416 Results
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Reference number:
ARCH252128
Description:
Two lectures delivered by William Turnbull at the IAUS in New York both moderated by Robert A. Stern as part of the "Architecture 5" lectures series under the theme "New Modernism/Post Modernism." The lectures are entitled: "Opportunities for Inhabitation" and "Post Modernism: Towards a Definition."
ARCH252128
Description:
Two lectures delivered by William Turnbull at the IAUS in New York both moderated by Robert A. Stern as part of the "Architecture 5" lectures series under the theme "New Modernism/Post Modernism." The lectures are entitled: "Opportunities for Inhabitation" and "Post Modernism: Towards a Definition."
People:
Date:
1976-10-19, 1976-11-16
1976-10-19, 1976-11-16
Title:
Audio recording of two lectures by William Turnbull for the series Architecture 5 New Modernism/Post Modernism entitled: "Opportunities for Inhabitation" and "Post Modernism: Towards a Definition"
Actions:
ARCH252128
Description:
Two lectures delivered by William Turnbull at the IAUS in New York both moderated by Robert A. Stern as part of the "Architecture 5" lectures series under the theme "New Modernism/Post Modernism." The lectures are entitled: "Opportunities for Inhabitation" and "Post Modernism: Towards a Definition."
Audio recording of two lectures by William Turnbull for the series Architecture 5 New Modernism/Post Modernism entitled: "Opportunities for Inhabitation" and "Post Modernism: Towards a Definition"
Actions:
ARCH252128
Description:
Two lectures delivered by William Turnbull at the IAUS in New York both moderated by Robert A. Stern as part of the "Architecture 5" lectures series under the theme "New Modernism/Post Modernism." The lectures are entitled: "Opportunities for Inhabitation" and "Post Modernism: Towards a Definition."
Date:
1976-10-19, 1976-11-16
1976-10-19, 1976-11-16
People:
Actions:
Reference number:
ARCH252135
Description:
Two lectures delivered at the IAUS in New York, by Stuart Cohen ("The Fall From Grace: Moore, Hardy, Venture"), moderated by Robert A. Stern, and by William Turnbull ("Opportunities for Inhabitation"), as part of the IAUS lectures series "Architecture 5," under the theme "New Modernism/Post Modernism."
ARCH252135
Description:
Two lectures delivered at the IAUS in New York, by Stuart Cohen ("The Fall From Grace: Moore, Hardy, Venture"), moderated by Robert A. Stern, and by William Turnbull ("Opportunities for Inhabitation"), as part of the IAUS lectures series "Architecture 5," under the theme "New Modernism/Post Modernism."
People:
Date:
1976-10-12, 1976-10-19
1976-10-12, 1976-10-19
Title:
Audio recording of two lectures by Stuart Cohen for the series Architecture 5 New Modernism/Post Modernism, entitled: "The Fall From Grace: Moore, Hardy, Venture" and "Opportunities for Inhabitation"
Actions:
ARCH252135
Description:
Two lectures delivered at the IAUS in New York, by Stuart Cohen ("The Fall From Grace: Moore, Hardy, Venture"), moderated by Robert A. Stern, and by William Turnbull ("Opportunities for Inhabitation"), as part of the IAUS lectures series "Architecture 5," under the theme "New Modernism/Post Modernism."
Audio recording of two lectures by Stuart Cohen for the series Architecture 5 New Modernism/Post Modernism, entitled: "The Fall From Grace: Moore, Hardy, Venture" and "Opportunities for Inhabitation"
Actions:
ARCH252135
Description:
Two lectures delivered at the IAUS in New York, by Stuart Cohen ("The Fall From Grace: Moore, Hardy, Venture"), moderated by Robert A. Stern, and by William Turnbull ("Opportunities for Inhabitation"), as part of the IAUS lectures series "Architecture 5," under the theme "New Modernism/Post Modernism."
Date:
1976-10-12, 1976-10-19
1976-10-12, 1976-10-19
People:
Form:
drawings
drawings
Actions:
Reference number:
ARCH275755
ARCH275755
People:
Date:
September 2014
September 2014
Form:
drawings
drawings
Date:
September 2014
September 2014
People:
Form:
articles
articles
Issue:
Ideas of living
Ideas of living
Form:
exhibitions
exhibitions
Actions:
Description:
When the Canadian Centre for Architecture building was conceived and designed as an addition to the nineteenth-century Shaughnessy House, it also became an addition to the CCA’s extensive collection. Accordingly, the inaugural exhibitions in the new building in 1989 included a display on the Building and Gardens. The CCA, which plays an influential role in furthering(...)
When the Canadian Centre for Architecture building was conceived and designed as an addition to the nineteenth-century Shaughnessy House, it also became an addition to the CCA’s extensive collection. Accordingly, the inaugural exhibitions in the new building in 1989 included a display on the Building and Gardens. The CCA, which plays an influential role in furthering(...)
Location:
Hall cases
Hall cases
Date:
22 April 2015 to 30 November 2015
22 April 2015 to 30 November 2015
Title:
The CCA in Photographs, 1987–2015
Actions:
Description:
When the Canadian Centre for Architecture building was conceived and designed as an addition to the nineteenth-century Shaughnessy House, it also became an addition to the CCA’s extensive collection. Accordingly, the inaugural exhibitions in the new building in 1989 included a display on the Building and Gardens. The CCA, which plays an influential role in furthering(...)
The CCA in Photographs, 1987–2015
Actions:
Description:
When the Canadian Centre for Architecture building was conceived and designed as an addition to the nineteenth-century Shaughnessy House, it also became an addition to the CCA’s extensive collection. Accordingly, the inaugural exhibitions in the new building in 1989 included a display on the Building and Gardens. The CCA, which plays an influential role in furthering(...)
Form:
exhibitions
exhibitions
Date:
22 April 2015 to
30 November 2015
22 April 2015 to
30 November 2015
Location:
Hall cases
Hall cases
Level of archival description:
Project
Project
Actions:
Reference number:
AP207.S1.1986.PR01
Description:
The project series documents "Ombra", an installation presented for the first time at the Expo Arte of Galleria Speciale, in Bari, in 1986. It consists of an overcoat with flexible elements inserted in the lining of the fabric that form a structure to either create a seat for the wearer to sit on it or to stand on its own, if not worn. "So the multiplicity of roles, functions and subjects gives rise to an ambiguity, and a source of anxiety for he who, having conceived, made and “inhabited” it, perceives its more disquieting implications, those of an anomalous shadow, of another self that exists even in our absence." [1] The project series contains a sketch, photographs of the installation at the Galleria Speciale in 1986, a montage of film stills from Pettena's video explaining the installation, and digital versions of the installation film. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/inst-armchair-1986/ (last accessed 11 December 2019).
AP207.S1.1986.PR01
Description:
The project series documents "Ombra", an installation presented for the first time at the Expo Arte of Galleria Speciale, in Bari, in 1986. It consists of an overcoat with flexible elements inserted in the lining of the fabric that form a structure to either create a seat for the wearer to sit on it or to stand on its own, if not worn. "So the multiplicity of roles, functions and subjects gives rise to an ambiguity, and a source of anxiety for he who, having conceived, made and “inhabited” it, perceives its more disquieting implications, those of an anomalous shadow, of another self that exists even in our absence." [1] The project series contains a sketch, photographs of the installation at the Galleria Speciale in 1986, a montage of film stills from Pettena's video explaining the installation, and digital versions of the installation film. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/inst-armchair-1986/ (last accessed 11 December 2019).
People:
Date:
circa 1985-2015
circa 1985-2015
Title:
Ombra ["Shadow" Armchair] (1986)
Actions:
AP207.S1.1986.PR01
Description:
The project series documents "Ombra", an installation presented for the first time at the Expo Arte of Galleria Speciale, in Bari, in 1986. It consists of an overcoat with flexible elements inserted in the lining of the fabric that form a structure to either create a seat for the wearer to sit on it or to stand on its own, if not worn. "So the multiplicity of roles, functions and subjects gives rise to an ambiguity, and a source of anxiety for he who, having conceived, made and “inhabited” it, perceives its more disquieting implications, those of an anomalous shadow, of another self that exists even in our absence." [1] The project series contains a sketch, photographs of the installation at the Galleria Speciale in 1986, a montage of film stills from Pettena's video explaining the installation, and digital versions of the installation film. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/inst-armchair-1986/ (last accessed 11 December 2019).
Ombra ["Shadow" Armchair] (1986)
Actions:
AP207.S1.1986.PR01
Description:
The project series documents "Ombra", an installation presented for the first time at the Expo Arte of Galleria Speciale, in Bari, in 1986. It consists of an overcoat with flexible elements inserted in the lining of the fabric that form a structure to either create a seat for the wearer to sit on it or to stand on its own, if not worn. "So the multiplicity of roles, functions and subjects gives rise to an ambiguity, and a source of anxiety for he who, having conceived, made and “inhabited” it, perceives its more disquieting implications, those of an anomalous shadow, of another self that exists even in our absence." [1] The project series contains a sketch, photographs of the installation at the Galleria Speciale in 1986, a montage of film stills from Pettena's video explaining the installation, and digital versions of the installation film. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/inst-armchair-1986/ (last accessed 11 December 2019).
Level of archival description:
Project
Project
Date:
circa 1985-2015
circa 1985-2015
People:
Level of archival description:
Project
Project
Title:
Clay House (1972)
Clay House (1972)
Reference number:
AP207.S1.1972.PR02
Description:
The project series documents "Clay House", an installation undertaken by Pettena and a group of his students from the University of Utah, in Salt Lake City, in 1972. It consisted of covering an entire inhabited house with clay located in a middle-class neighbourhood of Salt Lake City. The installation "was another study on the “working” of material, or rather a statement on the re-naturalization of denatured places and materials [...]." It also transformed the house by changing its colour from the other houses in the area, "all devitalized by the anonymity as well as the uniformity of their coloring." [2] The project series contains photographs of the residence before being covered in clay, a photograph of Pettena's team working at covering the house with clay, photographs of the finished installation, and a photograph of the model. The project series also contains drawings for the installation, and a drawing showing four stages of the installation. Source: [1] [2] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/nat-clay-house-1972-1/ (last accessed 11 November 2019)
AP207.S1.1972.PR02
Description:
The project series documents "Clay House", an installation undertaken by Pettena and a group of his students from the University of Utah, in Salt Lake City, in 1972. It consisted of covering an entire inhabited house with clay located in a middle-class neighbourhood of Salt Lake City. The installation "was another study on the “working” of material, or rather a statement on the re-naturalization of denatured places and materials [...]." It also transformed the house by changing its colour from the other houses in the area, "all devitalized by the anonymity as well as the uniformity of their coloring." [2] The project series contains photographs of the residence before being covered in clay, a photograph of Pettena's team working at covering the house with clay, photographs of the finished installation, and a photograph of the model. The project series also contains drawings for the installation, and a drawing showing four stages of the installation. Source: [1] [2] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/nat-clay-house-1972-1/ (last accessed 11 November 2019)
People:
Date:
circa 1972-2016
circa 1972-2016
Title:
Clay House (1972)
Actions:
AP207.S1.1972.PR02
Description:
The project series documents "Clay House", an installation undertaken by Pettena and a group of his students from the University of Utah, in Salt Lake City, in 1972. It consisted of covering an entire inhabited house with clay located in a middle-class neighbourhood of Salt Lake City. The installation "was another study on the “working” of material, or rather a statement on the re-naturalization of denatured places and materials [...]." It also transformed the house by changing its colour from the other houses in the area, "all devitalized by the anonymity as well as the uniformity of their coloring." [2] The project series contains photographs of the residence before being covered in clay, a photograph of Pettena's team working at covering the house with clay, photographs of the finished installation, and a photograph of the model. The project series also contains drawings for the installation, and a drawing showing four stages of the installation. Source: [1] [2] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/nat-clay-house-1972-1/ (last accessed 11 November 2019)
Clay House (1972)
Actions:
AP207.S1.1972.PR02
Description:
The project series documents "Clay House", an installation undertaken by Pettena and a group of his students from the University of Utah, in Salt Lake City, in 1972. It consisted of covering an entire inhabited house with clay located in a middle-class neighbourhood of Salt Lake City. The installation "was another study on the “working” of material, or rather a statement on the re-naturalization of denatured places and materials [...]." It also transformed the house by changing its colour from the other houses in the area, "all devitalized by the anonymity as well as the uniformity of their coloring." [2] The project series contains photographs of the residence before being covered in clay, a photograph of Pettena's team working at covering the house with clay, photographs of the finished installation, and a photograph of the model. The project series also contains drawings for the installation, and a drawing showing four stages of the installation. Source: [1] [2] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/nat-clay-house-1972-1/ (last accessed 11 November 2019)
Level of archival description:
Project
Project
Date:
circa 1972-2016
circa 1972-2016
People:
Form:
exhibitions
exhibitions
Actions:
Description:
Rooms You May Have Missed reclaims the significance of inhabitation and is for that reason a collection of domestic spaces—entry porticos, kitchens, bedrooms, closets, dining rooms, courtyards, gardens, vestibules, living rooms, offices, dens, and washrooms—as reinvented in the work of two very different architects: Umberto Riva in Milan and Bijoy Jain in Mumbai. Common(...)
