaditya Prakash, One Continuous Line: Art, Architecture and Urbanism of Aditya Prakash (Ahmedabad, India: Mapin Publishing Pvt. Ltd., 2019), 107-132.
People:
Date:
circa 1963
circa 1963
Title:
Punjab Agricultural University, Ludhiana, India (1963-1968)
Actions:
AP206.S1.1963.PR01
Description:
This project series documents the Punjab Agricultural University in Ludhiana, India from 1963-1968. With Prakash as the senior architect, this project consisted of the design of the entire campus, including the boys' hostel and mess, and the Agricultural Engineering College (AEC). Under this project, Prakash also designed campuses for the University in Hisar and Palampur. The boys' hostel, constructed first, consisted of a long, rectangular volume of exposed brick and concrete columns. Balconies lined its exterior, alternating on each floor so that every balcony had a view of the sky above. A covered walkway connected the hostel to the square mess, which was turned 45 degrees on its axis. The AEC, the campus's main building, was a long, single-storey building with a series of enclosed courtyards. Round exhaust openings were the only element that marked the building's façade. Prakash, developing his love of sculpture at this time, also crafted a large outdoor sculpture for the campus's main courtyard.[1] This project is recorded through a reprographic copy of a plan of the boys' hostel dating from around 1963. [1]Vikramaditya Prakash, One Continuous Line: Art, Architecture and Urbanism of Aditya Prakash (Ahmedabad, India: Mapin Publishing Pvt. Ltd., 2019), 107-132.
Punjab Agricultural University, Ludhiana, India (1963-1968)
Actions:
AP206.S1.1963.PR01
Description:
This project series documents the Punjab Agricultural University in Ludhiana, India from 1963-1968. With Prakash as the senior architect, this project consisted of the design of the entire campus, including the boys' hostel and mess, and the Agricultural Engineering College (AEC). Under this project, Prakash also designed campuses for the University in Hisar and Palampur. The boys' hostel, constructed first, consisted of a long, rectangular volume of exposed brick and concrete columns. Balconies lined its exterior, alternating on each floor so that every balcony had a view of the sky above. A covered walkway connected the hostel to the square mess, which was turned 45 degrees on its axis. The AEC, the campus's main building, was a long, single-storey building with a series of enclosed courtyards. Round exhaust openings were the only element that marked the building's façade. Prakash, developing his love of sculpture at this time, also crafted a large outdoor sculpture for the campus's main courtyard.[1] This project is recorded through a reprographic copy of a plan of the boys' hostel dating from around 1963. [1]Vikramaditya Prakash, One Continuous Line: Art, Architecture and Urbanism of Aditya Prakash (Ahmedabad, India: Mapin Publishing Pvt. Ltd., 2019), 107-132.
Level of archival description:
Project
Project
Date:
circa 1963
circa 1963
People:
