5815 Résultats
Classification:
archives
Niveau de description archivistique:
Collection
archives
Niveau de description archivistique:
Collection
Numéro de référence:
CD033
Résumé:
The Aldo Cibic Microrealities project collection primarily consists of presentation materials, publications and born digital materials, like videos and photographs, by Aldo Cibic produced between 2003 and 2008 for the project “Microrealities”.
CD033
Résumé:
The Aldo Cibic Microrealities project collection primarily consists of presentation materials, publications and born digital materials, like videos and photographs, by Aldo Cibic produced between 2003 and 2008 for the project “Microrealities”.
Personnes et institutions:
Date:
2003-2008
2003-2008
Titre:
Collection d’Aldo Cibic pour le projet Microrealities
Actions:
CD033
Résumé:
The Aldo Cibic Microrealities project collection primarily consists of presentation materials, publications and born digital materials, like videos and photographs, by Aldo Cibic produced between 2003 and 2008 for the project “Microrealities”.
Collection d’Aldo Cibic pour le projet Microrealities
Actions:
CD033
Résumé:
The Aldo Cibic Microrealities project collection primarily consists of presentation materials, publications and born digital materials, like videos and photographs, by Aldo Cibic produced between 2003 and 2008 for the project “Microrealities”.
Classification:
archives
Niveau de description archivistique:
collection
archives
Niveau de description archivistique:
collection
Date:
2003-2008
2003-2008
Personnes et institutions:
Niveau de description archivistique:
Projet
Projet
Titre:
Carbon Tower (2001)
Carbon Tower (2001)
Numéro de référence:
AP174.S1.2001.D1
Description:
This project file documents an unbuilt design by Testa & Weiser for Carbon Tower (2001), a forty-storey building made almost entirely of carbon fibre. The project was developed in parallel with scripting software designed while Peter Testa and Devyn Weiser co-directed the Emergent Design Group at MIT. "The tower consists of an interdependent set of parts: floor plates hang from a diagrid structure of bundled fibres reinforced by two double-helix covered ramps, which are run in and out of the structure and are themselves made of strands woven at a finer scale. A thin composite skin—glass would be too heavy—wraps the tower’s parts together. A collaboration with Arup in 2002 allowed Testa & Weiser to simplify the scheme even further, by moving all core elements, from elevators to structural supports, to the tower’s perimeter. To take full advantage of the flexibility and energy efficiency of composite materials, Testa & Weiser also imagined that the carbon fibre structures would be formed on site through a process called pultrusion."[1] The file contains a large number of digital files documenting the conceptual and design development of the project; consultation with Arup Consulting Engineers, New York; research on composite materials; fabrication of 3D printed physical models by 3D Systems and Windform; and exhibition of the project at several museums and galleries, including the Museum of Contemporary Art, Los Angeles and the Cooper-Hewitt Smithsonian Design Museum, New York. Also contained in the file are 56 paper drawings (including some sketches done on top of printed computer-aided designs) and two 3D printed physical models produced by 3D Systems. Sources: [1] Canadian Centre for Architecture. Archaeology of the Digital 12: Testa & Weiser, Carbon Tower, ed. Greg Lynn (2015), ISBN 978-1-927071-25-0.
AP174.S1.2001.D1
Description:
This project file documents an unbuilt design by Testa & Weiser for Carbon Tower (2001), a forty-storey building made almost entirely of carbon fibre. The project was developed in parallel with scripting software designed while Peter Testa and Devyn Weiser co-directed the Emergent Design Group at MIT. "The tower consists of an interdependent set of parts: floor plates hang from a diagrid structure of bundled fibres reinforced by two double-helix covered ramps, which are run in and out of the structure and are themselves made of strands woven at a finer scale. A thin composite skin—glass would be too heavy—wraps the tower’s parts together. A collaboration with Arup in 2002 allowed Testa & Weiser to simplify the scheme even further, by moving all core elements, from elevators to structural supports, to the tower’s perimeter. To take full advantage of the flexibility and energy efficiency of composite materials, Testa & Weiser also imagined that the carbon fibre structures would be formed on site through a process called pultrusion."[1] The file contains a large number of digital files documenting the conceptual and design development of the project; consultation with Arup Consulting Engineers, New York; research on composite materials; fabrication of 3D printed physical models by 3D Systems and Windform; and exhibition of the project at several museums and galleries, including the Museum of Contemporary Art, Los Angeles and the Cooper-Hewitt Smithsonian Design Museum, New York. Also contained in the file are 56 paper drawings (including some sketches done on top of printed computer-aided designs) and two 3D printed physical models produced by 3D Systems. Sources: [1] Canadian Centre for Architecture. Archaeology of the Digital 12: Testa & Weiser, Carbon Tower, ed. Greg Lynn (2015), ISBN 978-1-927071-25-0.
Personnes et institutions:
Date:
2002-2014
2002-2014
Titre:
Carbon Tower (2001)
Actions:
AP174.S1.2001.D1
Description:
This project file documents an unbuilt design by Testa & Weiser for Carbon Tower (2001), a forty-storey building made almost entirely of carbon fibre. The project was developed in parallel with scripting software designed while Peter Testa and Devyn Weiser co-directed the Emergent Design Group at MIT. "The tower consists of an interdependent set of parts: floor plates hang from a diagrid structure of bundled fibres reinforced by two double-helix covered ramps, which are run in and out of the structure and are themselves made of strands woven at a finer scale. A thin composite skin—glass would be too heavy—wraps the tower’s parts together. A collaboration with Arup in 2002 allowed Testa & Weiser to simplify the scheme even further, by moving all core elements, from elevators to structural supports, to the tower’s perimeter. To take full advantage of the flexibility and energy efficiency of composite materials, Testa & Weiser also imagined that the carbon fibre structures would be formed on site through a process called pultrusion."[1] The file contains a large number of digital files documenting the conceptual and design development of the project; consultation with Arup Consulting Engineers, New York; research on composite materials; fabrication of 3D printed physical models by 3D Systems and Windform; and exhibition of the project at several museums and galleries, including the Museum of Contemporary Art, Los Angeles and the Cooper-Hewitt Smithsonian Design Museum, New York. Also contained in the file are 56 paper drawings (including some sketches done on top of printed computer-aided designs) and two 3D printed physical models produced by 3D Systems. Sources: [1] Canadian Centre for Architecture. Archaeology of the Digital 12: Testa & Weiser, Carbon Tower, ed. Greg Lynn (2015), ISBN 978-1-927071-25-0.
Carbon Tower (2001)
Actions:
AP174.S1.2001.D1
Description:
This project file documents an unbuilt design by Testa & Weiser for Carbon Tower (2001), a forty-storey building made almost entirely of carbon fibre. The project was developed in parallel with scripting software designed while Peter Testa and Devyn Weiser co-directed the Emergent Design Group at MIT. "The tower consists of an interdependent set of parts: floor plates hang from a diagrid structure of bundled fibres reinforced by two double-helix covered ramps, which are run in and out of the structure and are themselves made of strands woven at a finer scale. A thin composite skin—glass would be too heavy—wraps the tower’s parts together. A collaboration with Arup in 2002 allowed Testa & Weiser to simplify the scheme even further, by moving all core elements, from elevators to structural supports, to the tower’s perimeter. To take full advantage of the flexibility and energy efficiency of composite materials, Testa & Weiser also imagined that the carbon fibre structures would be formed on site through a process called pultrusion."[1] The file contains a large number of digital files documenting the conceptual and design development of the project; consultation with Arup Consulting Engineers, New York; research on composite materials; fabrication of 3D printed physical models by 3D Systems and Windform; and exhibition of the project at several museums and galleries, including the Museum of Contemporary Art, Los Angeles and the Cooper-Hewitt Smithsonian Design Museum, New York. Also contained in the file are 56 paper drawings (including some sketches done on top of printed computer-aided designs) and two 3D printed physical models produced by 3D Systems. Sources: [1] Canadian Centre for Architecture. Archaeology of the Digital 12: Testa & Weiser, Carbon Tower, ed. Greg Lynn (2015), ISBN 978-1-927071-25-0.
Niveau de description archivistique:
Project
Project
Date:
2002-2014
2002-2014
Personnes et institutions:
Niveau de description archivistique:
Série(s)
Série(s)
Numéro de référence:
AP177.S1
Description:
This series documents Jesse Reiser and Nanako Umemoto’s design process for the Kansai-kan of the National Diet Library competition in 1996. The variety of formats present in the series relate to the firm’s design process for this project, where manual drawings, physical models and CAD software contributed to one another throughout design iteration. Some digital files were created after the competition. Manual drawings include penciled sketches, detailed inked plans and printed CAD files generally taped on larger mylar sheets. They represent either plans or details of the building’s design. The printed renderings most often present elevations and sections of the buildings. For plans, other printed CAD files were inked back on mylar sheets. Drawings are often annotated and precisely identify the different elements of the library’s program. Digital files represent either elements of the architectural design (conveyors, auditorium, store, etc.) or detailed plans, including topographical lines and 3-D models. They include rendered and scanned images and plans in TIFF, GIF, JPEG, PICT (MacIntosh QuickDraw) and FH5 (Macromedia Freehand) file formats. Most CAD models were created in form*Z, although Microstation DGN files and IGES files created in Alias are also present in the project records. The directory “Kansai Documents” contains a few textual records created with the publishing software QuarkXPress, including labels to be printed and used on physical drawings, correspondence and a text by Jesse Reiser for the Reversible Destiny exhibition catalogue in 1997. Most directories and file names are indicative of the file’s content, clearly referring to building elements, although in some cases files names are non-descriptive. For example, some files use the name of one of the assistants (Yama). File names are sometimes repeated in different directories, including files that are part of AP177.S2.001
AP177.S1
Description:
This series documents Jesse Reiser and Nanako Umemoto’s design process for the Kansai-kan of the National Diet Library competition in 1996. The variety of formats present in the series relate to the firm’s design process for this project, where manual drawings, physical models and CAD software contributed to one another throughout design iteration. Some digital files were created after the competition. Manual drawings include penciled sketches, detailed inked plans and printed CAD files generally taped on larger mylar sheets. They represent either plans or details of the building’s design. The printed renderings most often present elevations and sections of the buildings. For plans, other printed CAD files were inked back on mylar sheets. Drawings are often annotated and precisely identify the different elements of the library’s program. Digital files represent either elements of the architectural design (conveyors, auditorium, store, etc.) or detailed plans, including topographical lines and 3-D models. They include rendered and scanned images and plans in TIFF, GIF, JPEG, PICT (MacIntosh QuickDraw) and FH5 (Macromedia Freehand) file formats. Most CAD models were created in form*Z, although Microstation DGN files and IGES files created in Alias are also present in the project records. The directory “Kansai Documents” contains a few textual records created with the publishing software QuarkXPress, including labels to be printed and used on physical drawings, correspondence and a text by Jesse Reiser for the Reversible Destiny exhibition catalogue in 1997. Most directories and file names are indicative of the file’s content, clearly referring to building elements, although in some cases files names are non-descriptive. For example, some files use the name of one of the assistants (Yama). File names are sometimes repeated in different directories, including files that are part of AP177.S2.001