Rooms You May Have Missed reclaims the significance of inhabitation and is for that reason a collection of domestic spaces—entry porticos, kitchens, bedrooms, closets, dining rooms, courtyards, gardens, vestibules, living rooms, offices, dens, and washrooms—as reinvented in the work of two very different architects: Umberto Riva in Milan and Bijoy Jain in Mumbai. Common(...)
Location:
Main galleries
Main galleries
Date:
4 November 2014 to 19 April 2015
4 November 2014 to 19 April 2015
Title:
Rooms You May Have Missed
Actions:
Description:
Rooms You May Have Missed reclaims the significance of inhabitation and is for that reason a collection of domestic spaces—entry porticos, kitchens, bedrooms, closets, dining rooms, courtyards, gardens, vestibules, living rooms, offices, dens, and washrooms—as reinvented in the work of two very different architects: Umberto Riva in Milan and Bijoy Jain in Mumbai. Common(...)
Rooms You May Have Missed
Actions:
Description:
Rooms You May Have Missed reclaims the significance of inhabitation and is for that reason a collection of domestic spaces—entry porticos, kitchens, bedrooms, closets, dining rooms, courtyards, gardens, vestibules, living rooms, offices, dens, and washrooms—as reinvented in the work of two very different architects: Umberto Riva in Milan and Bijoy Jain in Mumbai. Common(...)
Form:
exhibitions
exhibitions
Date:
4 November 2014 to
19 April 2015
4 November 2014 to
19 April 2015
Location:
Main galleries
Main galleries
Form:
events
events
Title:
Building Knowledge
Building Knowledge
Actions:
Description:
This lecture discusses a range of projects from Anupama Kundoo’s practice, research, and teaching. In these distinct but complementary areas of her work, she attempts to build collective knowledge in collaboration with engineers, masons, craftsmen, infrastructure providers, residents, material suppliers, and all other stakeholders involved in constructing and occupying(...)
This lecture discusses a range of projects from Anupama Kundoo’s practice, research, and teaching. In these distinct but complementary areas of her work, she attempts to build collective knowledge in collaboration with engineers, masons, craftsmen, infrastructure providers, residents, material suppliers, and all other stakeholders involved in constructing and occupying(...)
Location:
Paul-Desmarais Theatre
Paul-Desmarais Theatre
Date:
16 April 2015 , 6pm
16 April 2015 , 6pm
Title:
Building Knowledge
Actions:
Description:
This lecture discusses a range of projects from Anupama Kundoo’s practice, research, and teaching. In these distinct but complementary areas of her work, she attempts to build collective knowledge in collaboration with engineers, masons, craftsmen, infrastructure providers, residents, material suppliers, and all other stakeholders involved in constructing and occupying(...)
Building Knowledge
Actions:
Description:
This lecture discusses a range of projects from Anupama Kundoo’s practice, research, and teaching. In these distinct but complementary areas of her work, she attempts to build collective knowledge in collaboration with engineers, masons, craftsmen, infrastructure providers, residents, material suppliers, and all other stakeholders involved in constructing and occupying(...)
Form:
events
events
Date:
16 April 2015
6pm
16 April 2015
6pm
Location:
Paul-Desmarais Theatre
Paul-Desmarais Theatre
Level of archival description:
Project
Project
Reference number:
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.
People:
Date:
1986-1988
1986-1988
Title:
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.
Level of archival description:
File 65
File 65
Date:
1986-1988
1986-1988
People:
