5651 Résultats
Classification:
expositions
expositions
Actions:
Description:
En 1929, Ilse Bing fait l’acquisition d’un Leica et entame une carrière de photographe qui l’emmène de Francfort à New York, en passant par Paris. À Francfort, l’architecte et urbaniste Mart Stam lui commande le recensement photographique des édifices modernes de la ville, parmi lesquels le complexe d’habitations Henry et Emma Budge-Heim, composé de blocs H. Bâti selon(...)
En 1929, Ilse Bing fait l’acquisition d’un Leica et entame une carrière de photographe qui l’emmène de Francfort à New York, en passant par Paris. À Francfort, l’architecte et urbaniste Mart Stam lui commande le recensement photographique des édifices modernes de la ville, parmi lesquels le complexe d’habitations Henry et Emma Budge-Heim, composé de blocs H. Bâti selon(...)
Localisation:
Vitrines
Vitrines
Date:
5 septembre 2013 au 5 décembre 2013
5 septembre 2013 au 5 décembre 2013
Titre:
BLOC H : Logement social – Ilse Bing
Actions:
Description:
En 1929, Ilse Bing fait l’acquisition d’un Leica et entame une carrière de photographe qui l’emmène de Francfort à New York, en passant par Paris. À Francfort, l’architecte et urbaniste Mart Stam lui commande le recensement photographique des édifices modernes de la ville, parmi lesquels le complexe d’habitations Henry et Emma Budge-Heim, composé de blocs H. Bâti selon(...)
BLOC H : Logement social – Ilse Bing
Actions:
Description:
En 1929, Ilse Bing fait l’acquisition d’un Leica et entame une carrière de photographe qui l’emmène de Francfort à New York, en passant par Paris. À Francfort, l’architecte et urbaniste Mart Stam lui commande le recensement photographique des édifices modernes de la ville, parmi lesquels le complexe d’habitations Henry et Emma Budge-Heim, composé de blocs H. Bâti selon(...)
Classification:
expositions
expositions
Date:
5 septembre 2013 au
5 décembre 2013
5 septembre 2013 au
5 décembre 2013
Localisation:
Vitrines
Vitrines
Niveau de description archivistique:
Série(s)
Série(s)
Numéro de référence:
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
Personnes et institutions:
Date:
2004-2006
2004-2006
Titre:
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
Niveau de description archivistique:
Series
Series
Date:
2004-2006
2004-2006
Personnes et institutions:
Classification:
recherche
recherche
Description:
En sélectionnant et en interprètant les documents du fonds John C. Parkin au CCA, Shirley Blumberg dresse le portrait de l’un des acteurs clés de la modernisation des villes canadiennes des années 1950 et 1960 et explore le pouvoir de la photographie et des techniques publicitaires pour la promotion de la vision d’une pratique corporative durant cette période.
En sélectionnant et en interprètant les documents du fonds John C. Parkin au CCA, Shirley Blumberg dresse le portrait de l’un des acteurs clés de la modernisation des villes canadiennes des années 1950 et 1960 et explore le pouvoir de la photographie et des techniques publicitaires pour la promotion de la vision d’une pratique corporative durant cette période.
Date:
avril 2022
avril 2022
Titre:
Chercher et raconter : Shirley Blumberg sur John C. Parkin
Actions:
Description:
En sélectionnant et en interprètant les documents du fonds John C. Parkin au CCA, Shirley Blumberg dresse le portrait de l’un des acteurs clés de la modernisation des villes canadiennes des années 1950 et 1960 et explore le pouvoir de la photographie et des techniques publicitaires pour la promotion de la vision d’une pratique corporative durant cette période.
Chercher et raconter : Shirley Blumberg sur John C. Parkin
Actions:
Description:
En sélectionnant et en interprètant les documents du fonds John C. Parkin au CCA, Shirley Blumberg dresse le portrait de l’un des acteurs clés de la modernisation des villes canadiennes des années 1950 et 1960 et explore le pouvoir de la photographie et des techniques publicitaires pour la promotion de la vision d’une pratique corporative durant cette période.