Personnes et institutions:
Date:
1996-2014
1996-2014
Titre:
RUR Architecture working files
Actions:
AP177.S1
Description:
This series documents Jesse Reiser and Nanako Umemoto’s design process for the Kansai-kan of the National Diet Library competition in 1996. The variety of formats present in the series relate to the firm’s design process for this project, where manual drawings, physical models and CAD software contributed to one another throughout design iteration. Some digital files were created after the competition. Manual drawings include penciled sketches, detailed inked plans and printed CAD files generally taped on larger mylar sheets. They represent either plans or details of the building’s design. The printed renderings most often present elevations and sections of the buildings. For plans, other printed CAD files were inked back on mylar sheets. Drawings are often annotated and precisely identify the different elements of the library’s program. Digital files represent either elements of the architectural design (conveyors, auditorium, store, etc.) or detailed plans, including topographical lines and 3-D models. They include rendered and scanned images and plans in TIFF, GIF, JPEG, PICT (MacIntosh QuickDraw) and FH5 (Macromedia Freehand) file formats. Most CAD models were created in form*Z, although Microstation DGN files and IGES files created in Alias are also present in the project records. The directory “Kansai Documents” contains a few textual records created with the publishing software QuarkXPress, including labels to be printed and used on physical drawings, correspondence and a text by Jesse Reiser for the Reversible Destiny exhibition catalogue in 1997. Most directories and file names are indicative of the file’s content, clearly referring to building elements, although in some cases files names are non-descriptive. For example, some files use the name of one of the assistants (Yama). File names are sometimes repeated in different directories, including files that are part of AP177.S2.001
RUR Architecture working files
Actions:
AP177.S1
Description:
This series documents Jesse Reiser and Nanako Umemoto’s design process for the Kansai-kan of the National Diet Library competition in 1996. The variety of formats present in the series relate to the firm’s design process for this project, where manual drawings, physical models and CAD software contributed to one another throughout design iteration. Some digital files were created after the competition. Manual drawings include penciled sketches, detailed inked plans and printed CAD files generally taped on larger mylar sheets. They represent either plans or details of the building’s design. The printed renderings most often present elevations and sections of the buildings. For plans, other printed CAD files were inked back on mylar sheets. Drawings are often annotated and precisely identify the different elements of the library’s program. Digital files represent either elements of the architectural design (conveyors, auditorium, store, etc.) or detailed plans, including topographical lines and 3-D models. They include rendered and scanned images and plans in TIFF, GIF, JPEG, PICT (MacIntosh QuickDraw) and FH5 (Macromedia Freehand) file formats. Most CAD models were created in form*Z, although Microstation DGN files and IGES files created in Alias are also present in the project records. The directory “Kansai Documents” contains a few textual records created with the publishing software QuarkXPress, including labels to be printed and used on physical drawings, correspondence and a text by Jesse Reiser for the Reversible Destiny exhibition catalogue in 1997. Most directories and file names are indicative of the file’s content, clearly referring to building elements, although in some cases files names are non-descriptive. For example, some files use the name of one of the assistants (Yama). File names are sometimes repeated in different directories, including files that are part of AP177.S2.001
Niveau de description archivistique:
Series
Series
Date:
1996-2014
1996-2014
Personnes et institutions:
Niveau de description archivistique:
Projet
Projet
Numéro de référence:
AP198.S1.1997.PR01
Description:
Project records document OCEAN North’s design for their competition entry for the Töölö Football Stadium in Helsinki in 1997. The project was titled Open Arena by OCEAN North. The site for the football stadium was in the Töölö neighbourhood, between a park area including the Helsinki Olympic Stadium, and a residential area. OCEAN North’s entry was a building that would integrate with its natural surroundings while being able to accommodate a variety of activities and events. The structure for Open Arena has three topological surfaces. The first provides stadium access to the players and the public, and includes services such as restaurant, cafeteria, and bars. Its shape aims to integrate with the natural landscape. The second contains the audience seating areas, including VIP and press areas, and aimed to arrange the audience as if it was loosely dispersed on a hillside. The third topological surface consists of the roof. The Töölö Football Stadium marks the introduction of the Channelling Systems process, defining building’s integration to its surroundings and distributing functions across the structure. Records show different stages of the design process and include two digitized photographs of Plexiglas sections that were used to physically explore the design. Digital files are grouped under categories such as Board images, Board lay-out, Graft, Sections, Siteplans, digital model images, scanned plans and site images. This last directory contains digitized photographs of the grounds surrounding the Helsinki Olympic Stadium. All drawings are vector or raster images of the whole or parts of the structure, with some including the identifications of the structure’s parts. Project records also include preliminary or working plans. Most were drawn to scale on paper and some were printed from CAD drawings. They chiefly reflect the design work to define the surfaces and shapes of the stadium’s structure. Source: Ateljé Sotamaa. “Portfolio: Open Arena”. http://portfolio.sotamaa.net/Open-Arena accessed in February 2018.
