Mostrar 29 resultados

The fonds consists of architectural plans by Millar, photographs of the Millar family and Calgary views, and miscellany.

The fonds consists of architectural drawings and specifications for the Vista Heights housing project, completed in 1982 for Calhome Properties, a subsidiary of the City of Calgary. The fonds also includes the early CAD software and manuals used to design the project. In the early 1980s, McDougall Architects acquired the CAD system Touch ‘n Draw developed by Arrigoni Computer Graphics for the Tektronix 4050 series of computer hardware. McDougall Architects’ Vista Heights project was believed to be the first residential architectural project created in western Canada using CADD (computer aided design and drafting).

Fonds consists of records documenting the architectural career of architect Fred Valentine. The records consist of project files created and maintained by Valentine that contain photographs, publicity, correspondence, architectural drawings, and project reports. The files are arranged alphabetically by Valentine with several general files at the end. Also included are six video recordings and one cassette that feature interviews with Valentine. The majority of Valentine’s architectural drawings were transferred to Stantec Architecture, accordingly they are not part of his fonds at the CAA.

Collection consists of architectural drawings and specifications for the Lancaster Building in Calgary. The Lancaster Building is a notable example of Calgary’s early commercial architecture and one of the city’s first high-rise buildings. It is located at the corner of 2 Street and Stephen Avenue SW. The collection consists of sixteen drawings by James C. Teague (1863-1947) from 1912, ten drawings by William Stanley Bates (1872-1949) from 1919, and an additional six drawings by an unidentified architect likely created in the 1910s. The collection also includes specifications and several brochures and pamphlets related to the construction of the building. The Lancaster Building was built for James Stuart Mackie from 1912 to 1913 under architect James C. Teague, and following WWI, from 1916 to 1919 under architect William S. Bates. The materials in the collection were maintained by James A. N. Mackie, descendant of James Stuart Mackie.

Fonds contains materials relating to the architectural work of Jeffrey Lindsay, primarily focused on geodesic domes. It covers the majority of his career including early work, work with the Fuller Research Foundation, Jeffrey Lindsay and Associates, and teaching.

Fonds documents Jeremy Sturgess’s architectural practice from 1975 and 2018. Records include architectural drawings, office files, photographs, diaries, sketchbooks, presentation panels, models, and audiovisual materials. There are over 500 projects documented in the fonds. The architectural projects span his work at the Sturgess Partnership (1978-1987), Sturgess Architects, Ltd. (1987-1993), and Sturgess Architecture (1993-present). Among the notable projects represented are Banff Town Hall, Chuzenji Kanaya Hotel, Yukon Visitor Reception Centre, Calgary Water Centre, 7th Avenue LRT Masterplan & Station Refurbishment, The Bridges Masterplan/Bridgeland Community Centre/Olive, Connaught Gardens, Alberta Pavilion Expo 86, House on Bowen Island, Naidoo/McLaughlan Residence, Assured Beltline, Spiral House, the Block, Borden Residence, and many others. The fonds also includes public relations and marketing records, as well as personal records related to Sturgess’s education and to his affiliation with CAUSA (Calgary Architecture + Urban Studies Alliance).

Fonds consists of architectural drawings, project files, and photographs documenting the architectural works of Carmen and Elin Corneil between 1955 and 1992. The majority of the fonds consists of project records, including architectural drawings, notes, correspondence, minutes, specifications, reports, and photographs. Notable projects documented in the fonds include the Carleton School of Architecture, Wayland Drew House, Expo 67 Bandshells, Girl Guides of Canada Headquarters, Vestmannaeyjar Plan and Municipal Works Projects, Wintergreen Building, Icelandic Concert House, McMullen Cottage, and OPSEU Headquarters. The fonds also includes twenty-three student drawings by the Corneils and a small volume of professional records, including photographs of Carmen at the 1993 Governor General awards ceremony in Vancouver and the catalogue for the Corneils’ Storm Windows exhibition. The fonds has been divided into three series: 1. Student records; 2. Professional records; and, 3. Project records.

Fonds consists of architectural drawings, correspondence, photographs, presentation boards, minutes, reports, specifications, and other records documenting the architectural work of Arthur Erickson from 1948 to 1975. The majority of the fonds consists of project records, including drawings, textual files, presentation boards, and photographs, spanning 1953 to 1975. The administration of the Erickson/Massey office is documented in correspondence relating to projects, promotions, awards, and personnel. The fonds includes lecture notes, assignments, and correspondence that documents Erickson’s period teaching at the Vancouver School of Art and the University of British Columbia in the mid-1950s and 1960s. The fonds holds several early artworks by Erickson, likely from the 1940s to 1950s, as well as several artworks gifted to him by others. There are several files that document Erickson’s travels in Japan in 1961 on a Canada Council grant to study Japanese architecture. The bulk of the fonds documents over 200 of Erickson’s projects, largely in Vancouver, but also elsewhere in Canada and the United States, including many of Erickson’s most important works. Among the influential projects documented in the fonds are Filberg Residence, Dyde Residence, Boultbee Residence, Massey College, Danto Residence, Graham Residence, Baldwin Residence, Smith Residence, Expo 67 Canadian Pavilion, Simon Fraser University, MacMillan Bloedel Building, Hauer Residence, Shannon Mews, Expo 70 Canadian Pavilion, University of Victoria Biological Sciences Complex and Humanities Complex, Simons Residence, University of Lethbridge, Bank of Canada Head Office, Village Lake Louise, Robson Square, UBC Museum of Anthropology, and many others. There are six series in the fonds: 1. Personal records; 2. Professional records; 3. Faculty records; 4. Office records; 5. Project records; and 6. Additional donations.