Classification:
recherche
recherche
Date:
avril 2022
avril 2022
Classification:
articles
articles
Titre:
Les pionniers de Bijlmermeer
Les pionniers de Bijlmermeer
Actions:
Dossier:
Comment s’approprier la ville
Comment s’approprier la ville
Mot(s)-clé(s):
Bijlmermeer, Trajets : Comment la mobilité des fruits, des idées et des architectures recompose notre environnement
Bijlmermeer, Trajets : Comment la mobilité des fruits, des idées et des architectures recompose notre environnement
Publié:
30 avril 2016
30 avril 2016
Dossier:
Comment s’approprier la ville
Comment s’approprier la ville
Classification:
articles
articles
Titre:
Vers un urbanisme sensoriel
Vers un urbanisme sensoriel
Actions:
Texte de Mirko Zardini
Dossier:
Autres sens, autres espaces
Autres sens, autres espaces
Classification:
archives
Niveau de description archivistique:
Fonds
archives
Niveau de description archivistique:
Fonds
Titre:
Fonds Milton Parc
Fonds Milton Parc
Numéro de référence:
AP025
Résumé:
The Milton Parc fonds, 1969 – 1989, documents the Société du patrimoine urbaine de Montréal’s (SPUM) planning, design and renovation of Montreal’s historic Milton Parc neighbourhood. Recognized as one of the largest co-operative rehabilitation projects completed in Canada, the Milton Parc housing project (1979-1982) renovated over 135 historic buildings and 597 dwelling units within Milton Parc’s 6-block radius. The fonds consists of the following materials: approximately 600 drawings, 85 l.m. of textual records, 0.6 l.m. of slides, 0.6 l.m.of photographs, 8 posters, 3 seals, 2 models, 2 rubber stamps, and 2 audio cassettes.
AP025
Résumé:
The Milton Parc fonds, 1969 – 1989, documents the Société du patrimoine urbaine de Montréal’s (SPUM) planning, design and renovation of Montreal’s historic Milton Parc neighbourhood. Recognized as one of the largest co-operative rehabilitation projects completed in Canada, the Milton Parc housing project (1979-1982) renovated over 135 historic buildings and 597 dwelling units within Milton Parc’s 6-block radius. The fonds consists of the following materials: approximately 600 drawings, 85 l.m. of textual records, 0.6 l.m. of slides, 0.6 l.m.of photographs, 8 posters, 3 seals, 2 models, 2 rubber stamps, and 2 audio cassettes.
Personnes et institutions:
Date:
1962-1989
1962-1989
Titre:
Fonds Milton Parc
Actions:
AP025
Résumé:
The Milton Parc fonds, 1969 – 1989, documents the Société du patrimoine urbaine de Montréal’s (SPUM) planning, design and renovation of Montreal’s historic Milton Parc neighbourhood. Recognized as one of the largest co-operative rehabilitation projects completed in Canada, the Milton Parc housing project (1979-1982) renovated over 135 historic buildings and 597 dwelling units within Milton Parc’s 6-block radius. The fonds consists of the following materials: approximately 600 drawings, 85 l.m. of textual records, 0.6 l.m. of slides, 0.6 l.m.of photographs, 8 posters, 3 seals, 2 models, 2 rubber stamps, and 2 audio cassettes.
Fonds Milton Parc
Actions:
AP025
Résumé:
The Milton Parc fonds, 1969 – 1989, documents the Société du patrimoine urbaine de Montréal’s (SPUM) planning, design and renovation of Montreal’s historic Milton Parc neighbourhood. Recognized as one of the largest co-operative rehabilitation projects completed in Canada, the Milton Parc housing project (1979-1982) renovated over 135 historic buildings and 597 dwelling units within Milton Parc’s 6-block radius. The fonds consists of the following materials: approximately 600 drawings, 85 l.m. of textual records, 0.6 l.m. of slides, 0.6 l.m.of photographs, 8 posters, 3 seals, 2 models, 2 rubber stamps, and 2 audio cassettes.
Classification:
archives
Niveau de description archivistique:
Fonds
archives
Niveau de description archivistique:
Fonds
Date:
1962-1989
1962-1989
Personnes et institutions:
Classification:
événements
événements
Actions:
Mot(s)-clé(s):
Panos Mantziaras, Paysage de la ville, H. Thünen's Isolierte Staat, R. Schwarz, Von der Bebauung der Erde, Chercheur en Résidence
Panos Mantziaras, Paysage de la ville, H. Thünen's Isolierte Staat, R. Schwarz, Von der Bebauung der Erde, Chercheur en Résidence
Date:
19 octobre 2001
19 octobre 2001
Classification:
événements
événements
Date:
19 octobre 2001
19 octobre 2001
Actions:
Numéro de référence:
DR2001:0050:006
Résumé:
Le Fonds Église Saint-Joachim de la Pointe-Claire comprend des dessins par divers architectes, tels que Victor Bourgeau, Napoléon Beauchamp et S. Brais. Le fonds comprend 8 dessins, 5 photocopies et 1 tube à dessins. Les documents ont été produits entre 1868 et 1929.
DR2001:0050:006
Résumé:
Le Fonds Église Saint-Joachim de la Pointe-Claire comprend des dessins par divers architectes, tels que Victor Bourgeau, Napoléon Beauchamp et S. Brais. Le fonds comprend 8 dessins, 5 photocopies et 1 tube à dessins. Les documents ont été produits entre 1868 et 1929.