AP198.S1.1997.PR01
Description:
Project records document OCEAN North’s design for their competition entry for the Töölö Football Stadium in Helsinki in 1997. The project was titled Open Arena by OCEAN North. The site for the football stadium was in the Töölö neighbourhood, between a park area including the Helsinki Olympic Stadium, and a residential area. OCEAN North’s entry was a building that would integrate with its natural surroundings while being able to accommodate a variety of activities and events. The structure for Open Arena has three topological surfaces. The first provides stadium access to the players and the public, and includes services such as restaurant, cafeteria, and bars. Its shape aims to integrate with the natural landscape. The second contains the audience seating areas, including VIP and press areas, and aimed to arrange the audience as if it was loosely dispersed on a hillside. The third topological surface consists of the roof. The Töölö Football Stadium marks the introduction of the Channelling Systems process, defining building’s integration to its surroundings and distributing functions across the structure. Records show different stages of the design process and include two digitized photographs of Plexiglas sections that were used to physically explore the design. Digital files are grouped under categories such as Board images, Board lay-out, Graft, Sections, Siteplans, digital model images, scanned plans and site images. This last directory contains digitized photographs of the grounds surrounding the Helsinki Olympic Stadium. All drawings are vector or raster images of the whole or parts of the structure, with some including the identifications of the structure’s parts. Project records also include preliminary or working plans. Most were drawn to scale on paper and some were printed from CAD drawings. They chiefly reflect the design work to define the surfaces and shapes of the stadium’s structure. Source: Ateljé Sotamaa. “Portfolio: Open Arena”. http://portfolio.sotamaa.net/Open-Arena accessed in February 2018.
Personnes et institutions:
Date:
1997
1997
Titre:
Open Arena – Töölö Football Stadium, international competition entry
Actions:
AP198.S1.1997.PR01
Description:
Project records document OCEAN North’s design for their competition entry for the Töölö Football Stadium in Helsinki in 1997. The project was titled Open Arena by OCEAN North. The site for the football stadium was in the Töölö neighbourhood, between a park area including the Helsinki Olympic Stadium, and a residential area. OCEAN North’s entry was a building that would integrate with its natural surroundings while being able to accommodate a variety of activities and events. The structure for Open Arena has three topological surfaces. The first provides stadium access to the players and the public, and includes services such as restaurant, cafeteria, and bars. Its shape aims to integrate with the natural landscape. The second contains the audience seating areas, including VIP and press areas, and aimed to arrange the audience as if it was loosely dispersed on a hillside. The third topological surface consists of the roof. The Töölö Football Stadium marks the introduction of the Channelling Systems process, defining building’s integration to its surroundings and distributing functions across the structure. Records show different stages of the design process and include two digitized photographs of Plexiglas sections that were used to physically explore the design. Digital files are grouped under categories such as Board images, Board lay-out, Graft, Sections, Siteplans, digital model images, scanned plans and site images. This last directory contains digitized photographs of the grounds surrounding the Helsinki Olympic Stadium. All drawings are vector or raster images of the whole or parts of the structure, with some including the identifications of the structure’s parts. Project records also include preliminary or working plans. Most were drawn to scale on paper and some were printed from CAD drawings. They chiefly reflect the design work to define the surfaces and shapes of the stadium’s structure. Source: Ateljé Sotamaa. “Portfolio: Open Arena”. http://portfolio.sotamaa.net/Open-Arena accessed in February 2018.
Open Arena – Töölö Football Stadium, international competition entry
Actions:
AP198.S1.1997.PR01
Description:
Project records document OCEAN North’s design for their competition entry for the Töölö Football Stadium in Helsinki in 1997. The project was titled Open Arena by OCEAN North. The site for the football stadium was in the Töölö neighbourhood, between a park area including the Helsinki Olympic Stadium, and a residential area. OCEAN North’s entry was a building that would integrate with its natural surroundings while being able to accommodate a variety of activities and events. The structure for Open Arena has three topological surfaces. The first provides stadium access to the players and the public, and includes services such as restaurant, cafeteria, and bars. Its shape aims to integrate with the natural landscape. The second contains the audience seating areas, including VIP and press areas, and aimed to arrange the audience as if it was loosely dispersed on a hillside. The third topological surface consists of the roof. The Töölö Football Stadium marks the introduction of the Channelling Systems process, defining building’s integration to its surroundings and distributing functions across the structure. Records show different stages of the design process and include two digitized photographs of Plexiglas sections that were used to physically explore the design. Digital files are grouped under categories such as Board images, Board lay-out, Graft, Sections, Siteplans, digital model images, scanned plans and site images. This last directory contains digitized photographs of the grounds surrounding the Helsinki Olympic Stadium. All drawings are vector or raster images of the whole or parts of the structure, with some including the identifications of the structure’s parts. Project records also include preliminary or working plans. Most were drawn to scale on paper and some were printed from CAD drawings. They chiefly reflect the design work to define the surfaces and shapes of the stadium’s structure. Source: Ateljé Sotamaa. “Portfolio: Open Arena”. http://portfolio.sotamaa.net/Open-Arena accessed in February 2018.
Niveau de description archivistique:
Project
Project
Date:
1997
1997
Personnes et institutions:
Niveau de description archivistique:
Projet
Projet
Numéro de référence:
AP207.S1.2013.PR01
Description:
The project series documents "The Game of Architecture", a drawing realized in 2013. The drawing is of triangular-shaped structures made of bricks standing in a desert. This drawing is a reinterpretation of a previous project by Pettena "Situazioni Competitive" in 1971. "Here architecture, albeit with the same characteristic of competitiveness, becomes indistinct, confused, no longer the leading actor, at the mercy of an unknown context (a desert? the nature of an alien planet?) which, threatening to overwhelm it, seems to nullify its every need and characteristic." [1] The project series contains a drawing for the 2013 edition and the 2018 version, which is a digital photograph modified to show the architectural construction standing in rough water. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/nat-the-game-of-architecture-2013-1/ (last accessed 28 January 2020)
AP207.S1.2013.PR01
Description:
The project series documents "The Game of Architecture", a drawing realized in 2013. The drawing is of triangular-shaped structures made of bricks standing in a desert. This drawing is a reinterpretation of a previous project by Pettena "Situazioni Competitive" in 1971. "Here architecture, albeit with the same characteristic of competitiveness, becomes indistinct, confused, no longer the leading actor, at the mercy of an unknown context (a desert? the nature of an alien planet?) which, threatening to overwhelm it, seems to nullify its every need and characteristic." [1] The project series contains a drawing for the 2013 edition and the 2018 version, which is a digital photograph modified to show the architectural construction standing in rough water. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/nat-the-game-of-architecture-2013-1/ (last accessed 28 January 2020)
Personnes et institutions:
Date:
2011-2018
2011-2018
Titre:
The Game of Architecture (2013)
Actions:
AP207.S1.2013.PR01
Description:
The project series documents "The Game of Architecture", a drawing realized in 2013. The drawing is of triangular-shaped structures made of bricks standing in a desert. This drawing is a reinterpretation of a previous project by Pettena "Situazioni Competitive" in 1971. "Here architecture, albeit with the same characteristic of competitiveness, becomes indistinct, confused, no longer the leading actor, at the mercy of an unknown context (a desert? the nature of an alien planet?) which, threatening to overwhelm it, seems to nullify its every need and characteristic." [1] The project series contains a drawing for the 2013 edition and the 2018 version, which is a digital photograph modified to show the architectural construction standing in rough water. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/nat-the-game-of-architecture-2013-1/ (last accessed 28 January 2020)
The Game of Architecture (2013)
Actions:
AP207.S1.2013.PR01
Description:
The project series documents "The Game of Architecture", a drawing realized in 2013. The drawing is of triangular-shaped structures made of bricks standing in a desert. This drawing is a reinterpretation of a previous project by Pettena "Situazioni Competitive" in 1971. "Here architecture, albeit with the same characteristic of competitiveness, becomes indistinct, confused, no longer the leading actor, at the mercy of an unknown context (a desert? the nature of an alien planet?) which, threatening to overwhelm it, seems to nullify its every need and characteristic." [1] The project series contains a drawing for the 2013 edition and the 2018 version, which is a digital photograph modified to show the architectural construction standing in rough water. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/nat-the-game-of-architecture-2013-1/ (last accessed 28 January 2020)
Niveau de description archivistique:
Project
Project
Date:
2011-2018
2011-2018
Personnes et institutions:
Classification:
expositions
expositions
Actions:
Description:
L’exposition Robert Burley : La disparition de l’obscurité présente une série de photographies de l’artiste canadien Robert Burley documentant la disparition des industries de produits photographiques traditionnels en réponse à l’impact des nouvelles technologies. Depuis 2005, la mutation de la technologie photographique, qui est passée de l’analogique au numérique, (...)
L’exposition Robert Burley : La disparition de l’obscurité présente une série de photographies de l’artiste canadien Robert Burley documentant la disparition des industries de produits photographiques traditionnels en réponse à l’impact des nouvelles technologies. Depuis 2005, la mutation de la technologie photographique, qui est passée de l’analogique au numérique, (...)