• The fonds consists of architectural plans for approximately 100 buildings, and correspondence, specifications, contracts, tenders and account book related to his architectural work. (There are no plans for the Grain Exchange.)

The fonds consists of 344 architectural drawings, 62 photographs, 6 panels, and a small amount of textual records documenting the architectural career of Richard Hunter. The architectural drawings comprise the majority of the records in the fonds. They span the years when Hunter was a student at the University of Oklahoma in the mid-1950s, from 1958 to 1967 when Hunter practiced architecture in California and Alaska, and from 1968 to 2015 when his practice was located in Victoria, British Columbia. The drawings include both artistic and imaginary conceptual design projects along with proposed and built projects, largely in the Victoria, B.C., area, but also in Alaska, California, and New Mexico. Among the projects documented in the fonds are Cook Residence, House for Jean-Louis Denux, House for Margaret Haines, Hunter Residence, Intermediate Care Home in Terrace, B.C., Killam Residence, Martin Residence, the Mt. Baldy Zen Centre and Bathhouse in California, Rabinowitz Residence in Fairbanks, Alaska, Rankin Residence, and Sievert Residence. The architectural drawings generally include preliminary drawings and presentation drawings, and to a lesser extent working drawings. The fonds includes a small amount of photographs, panels, and textual records documenting Hunter’s design projects. The office records consist of copies of his architectural practice pamphlets and the photographs include his student work as well as interior and exterior images of the Hunter Residence, Rankin Residence, and Sievert Residence. The fonds also notably includes copies of architectural drawings by the renowned American architect Bruce Goff and his student Herb Greene, both of whom influenced Hunter while he studied at the University of Oklahoma. There are reproductions of 15 of Bruce Goff’s drawings, including presentation drawings for his projects Bavinger House, the Blakeley House, and House for Captain and Mrs. J.D. Wilson. There are ten of Herb Greene’s drawings, which were likely printed by Hunter in the 1950s while an architecture student. The fonds furthermore includes a small amount of records relating to the well-known German architect Eric Mendelsohn and his wife Louise Mendelsohn. Records include a copy of Louise Mendelsohn’s unpublished autobiography entitled My Life in a Changing World as well as a portrait of her taken in circa 1925. The fonds has been arranged into four series: 1. Personal records; 2. Professional records; 3. Office records; and 4. Project records.

Fonds consists of architectural drawings, photographs, correspondence, minutes, reports, specifications, articles, awards, and other records documenting the architectural career of Peter Hemingway from 1956 to 1982. The majority of the fonds consists of project records, including drawings, textual files, and photographs, though there is also a small volume of office files (general correspondence, a project portfolio, and an organizational chart), as well as several files documenting Hemingway’s professional activities as an advocate of Prairie architecture through talks and articles. The fonds documents over 200 projects, largely in the Edmonton area, including Coronation Pool, Central Pentecostal Tabernacle, Edmonton Inn, Stanley Building, Johnstone Walker Store, and Muttart Conservatory, as well as several notable projects outside of Edmonton, including Market Square Kitchener, Yellowknife Courthouse, and Calgary’s Chinook Shopping Centre. There are four series in the fonds: 1. Professional records; 2. Office records; 3. Project records; 4. Additional donations.

Fonds consists of records created and maintained by Barry Downs over the course of five decades documenting his architectural career. Records include photographs, architectural drawings, correspondence, writings, publicity, clippings, copies of reference materials, and copies of Downs’s 36 volume memoir entitled Notes from a Life in Architecture Planning and Design: A Collaboration in 36 Volumes 1950-2016. Downs created the 36 volumes of his memoir over twelve years from 2008 to 2019 as an illustrated commentary on his work, education, collaborations, friends, and colleagues. Each volume is about fifty pages in length and includes text written by Downs as well as copies of photographs, drawings, articles, and publicity relating to the period or project documented in the volume.

The files in this fonds consist of copies of the volumes as well as the records that were used in the creation of the volumes, such as original photographs, clippings, and articles, along with additional materials that were not used in the memoir. The files document many of Downs’s projects, including his two residences, as well as his work at Thompson Berwick Pratt, his work in partnership with Fred Hollingsworth (1963-1967), and his work while principal at Downs Archambault Architects (1969-2000?).

The files have been arranged by Downs and Adrian Archambault, Richard Archambault’s son, according to each volume in the memoir. In 2021, Downs and Adrian Archambault arranged the files to correspond to the index or table of contents of the 36 volumes. The file folders align chronologically with the 36 volumes and include all the items listed in each volume’s index. Prior to 2021, the files were arranged alphabetically.

The fonds does not contain the original architectural drawings for Downs’s work. According to Adrian Archambault, the design drawings, renderings, and presentation boards for Downs’s work were in a large format and were not in Downs’s possession. There are numerous photographs however in the fonds that document Downs’s work. Again, according to Adrian Archambault, Downs was “quite meticulous in photographing materials from each project as a record, for promotion, or making proposals for new work, so there are many original photographs in his files.”