Personnes et institutions:
Date:
1927
1927
Titre:
"Projet d'altération, Eglise Pointe-Claire, Paroisse St Joachim, P. Q.
Actions:
DR2001:0050:006
Résumé:
Le Fonds Église Saint-Joachim de la Pointe-Claire comprend des dessins par divers architectes, tels que Victor Bourgeau, Napoléon Beauchamp et S. Brais. Le fonds comprend 8 dessins, 5 photocopies et 1 tube à dessins. Les documents ont été produits entre 1868 et 1929.
"Projet d'altération, Eglise Pointe-Claire, Paroisse St Joachim, P. Q.
Actions:
DR2001:0050:006
Résumé:
Le Fonds Église Saint-Joachim de la Pointe-Claire comprend des dessins par divers architectes, tels que Victor Bourgeau, Napoléon Beauchamp et S. Brais. Le fonds comprend 8 dessins, 5 photocopies et 1 tube à dessins. Les documents ont été produits entre 1868 et 1929.
Date:
1927
1927
Personnes et institutions:
Numéro de référence:
DR2001:0050:007
Résumé:
Le Fonds Église Saint-Joachim de la Pointe-Claire comprend des dessins par divers architectes, tels que Victor Bourgeau, Napoléon Beauchamp et S. Brais. Le fonds comprend 8 dessins, 5 photocopies et 1 tube à dessins. Les documents ont été produits entre 1868 et 1929.
DR2001:0050:007
Résumé:
Le Fonds Église Saint-Joachim de la Pointe-Claire comprend des dessins par divers architectes, tels que Victor Bourgeau, Napoléon Beauchamp et S. Brais. Le fonds comprend 8 dessins, 5 photocopies et 1 tube à dessins. Les documents ont été produits entre 1868 et 1929.
Personnes et institutions:
Date:
février 1929
février 1929
Titre:
Eglise de Pointe-Claire, P. Q., Réparations et additions
Actions:
DR2001:0050:007
Résumé:
Le Fonds Église Saint-Joachim de la Pointe-Claire comprend des dessins par divers architectes, tels que Victor Bourgeau, Napoléon Beauchamp et S. Brais. Le fonds comprend 8 dessins, 5 photocopies et 1 tube à dessins. Les documents ont été produits entre 1868 et 1929.
Eglise de Pointe-Claire, P. Q., Réparations et additions
Actions:
DR2001:0050:007
Résumé:
Le Fonds Église Saint-Joachim de la Pointe-Claire comprend des dessins par divers architectes, tels que Victor Bourgeau, Napoléon Beauchamp et S. Brais. Le fonds comprend 8 dessins, 5 photocopies et 1 tube à dessins. Les documents ont été produits entre 1868 et 1929.
Date:
février 1929
février 1929
Personnes et institutions:
Numéro de référence:
DR2001:0050:008
Résumé:
Le Fonds Église Saint-Joachim de la Pointe-Claire comprend des dessins par divers architectes, tels que Victor Bourgeau, Napoléon Beauchamp et S. Brais. Le fonds comprend 8 dessins, 5 photocopies et 1 tube à dessins. Les documents ont été produits entre 1868 et 1929.
DR2001:0050:008
Résumé:
Le Fonds Église Saint-Joachim de la Pointe-Claire comprend des dessins par divers architectes, tels que Victor Bourgeau, Napoléon Beauchamp et S. Brais. Le fonds comprend 8 dessins, 5 photocopies et 1 tube à dessins. Les documents ont été produits entre 1868 et 1929.
Personnes et institutions:
Date:
février 1929
février 1929
Titre:
Eglise de Pointe-Claire, P. Q., Réparations et additions
Actions:
DR2001:0050:008
Résumé:
Le Fonds Église Saint-Joachim de la Pointe-Claire comprend des dessins par divers architectes, tels que Victor Bourgeau, Napoléon Beauchamp et S. Brais. Le fonds comprend 8 dessins, 5 photocopies et 1 tube à dessins. Les documents ont été produits entre 1868 et 1929.
Eglise de Pointe-Claire, P. Q., Réparations et additions
Actions:
DR2001:0050:008
Résumé:
Le Fonds Église Saint-Joachim de la Pointe-Claire comprend des dessins par divers architectes, tels que Victor Bourgeau, Napoléon Beauchamp et S. Brais. Le fonds comprend 8 dessins, 5 photocopies et 1 tube à dessins. Les documents ont été produits entre 1868 et 1929.
Date:
février 1929
février 1929
Personnes et institutions:
