Skip to main content

Architecture

 Subject
Subject Source: Sackner Database

Found in 178 Collections and/or Records:

A Proposal for Tout Quarry Portland, Dorset / Finlay, Ian Hamilton ; Sloan, Nicholas ; Hincks, Gary., 1992

 Item
Identifier: CC-11034-11249
Scope and Contents

This project makes use of one of the giant blocks of stone that lie abandoned in Tout Quarry Portland. The inscription is derived from Virgil's Aeneid Book III: "Gods of the Earth, Gods of the Sea, Gods who rule over storms, give us a wind to help our voyage, and may your breat bring us aid." -- Source of annotation: Marvin or Ruth Sackner.

Dates: 1992
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Booklets

A Remembrance of Annette (1): The Rushhaus Proposal / Finlay, Ian Hamilton ; Hincks, Gary., 1987

 Item
Identifier: CC-12546-12774
Scope and Contents

This is a proposal for a memorial to the poet, Annette von Droste-Hulshoff (1797-1848) who lived in Munster, Germany. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 1987
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Booklets

A Remembrance of Annette (2) / Finlay, Ian Hamilton ; Hincks, Gary., 1987

 Item
Identifier: CC-11814-12033
Scope and Contents

This is a proposal for a memorial to the poet, Annette von Droste-Hulshoff (1797-1848), who lived in Munster, Germany. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 1987
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Booklets

A Remembrance of R.L.S.: A Proposal for the Robert Louis Stevenson Club / Finlay, Ian Hamilton ; Lindsley, Kathleen., 1987

 Item
Identifier: CC-11808-12027
Dates: 1987
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Books

A Remembrance of R.L.S. / Finlay, Ian Hamilton; Hincks, Gary; McIntosh C; Kurs K., 1987

 Item — Folder 36: [Barcode: 31858072459963]
Identifier: CC-12487-12714
Scope and Contents

This memorial to Robert Louis Stevenson takes the form of a sacred grove bounded by an ashlar wall on a half circle and by five silver birch trees (Betula pendula) across the diameter. At the foot of the tree trunk is a stone tree column base inscribed with R.L.S. and Stevenson's dates beneath (1850-1894). The site is a Stevenson sanctuary, an area for reflection that is half private and enclosed and half open to the world, just as are Stevenson's writings. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 1987
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / PAINTINGS, PRINTS AND BROADSIDES / TO BE PROCESSED / Ian Hamilton Finlay

A Selection of Rare Books / Sims Reed ; Jacob M ; Goncharova N ; Kruchenykh A ; Khlebnikov V ; Picasso P ; Larionov M ; Malevich K ; Rozanova O ; Munari B ; Albisola T ; Kolar J ; Hirsal J ; Ono Y ; Delaunay R ; Ernst M ; Ting W ; Feldmann HP., 2012

 Item
Identifier: CC-58507-10001727
Dates: 2012
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Catalogs

A Selection of Rare Books / Sims Reed ; Jacob M ; Picasso P ; Goncharova N ; Kruchenykh A ; Khlebnikov V ; Arp H ; Tzara T ; Breton A ; Apollinaire G ; Eluard P ; Iliazd ; Ernst M ; Tanguy Y ; Braque G ; Bertini G ; Roth D., 2010

 Item
Identifier: CC-51369-72460
Dates: 2010
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Catalogs

A Shaded Path (1) , 1987

 Item — Folder 62: [Barcode: 31858072537966]
Identifier: CC-12483-12710
Scope and Contents

This is a proposal for a straight and level path of 78 clay bricks stamped with names of Virgil in place of the maker's name. The path is to be built indoors, on a level floor, or out-of-doors on any grass-covered level ground without shade. Finlay s walk upon but for the mind to follow. It leads from Carl Andre's brick compositions to an elegiac classicism. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 1987
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / PAINTINGS, PRINTS AND BROADSIDES

[Aerial View Garden] / Skidmore, Stephen., 1979

 Item
Identifier: CC-38726-40636
Scope and Contents

The image on this card appears to show an aerial view of an enclosed yet unplanted garden. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 1979
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Various Formats

AJ: The Architect's Journal. No.25/Jun / Phillips T., 1989

 Item
Identifier: CC-25738-26198
Scope and Contents

Article entitled "Art and Artifice" describes Phillips' new studio in Camberwell designed by Eric Parry Associates. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 1989
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Periodicals

Alexander Vesnin and Russian Constructivism by Selim Omarovich Khan-Magomedov / Vesnin, Alexander ; Dianne Cullinane, translator ; Exter A ; Mayakovsky V ; Popova L ; Rodchenko A ; Stepanova V ; Teige K ; Lissitzky E., 1986

 Item
Identifier: CC-00717-735
Scope and Contents

The Sackner Archive holds a constructivist dwawing from 1923. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 1986
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Books

Annex to the Henley Project / Lumb, Michael., 2005

 Item
Identifier: CC-47306-50049
Scope and Contents

The first 20 copies were signed; the Sackner's copy is unsigned. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 2005
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Various Formats

Architects' Journal, The. No.25/Jun / Phillips T., 1989

 Item
Identifier: CC-25731-26191
Scope and Contents

Article (pp 35-63) titled "Art and Artifice describes Phillips' new studio in Camberwell, London, designed by Eric Parry Associates. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 1989
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Periodicals

Architectural Design: Russian Constructivism & Iakov Chernikov. No.7/8 / Catherine Cooke, editor., 1989

 Item
Identifier: CC-25992-26454
Scope and Contents

Contains English translations of several Chernikov books. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 1989
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Periodicals

Architecture of the Air: The Sound and Light Environments / Janney, Christopher., 2006

 Item
Identifier: CC-50885-71963
Dates: 2006
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Books

Archive for A Garden of Wild Stones / Finlay, Ian Hamilton; Harvey, Michael; Lyle, Peter; Thorpe, John R.; Butler, Vincent; Oliver, George; Jones D., 1972 - 1973

 Item
Identifier: CC-12670-12913
Scope and Contents In Nov 1972, Finlay writes to Vincent Butler, who built the aircraft carrier sculpture for Stonypath, expressing his displeasure with the quality of the drawing for the Wild Stone project. Finlay indicates that unless Butler can produce a better drawing, their collaboration should cease. No reply from Butler is contained within this Archive and letters from Finlay to Peter Lyle, Michael Harvey, and George Thorpe are sent requesting their assistance with the project along with those of Butler. Finlay writes that the poems to be inscribed upon the Six Wild Stones are one word poems analogous to Japanese Haiku where art is a matter of brevity and suggestion and wild (native) stones in a formal area is equivalent to a Japanese rock Garden. Examples include the poem Curfew "Curlew." Curlew is a bird heard mostly on still, misty days or in the evening with a long, sad cry. Finlay includes a plan on graphite tracing paper, ...a large area mown grass ...stone paving slats...stone poems...
Dates: 1972 - 1973
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Various Formats

Archive for Greenwich Sundial / Finlay, Ian Hamilton; Harvey, Michael., 1971 - 1973

 Item
Identifier: CC-12731-12984
Scope and Contents From Jan 1971-Jan 1972, Basil Greenhill, Director National Maritime Museum, writes 3 letters to Finlay regarding a commission for a sundial. In April 1972, Finlay writes 2 letters to Michael Harvey dealing with aspects of this sundial. Harvey responds in May 1972 with concerns about images on the cube shape making up the sundial particularly leaving the top blank - "as if whatever should be there had been pinched" and placing the poem on the dial which might interrupt the flow of the poem. Finlay replies to Harvey about his concern about the blank top of the sundial by pointing out that this may be a matter of scale; he feels that the blank top will not compromise the work in an 8" or 10" version but agrees that the sundial will do best at the top. He also accepts Harvey's suggestions for words at the top of the panels but rejects Harvey's idea for using Arabic rather than Roman numerals. Finlay notes the pun on the image of a fleet of ships (fleet=swift, fleet=of hours). In July...
Dates: 1971 - 1973
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Various Formats

Archive for Kelso Project: A Solemnity of Sundials / Finlay, Ian Hamilton; Harvey, Michael., 1973 - 1974

 Item
Identifier: CC-12764-13019
Scope and Contents In May 1973, Finlay writes to Harvey that L. MacDermid suggested to the Kelso City Council that a permanent work of Finlay's be installed at the opening of the Kelso arts festival in Sep 1973. Finlay is unsure of the scale, price and type of work desired but proposes three sundials and considers A Solemnity of Sundials (from Sailor's Calendar) most appropriate because Kelso is on the Tweed river (a salmon river) & Solemnity depicts sundials, swallows & fish. He wants Harvey to provide sketches. Within 2 weeks Harvey does the sketches, preferring A Solemnity of Sundials to the other suggestion, Dividing the Light (from Poetry Review). A sketch of Solemnity is included in this archive. In June 1973, Finlay writes to L. MacDermid with his ordered preferences for a vertical sundial, Dividing...,A Solemnity...& A Garden of Sea-Stones with rationale for each in the city of Kelso. He also praises Harvey for his quick dispatch. Finlay writes MacDermid about the final plans in...
Dates: 1973 - 1974
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Various Formats

Archive for Little Secret Bird-Bath / Finlay, Ian Hamilton; Thomson, George L.; Allan, James., 1972 - 1974

 Item
Identifier: CC-12722-12971
Scope and Contents In July 1972, Mr. Greenhill, Director of the National Maritime Museum, sends Finlay a letter thanking him for donated prints and catalogues and mentions the validity of depicting "Little Secret" on stone as an average topsail schooner. The next letter from Finlay to George Thomson dated Dec 1973 discusses the significance of a printer's sign (meaning reverse order of letters) and the drawing of the image for "Little Secret." Finlay also sends a letter to James Allen requesting red sandstone for this project. In June 1974, Thomson sends a letter to Finlay in a exceptional calligraphic script indicating that illness has prevented him from completing "Numbered Sails" (aka Little Secret). Finlay sends further details to Allen about the stone for the sculpture. Finlay writes Thomson in June with corrections to his drawing and indicates that Allen will do the stone carving. Thompson replies in July with an outstanding calligraphic script agreeing to these corrections which Finlay...
Dates: 1972 - 1974
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Various Formats

Archive for Mare/Terra / Finlay, Ian Hamilton; Harvey, Michael; Goodricke, Susan; Costley R; Jandl E., 1973

 Item
Identifier: CC-12809-13096
Scope and Contents

In Sep 1973, Finlay writes to Michael Harvey requesting that Harvey and Goodricke make a ceramic-concrete maquette, based upon a Ron Costley sketch, for the Stuttgart Max Plank project. Finlay provides detailed instructions on the lettering for the work. A month later, he comments on the Harvey efforts indicating that he wants a "Matisse'y" effect which depends upon a flat surface as opposed to a kinetic effect that looses the balance between the visual and the word part. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 1973
Found in: The Ruth and Marvin Sackner Archive of Concrete and Visual Poetry / Ruth and Marvin Sackner Archive of Concrete and Visual Poetry: Various Formats

Staff Interface | Visit ArchivesSpace.org | v3.5.1 | Send Feedback or Report a Problem