Browse Exhibits (21 total)
The development of three-dimensional creative thinking is rooted in the exploration of the two-dimensional visual arts. Designers don’t limit their creativity to buildings, landscapes and furniture. They often express their creativity through the foundational skills they developed early on in their design education: drawing, painting, photography, and graphic design. Though you may not have known, you should not be surprised to learn that many architects and landscape architects design their own stationery and personal greeting cards. Season’s Greetings showcases both personal and professional holiday greeting cards created by architects, landscape architects, and their firms.
Environments for Entertainment
As Americans' leisure time has increased during the century, we have filled it with all manner of diversions. This exhibit highlights the buildings and landscapes in which we seek respite from the stresses of daily life. Grouped thematically as things to watch, play, eat and buy, the focus is on spaces sucha s theaters, restuarants, playgrounds, country clubs, stores and sports facilities. Original sketches, photogrpahs, drawings and rare books are included in the material on display provided by the Enviornmental Design Archives, Visual Resources Center, and Environmental Design Library.
The Designs of Julia Morgan
Julia Morgan was a pioneer throughout her professional life. The first woman to enter and complete an education at the Ecole des Beaux-Arts in Paris, she later designed Hearst Castle, and left more than 700 buildings throughout California and the West. Among other reasons, she is notable for having designed so many women-commissioned projects. This exhibit is mounted in conjunction with the Landmarks California Commission's Julia Morgan 2012 celebration, and re-examines some of Julia Morgan's most influential designs, using material from the Environmental Design Archives, Visual Resources Collection, and Environmental Design Library.
Exhibit dates: March 1 - May 20, 2016
The College of Environmental Design at U.C. Berkeley was the first in the U.S. to combine under one college the departments of architecture, landscape architecture and city planning, and to incorporate the concept of social and cultural factors into the curriculum of its architecture department. A product of the 1960s widespread protests of the “failure of the institution,” social factors in environmental design was a “response to a number of serious social problems as manifested in the physical design of our major institutions" (Lindheim, 1975).
The Social Factors program at Berkeley introduced social science methods to teach the design of buildings and environments more responsive to human needs. Previous curricula and teaching focused on the aesthetic and technical aspects of architecture and landscape architecture.
This exhibit explores the innovative approaches to design education that allowed students to translate socio-cultural values into physical forms. While highlighting the fertile years of the Social Factors program in the 1960s-1980s, the exhibit also conveys its long-term impact on scholars, designers, and students at (and beyond) Berkeley today.
The exhibit Paper, Rock, Pixels revisits design projects after ten, twenty, fifty, or more years into their tenure as elements in the fabric of San Francisco. Drawings, plans, and models from the Environmental Design Archives are paired with contemporary photographs by curator and photographer Jason Miller of residences, institutional buildings, commercial structures, and landscapes to see how they have responded to use and time.
Throughout history designers have created furniture pieces as stand–alone objects, to compliment a building or space, or as an important step in the evolution of a much bigger design idea or technology.
Furniture design serves as a way to test ideas at a smaller scale and experiment with different methods and materials. It also brings into focus fundamental design challenges such as how a person will interact with the design, and what the physical and emotional impacts will be.
Form Follows showcases furniture designs from collections in the Environmental Design Archives as well as designs from students who participated in the form follows chair design competition in Spring 2016.
With more than 200 collections documenting the work of most of the San Francisco Bay Region’s historically significant architects and landscape architects, the holdings of the Environmental Design Archives are incredibly interconnected. Many of these connections stem from key figures or firms whose practice involved mentoring or collaborating with other regional architects and landscape architects.
This exhibition applies the theory of six degrees of separation to the designers whose collections are held by the Environmental Design Archives. Spanning 118 years, from the 1898 International Competition for the Phoebe Hearst Architectural Plan for the University of California to the present, SIX degrees showcases projects resulting from both personal and professional relationships.
Founded in 1913, the Department of Landscape Architecture and Environmental Planning celebrated its centennial in 2013! This exhibition examines the history and guiding principles o the department - innovation, social responsibility, and research through the works of tis students, faculty, staff and alumni. Historical, archival, and cutting edge material from the Environmetal design Archives, Visual Resources Center, and Environmental Design Library were used for this exhibit.
“…the signs of human presence are the only elements of the landscape that have any moral or aesthetic significance at all.”1
Humans are responsible for the beauty, utility, and effects of the technology we use to create the industrial landscape. Infrastructure — the common sights of the built environment— forms the critical yet often reviled or overlooked elements of the urban ecosystem. These key elements include the methods, means, and structures that support the creation and transmission of power, the management and distribution of water, mechanisms of communication, and the myriad forms of transportation.
This exhibit uses original sketches, photographs, drawings, and books provided by the Environmental Design Archives and Environmental Design Library to illustrate the technical structures and facilities necessary for our society to function. As elements in the designed landscape, power sources, clean water, streets, roads, bridges, and various methods of transportation have all felt the hand of the architect and landscape architect. These elements of the industrial ecosystem provide the structural framework to respond to societal demand and the physical world.
 Hayes, Brian. Infrastructure: A Field Guide to the Industrial Landscape. New York, W.W. Norton, 2005
While fairs of the 1930s turned to the future as a foil to the Great Depression, the Golden Gate International Exposition conjured up geographical metaphors to explore the nature of San Francisco's place in what organizers called "Pacific Civilization." The fair proposed a vision of the Pacific as an antidote to the troubled Atlantic world, then descending into chaos for the second time in a generation. Architects took up the theme and projected the regionalist sensibilities of Northern California onto Asian and Latin American architecture. Their eclectic, referential buildings drew widely on the cultural traditions of ancient Cambodia, China, and Mexico, as well as the International Style, Art Deco, and the Bay Region Tradition. Buildings supported the cultural and political work of the fair and fashioned a second, parallel world in a moment of economic depression and international turmoil.
Bernard Maybeck and William Merchant designed a spirited Tower of Youth that, had it been built, would have been a pendant to the Palace of Fine Arts at the PPIE. Timothy Pflueger, by contrast, built a Federal Building that was equal parts New Deal institutional architecture, Art Deco, and a manifesto of regionalism. Brazil and Argentina’s modernity offset the nostalgic historicism of the Pacific Area, while the Pacific House posed as a vessel of neutrality in the midst of a symbolic Pacific. With images of designs by William Wurster, Ernest Born, Arthur Brown, Jr., and a host of other architects, this exhibit shows a cross-section of architecture in a moment of quickening change in the profession and the wider world.
Unless otherwise stated all material on display is from the Environmental Design Archives.