Sink or Swim
What would a city look like if its infrastructure was waterproof, buoyant and–why not!–amphibious? Given the anticipated rise of sea level at a global scale, the connection between the city and water in all its iterations–oceans, rivers, canals, waterways–is subject to change in the coming years. Montreal will be the playground of this creative laboratory of prototypes(...)
February 2017 to March 2017
Sink or Swim
Actions:
Description:
What would a city look like if its infrastructure was waterproof, buoyant and–why not!–amphibious? Given the anticipated rise of sea level at a global scale, the connection between the city and water in all its iterations–oceans, rivers, canals, waterways–is subject to change in the coming years. Montreal will be the playground of this creative laboratory of prototypes(...)
A conversation between Jean-Philippe Vassal of Lacaton Vassal architects, Paris, France, and Giancarlo Mazzanti of Mazzanti Arquitectos, Bogotá, Colombia, moderated by CCA Director and Chief Curator Mirko Zardini. The 2011 edition considers the role of architectural interventions that address social issues through projects of various scales and typologies. Urgency series(...)
17 November 2011
Urgency 2011: Jean-Philippe Vassal and Giancarlo Mazzanti
Actions:
Description:
A conversation between Jean-Philippe Vassal of Lacaton Vassal architects, Paris, France, and Giancarlo Mazzanti of Mazzanti Arquitectos, Bogotá, Colombia, moderated by CCA Director and Chief Curator Mirko Zardini. The 2011 edition considers the role of architectural interventions that address social issues through projects of various scales and typologies. Urgency series(...)
Individuals act as their own historians, suppressing some stories and emphasizing others. But at the scale of nations and cultures, and especially in this age of ubiquitous digital memory, it has become more difficult to forget. Building on questions about history and its uses, raised by exhibitions like Educating Architects: Four Courses by Kenneth Frampton and Besides,(...)
Craig Hodgetts
29 March 2018
Come and Forget the Grid, with Craig Hodgetts
Actions:
Description:
Individuals act as their own historians, suppressing some stories and emphasizing others. But at the scale of nations and cultures, and especially in this age of ubiquitous digital memory, it has become more difficult to forget. Building on questions about history and its uses, raised by exhibitions like Educating Architects: Four Courses by Kenneth Frampton and Besides,(...)
Craig Hodgetts
Individuals act as their own historians, suppressing some stories and emphasizing others. But at the scale of nations and cultures, and especially in this age of ubiquitous digital memory, it has become more difficult to forget. Building on questions about history and its uses, raised by exhibitions like Educating Architects: Four Courses by Kenneth Frampton and Besides,(...)
Johannes Grenzfurthner
12 April 2018
Come and Forget the Counterculture, with Johannes Grenzfurthner
Actions:
Description:
Individuals act as their own historians, suppressing some stories and emphasizing others. But at the scale of nations and cultures, and especially in this age of ubiquitous digital memory, it has become more difficult to forget. Building on questions about history and its uses, raised by exhibitions like Educating Architects: Four Courses by Kenneth Frampton and Besides,(...)
Johannes Grenzfurthner
Individuals act as their own historians, suppressing some stories and emphasizing others. But at the scale of nations and cultures, and especially in this age of ubiquitous digital memory, it has become more difficult to forget. Building on questions about history and its uses, raised by exhibitions like Educating Architects: Four Courses by Kenneth Frampton and Besides,(...)
7 December 2017
Come and Forget the Internet, with Evgeny Morozov
Actions:
Description:
Individuals act as their own historians, suppressing some stories and emphasizing others. But at the scale of nations and cultures, and especially in this age of ubiquitous digital memory, it has become more difficult to forget. Building on questions about history and its uses, raised by exhibitions like Educating Architects: Four Courses by Kenneth Frampton and Besides,(...)
drawings
DR1987:0129:002
18th century
drawings
18th century
models
Maquette à grande échelle d'une coupe de mur, fabriquée par des étudiants de l'Université Laval
ARCH165839
models
drawings
ARCH174126
circa 1991-1992
drawings
circa 1991-1992
drawings
ARCH163829
1985
drawings
1985
archives
Level of archival description:
Fonds
Pierlucio Pellissier fonds
AP215
Synopsis:
Le fonds Pierlucio Pellissier, 1946-2020, documente les projets de conservation et de commissariat entrepris par Pierlucio Pellissier, architecte, conservateur et professeur, entre 1996 et 2003. Le fonds comprend des documents textuels et photographiques touchant à trois projets distincts : les restaurations de deux églises décorées par l’architecte et artiste Guido Nincheri (1885-1973), qui en assura également le design architectural, soit Sainte-Amélie à Baie-Comeau, Québec (1938-1939) et Notre-Dame-de-la-Défense, Montréal (1919), et le commissariat d’une exposition sur l’œuvre de Guido Nincheri tenue à Montréal en 2001. Le travail de conservation et de restauration des fresques de Nincheri, qui ornent les deux églises, forme la plus grande partie de la documentation, mettant en lumière la spécificité du médium et les problématiques de la conservation d’œuvres d’art à portée publique.
1946-2020
Pierlucio Pellissier fonds
Actions:
AP215
Synopsis:
Le fonds Pierlucio Pellissier, 1946-2020, documente les projets de conservation et de commissariat entrepris par Pierlucio Pellissier, architecte, conservateur et professeur, entre 1996 et 2003. Le fonds comprend des documents textuels et photographiques touchant à trois projets distincts : les restaurations de deux églises décorées par l’architecte et artiste Guido Nincheri (1885-1973), qui en assura également le design architectural, soit Sainte-Amélie à Baie-Comeau, Québec (1938-1939) et Notre-Dame-de-la-Défense, Montréal (1919), et le commissariat d’une exposition sur l’œuvre de Guido Nincheri tenue à Montréal en 2001. Le travail de conservation et de restauration des fresques de Nincheri, qui ornent les deux églises, forme la plus grande partie de la documentation, mettant en lumière la spécificité du médium et les problématiques de la conservation d’œuvres d’art à portée publique.
archives
Level of archival description:
Fonds
1946-2020