Localisation:
Vitrines
Vitrines
Date:
11 septembre 2009 au 15 novembre 2009
11 septembre 2009 au 15 novembre 2009
Titre:
Robert Burley : La disparition de l'obscurité
Actions:
Description:
L’exposition Robert Burley : La disparition de l’obscurité présente une série de photographies de l’artiste canadien Robert Burley documentant la disparition des industries de produits photographiques traditionnels en réponse à l’impact des nouvelles technologies. Depuis 2005, la mutation de la technologie photographique, qui est passée de l’analogique au numérique, (...)
Robert Burley : La disparition de l'obscurité
Actions:
Description:
L’exposition Robert Burley : La disparition de l’obscurité présente une série de photographies de l’artiste canadien Robert Burley documentant la disparition des industries de produits photographiques traditionnels en réponse à l’impact des nouvelles technologies. Depuis 2005, la mutation de la technologie photographique, qui est passée de l’analogique au numérique, (...)
Classification:
expositions
expositions
Date:
11 septembre 2009 au
15 novembre 2009
11 septembre 2009 au
15 novembre 2009
Localisation:
Vitrines
Vitrines
Niveau de description archivistique:
Projet
Projet
Numéro de référence:
AP164.S1.2003.D5
Description:
The project series documents the competition entry a plan of the Sagüés promenade, located at gates of Ulía park in San Sebastián, Spain. Abalos & Herreros and Renata Sentkiewicz drafted a study and proposal for the plan of the Sagüés promenade, located at gates of Ulía park in San Sebastián, Spain. The firm identified the project as number 165. The architects described their project as “[…] a place where […] [the urban and the natural] landscapes […] meet. Under a green roof a winter beach, thermal installations and the groundfloor [sic] of a hotel are combined. Five towers rise through this roof with different uses: hotel, social housing, and the ‘Gallery of Wonders’ […]. A passageway curls up around them, connecting the towers by an impactant [sic] skywalk […]” (ARCH270975). Documenting the project are conceptual, presentation and design development drawings, correspondence, project descriptions, notes, reports, resumes, and reference, photographic and digital materials.
AP164.S1.2003.D5
Description:
The project series documents the competition entry a plan of the Sagüés promenade, located at gates of Ulía park in San Sebastián, Spain. Abalos & Herreros and Renata Sentkiewicz drafted a study and proposal for the plan of the Sagüés promenade, located at gates of Ulía park in San Sebastián, Spain. The firm identified the project as number 165. The architects described their project as “[…] a place where […] [the urban and the natural] landscapes […] meet. Under a green roof a winter beach, thermal installations and the groundfloor [sic] of a hotel are combined. Five towers rise through this roof with different uses: hotel, social housing, and the ‘Gallery of Wonders’ […]. A passageway curls up around them, connecting the towers by an impactant [sic] skywalk […]” (ARCH270975). Documenting the project are conceptual, presentation and design development drawings, correspondence, project descriptions, notes, reports, resumes, and reference, photographic and digital materials.
Personnes et institutions:
Date:
circa 2001-2005
circa 2001-2005
Titre:
Sagüés, San Sebastián, Spain (2003)
Actions:
AP164.S1.2003.D5
Description:
The project series documents the competition entry a plan of the Sagüés promenade, located at gates of Ulía park in San Sebastián, Spain. Abalos & Herreros and Renata Sentkiewicz drafted a study and proposal for the plan of the Sagüés promenade, located at gates of Ulía park in San Sebastián, Spain. The firm identified the project as number 165. The architects described their project as “[…] a place where […] [the urban and the natural] landscapes […] meet. Under a green roof a winter beach, thermal installations and the groundfloor [sic] of a hotel are combined. Five towers rise through this roof with different uses: hotel, social housing, and the ‘Gallery of Wonders’ […]. A passageway curls up around them, connecting the towers by an impactant [sic] skywalk […]” (ARCH270975). Documenting the project are conceptual, presentation and design development drawings, correspondence, project descriptions, notes, reports, resumes, and reference, photographic and digital materials.
Sagüés, San Sebastián, Spain (2003)
Actions:
AP164.S1.2003.D5
Description:
The project series documents the competition entry a plan of the Sagüés promenade, located at gates of Ulía park in San Sebastián, Spain. Abalos & Herreros and Renata Sentkiewicz drafted a study and proposal for the plan of the Sagüés promenade, located at gates of Ulía park in San Sebastián, Spain. The firm identified the project as number 165. The architects described their project as “[…] a place where […] [the urban and the natural] landscapes […] meet. Under a green roof a winter beach, thermal installations and the groundfloor [sic] of a hotel are combined. Five towers rise through this roof with different uses: hotel, social housing, and the ‘Gallery of Wonders’ […]. A passageway curls up around them, connecting the towers by an impactant [sic] skywalk […]” (ARCH270975). Documenting the project are conceptual, presentation and design development drawings, correspondence, project descriptions, notes, reports, resumes, and reference, photographic and digital materials.
Niveau de description archivistique:
Project
Project
Date:
circa 2001-2005
circa 2001-2005
Personnes et institutions:
Niveau de description archivistique:
Série(s)
Série(s)
Numéro de référence:
AP179.S2
Description:
Series 2, Witte Arts Center, Green Bay, Wisconsin, 2000 – 2002, documents the development of a project (unrealized) by Office d’A in response to a real estate brief for a floor of artists’ studios supported by a street level gallery in Green Bay, Wisconsin. The design for the Witte Arts Center addresses functional architectural concerns like light and circulation through elements such as suspended skylights and an open-air staircase. For the staircase in particular, corbelled brick patterning around the interior stairs creates a distortion of the building’s façade nicknamed “the smile.” The series consists of sketches, drawings and reprographic copies from the pre-design to design development phases of the project, a model, and photographic materials. Textual records in the series include correspondence, meeting notes and vendor catalogues. Digital material consists of CAD drawings, 3D models and renderings, images of the model and drawings, correspondence and other documents.
AP179.S2
Description:
Series 2, Witte Arts Center, Green Bay, Wisconsin, 2000 – 2002, documents the development of a project (unrealized) by Office d’A in response to a real estate brief for a floor of artists’ studios supported by a street level gallery in Green Bay, Wisconsin. The design for the Witte Arts Center addresses functional architectural concerns like light and circulation through elements such as suspended skylights and an open-air staircase. For the staircase in particular, corbelled brick patterning around the interior stairs creates a distortion of the building’s façade nicknamed “the smile.” The series consists of sketches, drawings and reprographic copies from the pre-design to design development phases of the project, a model, and photographic materials. Textual records in the series include correspondence, meeting notes and vendor catalogues. Digital material consists of CAD drawings, 3D models and renderings, images of the model and drawings, correspondence and other documents.
Personnes et institutions:
Date:
2000 - 2002
2000 - 2002
Titre:
Witte Arts Center, Green Bay, Wisconsin (2000 - 2002)
Actions:
AP179.S2
Description:
Series 2, Witte Arts Center, Green Bay, Wisconsin, 2000 – 2002, documents the development of a project (unrealized) by Office d’A in response to a real estate brief for a floor of artists’ studios supported by a street level gallery in Green Bay, Wisconsin. The design for the Witte Arts Center addresses functional architectural concerns like light and circulation through elements such as suspended skylights and an open-air staircase. For the staircase in particular, corbelled brick patterning around the interior stairs creates a distortion of the building’s façade nicknamed “the smile.” The series consists of sketches, drawings and reprographic copies from the pre-design to design development phases of the project, a model, and photographic materials. Textual records in the series include correspondence, meeting notes and vendor catalogues. Digital material consists of CAD drawings, 3D models and renderings, images of the model and drawings, correspondence and other documents.
Witte Arts Center, Green Bay, Wisconsin (2000 - 2002)
Actions:
AP179.S2
Description:
Series 2, Witte Arts Center, Green Bay, Wisconsin, 2000 – 2002, documents the development of a project (unrealized) by Office d’A in response to a real estate brief for a floor of artists’ studios supported by a street level gallery in Green Bay, Wisconsin. The design for the Witte Arts Center addresses functional architectural concerns like light and circulation through elements such as suspended skylights and an open-air staircase. For the staircase in particular, corbelled brick patterning around the interior stairs creates a distortion of the building’s façade nicknamed “the smile.” The series consists of sketches, drawings and reprographic copies from the pre-design to design development phases of the project, a model, and photographic materials. Textual records in the series include correspondence, meeting notes and vendor catalogues. Digital material consists of CAD drawings, 3D models and renderings, images of the model and drawings, correspondence and other documents.
Niveau de description archivistique:
Series
Series
Date:
2000 - 2002
2000 - 2002
Personnes et institutions:
Niveau de description archivistique:
Projet
Projet
Numéro de référence:
AP207.S1.1972.PR06
Description:
The project series documents the film "Random Movies" produced by Pettena in 1972. The project consists of a film created by Pettena with randomly selected filmstrips of film reels that were going to be thrown away. The film was then presented to the public in Salt Lake City without anyone looking at the content before. The filmstrips "were out-of-date promotional films, many of them in two copies, commercial advertisements as well as electoral propaganda. So the screening proved particularly provocative for an audience that had come to attend a “cultured” lecture and found themselves, in an insistent manner, treated as an audience of “advertising skits.” "[1] The project series contains project descriptions in English and in Italian, a film still and a digital version of the film. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/ff-random-movies-1972-1/ (last accessed 12 November 2019).
AP207.S1.1972.PR06
Description:
The project series documents the film "Random Movies" produced by Pettena in 1972. The project consists of a film created by Pettena with randomly selected filmstrips of film reels that were going to be thrown away. The film was then presented to the public in Salt Lake City without anyone looking at the content before. The filmstrips "were out-of-date promotional films, many of them in two copies, commercial advertisements as well as electoral propaganda. So the screening proved particularly provocative for an audience that had come to attend a “cultured” lecture and found themselves, in an insistent manner, treated as an audience of “advertising skits.” "[1] The project series contains project descriptions in English and in Italian, a film still and a digital version of the film. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/ff-random-movies-1972-1/ (last accessed 12 November 2019).
Personnes et institutions:
Date:
2011-2015
2011-2015
Titre:
Random Movies (1972)
Actions:
AP207.S1.1972.PR06
Description:
The project series documents the film "Random Movies" produced by Pettena in 1972. The project consists of a film created by Pettena with randomly selected filmstrips of film reels that were going to be thrown away. The film was then presented to the public in Salt Lake City without anyone looking at the content before. The filmstrips "were out-of-date promotional films, many of them in two copies, commercial advertisements as well as electoral propaganda. So the screening proved particularly provocative for an audience that had come to attend a “cultured” lecture and found themselves, in an insistent manner, treated as an audience of “advertising skits.” "[1] The project series contains project descriptions in English and in Italian, a film still and a digital version of the film. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/ff-random-movies-1972-1/ (last accessed 12 November 2019).
Random Movies (1972)
Actions:
AP207.S1.1972.PR06
Description:
The project series documents the film "Random Movies" produced by Pettena in 1972. The project consists of a film created by Pettena with randomly selected filmstrips of film reels that were going to be thrown away. The film was then presented to the public in Salt Lake City without anyone looking at the content before. The filmstrips "were out-of-date promotional films, many of them in two copies, commercial advertisements as well as electoral propaganda. So the screening proved particularly provocative for an audience that had come to attend a “cultured” lecture and found themselves, in an insistent manner, treated as an audience of “advertising skits.” "[1] The project series contains project descriptions in English and in Italian, a film still and a digital version of the film. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/ff-random-movies-1972-1/ (last accessed 12 November 2019).
Niveau de description archivistique:
Project
Project
Date:
2011-2015
2011-2015
Personnes et institutions:
Niveau de description archivistique:
Projet
Projet
Numéro de référence:
AP207.S1.1985.PR02
Description:
The project series documents "Poltramaca", an installation that consists of half an armchair carved into a tree trunk and half a hammock hanging from a tree. The installation was presented at the Salone del Mobile, Galleria Megapoli in Milan in 1985. "[...] the trunk, cut down and abandoned, is thereby reconquered by its context, “caught” by a net that connects it to a still living tree." [1] Two other editions of the installation were presented at the "Gianni Pettena one-man show" exhibition at the Museo Piaggio, in Pontedera, in 2003, and at the Galleria Enrico Fornello in Prato, in 2009. The project series contains sketches, three drawings showing the variations of the armchair-hammock design, notes, and photographs of the installation in 1985, 2003 and 2009, and a digital video of the 2009 installation. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/inst-armchair-hammock-1985/ (last accessed 11 December 2019).
AP207.S1.1985.PR02
Description:
The project series documents "Poltramaca", an installation that consists of half an armchair carved into a tree trunk and half a hammock hanging from a tree. The installation was presented at the Salone del Mobile, Galleria Megapoli in Milan in 1985. "[...] the trunk, cut down and abandoned, is thereby reconquered by its context, “caught” by a net that connects it to a still living tree." [1] Two other editions of the installation were presented at the "Gianni Pettena one-man show" exhibition at the Museo Piaggio, in Pontedera, in 2003, and at the Galleria Enrico Fornello in Prato, in 2009. The project series contains sketches, three drawings showing the variations of the armchair-hammock design, notes, and photographs of the installation in 1985, 2003 and 2009, and a digital video of the 2009 installation. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/inst-armchair-hammock-1985/ (last accessed 11 December 2019).
Personnes et institutions:
Date:
circa 1985-2015
circa 1985-2015
Titre:
Poltramaca [Armchair-Hammock] (1985)
Actions:
AP207.S1.1985.PR02
Description:
The project series documents "Poltramaca", an installation that consists of half an armchair carved into a tree trunk and half a hammock hanging from a tree. The installation was presented at the Salone del Mobile, Galleria Megapoli in Milan in 1985. "[...] the trunk, cut down and abandoned, is thereby reconquered by its context, “caught” by a net that connects it to a still living tree." [1] Two other editions of the installation were presented at the "Gianni Pettena one-man show" exhibition at the Museo Piaggio, in Pontedera, in 2003, and at the Galleria Enrico Fornello in Prato, in 2009. The project series contains sketches, three drawings showing the variations of the armchair-hammock design, notes, and photographs of the installation in 1985, 2003 and 2009, and a digital video of the 2009 installation. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/inst-armchair-hammock-1985/ (last accessed 11 December 2019).
Poltramaca [Armchair-Hammock] (1985)
Actions:
AP207.S1.1985.PR02
Description:
The project series documents "Poltramaca", an installation that consists of half an armchair carved into a tree trunk and half a hammock hanging from a tree. The installation was presented at the Salone del Mobile, Galleria Megapoli in Milan in 1985. "[...] the trunk, cut down and abandoned, is thereby reconquered by its context, “caught” by a net that connects it to a still living tree." [1] Two other editions of the installation were presented at the "Gianni Pettena one-man show" exhibition at the Museo Piaggio, in Pontedera, in 2003, and at the Galleria Enrico Fornello in Prato, in 2009. The project series contains sketches, three drawings showing the variations of the armchair-hammock design, notes, and photographs of the installation in 1985, 2003 and 2009, and a digital video of the 2009 installation. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/inst-armchair-hammock-1985/ (last accessed 11 December 2019).
Niveau de description archivistique:
Project
Project
Date:
circa 1985-2015
circa 1985-2015
Personnes et institutions:
