36287 Results
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books, works of art
books, works of art
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Reference number:
DR1974:0002:004:001-022
Description:
- This book contains 8 pages of text primarily describing projects by Charles Rohault de Fleury for the Muséum national d'histoire naturelle. The text is followed by a lithograph after Lemaitre, which depicts the exterior of the "serres chaudes", and by 14 prints engraved/etched by Marlier depicting the buildings designed by Rohault de Fleury for the Muséum national d'histoire naturelle between 1833 and 1839. The "serres chaudes" are illustrated by 8 prints: interior perspectives, plans, elevations, sections and details of the prefabricated columns. Four prints are included for the Galerie de minéralogie et de géologie, the monkey house and the reservoirs - mostly elevations, plans and sections. Also included is a site plan of the Muséum national d'histoire naturelle and one print of comparative examples - mostly plans, sections and details - of English "serres chaudes", including the Warm House and the Temperate House at the Colosseum in London, the Temperate House at the Royal Botanic Gardens in Kew, Camellia House and Palm House at Loddiges Nursery in Hackney, and a glasshouse with a semidome, also in Hackney.
DR1974:0002:004:001-022
Description:
- This book contains 8 pages of text primarily describing projects by Charles Rohault de Fleury for the Muséum national d'histoire naturelle. The text is followed by a lithograph after Lemaitre, which depicts the exterior of the "serres chaudes", and by 14 prints engraved/etched by Marlier depicting the buildings designed by Rohault de Fleury for the Muséum national d'histoire naturelle between 1833 and 1839. The "serres chaudes" are illustrated by 8 prints: interior perspectives, plans, elevations, sections and details of the prefabricated columns. Four prints are included for the Galerie de minéralogie et de géologie, the monkey house and the reservoirs - mostly elevations, plans and sections. Also included is a site plan of the Muséum national d'histoire naturelle and one print of comparative examples - mostly plans, sections and details - of English "serres chaudes", including the Warm House and the Temperate House at the Colosseum in London, the Temperate House at the Royal Botanic Gardens in Kew, Camellia House and Palm House at Loddiges Nursery in Hackney, and a glasshouse with a semidome, also in Hackney.
People:
Subject:
architecture, landscape architecture, engineering
architecture, landscape architecture, engineering
Date:
published 1837
published 1837
Title:
MUSÉUM / D'HISTOIRE NATURELLE / SERRES CHAUDES, / GALERIE DE MINÉRALOGIE, / ETC. ETC. / PAR. CH. ROHAULT FILS, / ARCHITECTE DU MUSÉUM, ANCIEN ÉLEVE DE L'ECOLE POLYTECHNIQUE
Actions:
DR1974:0002:004:001-022
Description:
- This book contains 8 pages of text primarily describing projects by Charles Rohault de Fleury for the Muséum national d'histoire naturelle. The text is followed by a lithograph after Lemaitre, which depicts the exterior of the "serres chaudes", and by 14 prints engraved/etched by Marlier depicting the buildings designed by Rohault de Fleury for the Muséum national d'histoire naturelle between 1833 and 1839. The "serres chaudes" are illustrated by 8 prints: interior perspectives, plans, elevations, sections and details of the prefabricated columns. Four prints are included for the Galerie de minéralogie et de géologie, the monkey house and the reservoirs - mostly elevations, plans and sections. Also included is a site plan of the Muséum national d'histoire naturelle and one print of comparative examples - mostly plans, sections and details - of English "serres chaudes", including the Warm House and the Temperate House at the Colosseum in London, the Temperate House at the Royal Botanic Gardens in Kew, Camellia House and Palm House at Loddiges Nursery in Hackney, and a glasshouse with a semidome, also in Hackney.
MUSÉUM / D'HISTOIRE NATURELLE / SERRES CHAUDES, / GALERIE DE MINÉRALOGIE, / ETC. ETC. / PAR. CH. ROHAULT FILS, / ARCHITECTE DU MUSÉUM, ANCIEN ÉLEVE DE L'ECOLE POLYTECHNIQUE
Actions:
DR1974:0002:004:001-022
Description:
- This book contains 8 pages of text primarily describing projects by Charles Rohault de Fleury for the Muséum national d'histoire naturelle. The text is followed by a lithograph after Lemaitre, which depicts the exterior of the "serres chaudes", and by 14 prints engraved/etched by Marlier depicting the buildings designed by Rohault de Fleury for the Muséum national d'histoire naturelle between 1833 and 1839. The "serres chaudes" are illustrated by 8 prints: interior perspectives, plans, elevations, sections and details of the prefabricated columns. Four prints are included for the Galerie de minéralogie et de géologie, the monkey house and the reservoirs - mostly elevations, plans and sections. Also included is a site plan of the Muséum national d'histoire naturelle and one print of comparative examples - mostly plans, sections and details - of English "serres chaudes", including the Warm House and the Temperate House at the Colosseum in London, the Temperate House at the Royal Botanic Gardens in Kew, Camellia House and Palm House at Loddiges Nursery in Hackney, and a glasshouse with a semidome, also in Hackney.
Form:
books, works of art
books, works of art
Date:
published 1837
published 1837
People:
Subject:
architecture, landscape architecture, engineering
architecture, landscape architecture, engineering
Form:
events
events
Description:
Our Visiting Scholar Nader Vossoughian talks about informal urban planning as seen through the history of encyclopedism, using the Whole Earth Catalog as a case study. Click here for the Facebook event.
Our Visiting Scholar Nader Vossoughian talks about informal urban planning as seen through the history of encyclopedism, using the Whole Earth Catalog as a case study. Click here for the Facebook event.
Location:
Shaughnessy House
Presented in English Keyword(s):
Nader Vossoughian, visiting scholar, seminar
Shaughnessy House
Presented in English Keyword(s):
Nader Vossoughian, visiting scholar, seminar
Date:
9 August 2012 , 6PM
9 August 2012 , 6PM
Title:
Visiting Scholar Seminar: Nader Vossoughian
Actions:
Description:
Our Visiting Scholar Nader Vossoughian talks about informal urban planning as seen through the history of encyclopedism, using the Whole Earth Catalog as a case study. Click here for the Facebook event.
Visiting Scholar Seminar: Nader Vossoughian
Actions:
Description:
Our Visiting Scholar Nader Vossoughian talks about informal urban planning as seen through the history of encyclopedism, using the Whole Earth Catalog as a case study. Click here for the Facebook event.
Form:
events
events
Date:
9 August 2012
6PM
9 August 2012
6PM
Location:
Shaughnessy House
Presented in English Keyword(s):
Nader Vossoughian, visiting scholar, seminar
Shaughnessy House
Presented in English Keyword(s):
Nader Vossoughian, visiting scholar, seminar
Title:
Meetings and News Releases
Meetings and News Releases
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Reference number:
ARCH203210
Description:
Publications et extraits de publications dans lesquels fut publié le communiqué de presse invitant la population à participer à la levée de fonds (1966-1967); texte de Przygoda sur l'histoire des Polonais adressé au Congrès Canadien polonais (1966); brouillon du texte de la circulaire annoté; correspondance (1966); minutes du comité du monument (1966); coupures de journaux et publications (1966); "mailing list for news releases, 1966"; communiqué de presse (1966); notes manuscrites.
ARCH203210
Description:
Publications et extraits de publications dans lesquels fut publié le communiqué de presse invitant la population à participer à la levée de fonds (1966-1967); texte de Przygoda sur l'histoire des Polonais adressé au Congrès Canadien polonais (1966); brouillon du texte de la circulaire annoté; correspondance (1966); minutes du comité du monument (1966); coupures de journaux et publications (1966); "mailing list for news releases, 1966"; communiqué de presse (1966); notes manuscrites.
People:
Date:
avril 1966 à juin 1967
avril 1966 à juin 1967
Title:
Meetings and News Releases
Actions:
ARCH203210
Description:
Publications et extraits de publications dans lesquels fut publié le communiqué de presse invitant la population à participer à la levée de fonds (1966-1967); texte de Przygoda sur l'histoire des Polonais adressé au Congrès Canadien polonais (1966); brouillon du texte de la circulaire annoté; correspondance (1966); minutes du comité du monument (1966); coupures de journaux et publications (1966); "mailing list for news releases, 1966"; communiqué de presse (1966); notes manuscrites.
Meetings and News Releases
Actions:
ARCH203210
Description:
Publications et extraits de publications dans lesquels fut publié le communiqué de presse invitant la population à participer à la levée de fonds (1966-1967); texte de Przygoda sur l'histoire des Polonais adressé au Congrès Canadien polonais (1966); brouillon du texte de la circulaire annoté; correspondance (1966); minutes du comité du monument (1966); coupures de journaux et publications (1966); "mailing list for news releases, 1966"; communiqué de presse (1966); notes manuscrites.
Date:
avril 1966 à juin 1967
avril 1966 à juin 1967
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events
events
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Description:
When Gordon Matta-Clark assembled the titles to and documentation of a dozen-odd small, vacant parcels of New York property between 1974 and 1977 (later assembled and exhibited as Reality Properties: Fake Estates in 1992), it was with no well-formed agenda—other than his view that the availability of vacant and underutilized parcels [was] a direct reminder of the fallacy(...)
When Gordon Matta-Clark assembled the titles to and documentation of a dozen-odd small, vacant parcels of New York property between 1974 and 1977 (later assembled and exhibited as Reality Properties: Fake Estates in 1992), it was with no well-formed agenda—other than his view that the availability of vacant and underutilized parcels [was] a direct reminder of the fallacy(...)
Location:
Paul Desmarais Theatre
Paul Desmarais Theatre
Date:
22 September 2016, 6pm
22 September 2016, 6pm
Title:
Nicholas de Monchaux: Local Code
Actions:
Description:
When Gordon Matta-Clark assembled the titles to and documentation of a dozen-odd small, vacant parcels of New York property between 1974 and 1977 (later assembled and exhibited as Reality Properties: Fake Estates in 1992), it was with no well-formed agenda—other than his view that the availability of vacant and underutilized parcels [was] a direct reminder of the fallacy(...)
Nicholas de Monchaux: Local Code
Actions:
Description:
When Gordon Matta-Clark assembled the titles to and documentation of a dozen-odd small, vacant parcels of New York property between 1974 and 1977 (later assembled and exhibited as Reality Properties: Fake Estates in 1992), it was with no well-formed agenda—other than his view that the availability of vacant and underutilized parcels [was] a direct reminder of the fallacy(...)
Form:
events
events
Date:
22 September 2016
6pm
22 September 2016
6pm
Location:
Paul Desmarais Theatre
Paul Desmarais Theatre
Form:
exhibitions
exhibitions
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Description:
In 1982, the CCA organized its first exhibition, Photography and Architecture: 1839–1939, prior to the construction of the CCA’s current building. The exhibition was shown in Galerie Lempertz Contempora in Cologne (1982), the Art Institute of Chicago (1983), the Cooper-Hewitt National Design Museum in New York (1983), Centre Georges Pompidou in Paris (1984), and the(...)
In 1982, the CCA organized its first exhibition, Photography and Architecture: 1839–1939, prior to the construction of the CCA’s current building. The exhibition was shown in Galerie Lempertz Contempora in Cologne (1982), the Art Institute of Chicago (1983), the Cooper-Hewitt National Design Museum in New York (1983), Centre Georges Pompidou in Paris (1984), and the(...)
Date:
15 September 1982 to 16 October 1982
15 September 1982 to 16 October 1982
Title:
Photography and Architecture: 1839–1939
Actions:
Description:
In 1982, the CCA organized its first exhibition, Photography and Architecture: 1839–1939, prior to the construction of the CCA’s current building. The exhibition was shown in Galerie Lempertz Contempora in Cologne (1982), the Art Institute of Chicago (1983), the Cooper-Hewitt National Design Museum in New York (1983), Centre Georges Pompidou in Paris (1984), and the(...)
Photography and Architecture: 1839–1939
Actions:
Description:
In 1982, the CCA organized its first exhibition, Photography and Architecture: 1839–1939, prior to the construction of the CCA’s current building. The exhibition was shown in Galerie Lempertz Contempora in Cologne (1982), the Art Institute of Chicago (1983), the Cooper-Hewitt National Design Museum in New York (1983), Centre Georges Pompidou in Paris (1984), and the(...)
Form:
exhibitions
exhibitions
Date:
15 September 1982 to
16 October 1982
15 September 1982 to
16 October 1982
Form:
events
events
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Description:
Mrinalini Rajagopalan traces the history of the Red Fort in Delhi from its destruction by the British in 1857 to their later efforts to preserve and protect the same structure. Click here for a listing of the rest of this summer’s seminars.
Mrinalini Rajagopalan traces the history of the Red Fort in Delhi from its destruction by the British in 1857 to their later efforts to preserve and protect the same structure. Click here for a listing of the rest of this summer’s seminars.
Location:
Shaughnessy House
Shaughnessy House
Date:
8 July 2010
8 July 2010
Title:
Visiting Scholar Seminar: Mrinalini Rajagopalan
Actions:
Description:
Mrinalini Rajagopalan traces the history of the Red Fort in Delhi from its destruction by the British in 1857 to their later efforts to preserve and protect the same structure. Click here for a listing of the rest of this summer’s seminars.
Visiting Scholar Seminar: Mrinalini Rajagopalan
Actions:
Description:
Mrinalini Rajagopalan traces the history of the Red Fort in Delhi from its destruction by the British in 1857 to their later efforts to preserve and protect the same structure. Click here for a listing of the rest of this summer’s seminars.
Form:
events
events
Date:
8 July 2010
8 July 2010
Location:
Shaughnessy House
Shaughnessy House
Form:
events
events
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Description:
Architectural historian Barbara Penner traces the evolution of Niagara Falls – from its 19th-century honeymoon tourism to its state of post-industrial kitsch to its recent rebirth as a honeymoon destination. The photographer Alec Soth, whose work is the starting point for this lecture, compellingly portrays a ruined post-industrial landscape of love in his series Niagara(...)
Architectural historian Barbara Penner traces the evolution of Niagara Falls – from its 19th-century honeymoon tourism to its state of post-industrial kitsch to its recent rebirth as a honeymoon destination. The photographer Alec Soth, whose work is the starting point for this lecture, compellingly portrays a ruined post-industrial landscape of love in his series Niagara(...)
Location:
Paul Desmarais Theatre
Paul Desmarais Theatre
Date:
23 April 2009
23 April 2009
Title:
Learning from... Niagara Falls
Actions:
Description:
Architectural historian Barbara Penner traces the evolution of Niagara Falls – from its 19th-century honeymoon tourism to its state of post-industrial kitsch to its recent rebirth as a honeymoon destination. The photographer Alec Soth, whose work is the starting point for this lecture, compellingly portrays a ruined post-industrial landscape of love in his series Niagara(...)
Learning from... Niagara Falls
Actions:
Description:
Architectural historian Barbara Penner traces the evolution of Niagara Falls – from its 19th-century honeymoon tourism to its state of post-industrial kitsch to its recent rebirth as a honeymoon destination. The photographer Alec Soth, whose work is the starting point for this lecture, compellingly portrays a ruined post-industrial landscape of love in his series Niagara(...)
Form:
events
events
Date:
23 April 2009
23 April 2009
Location:
Paul Desmarais Theatre
Paul Desmarais Theatre
Level of archival description:
Sub-series
Sub-series
Reference number:
CI001.S2.D5
Description:
Charles Rohault de Fleury was architect for the Muséum national d'histoire naturelle from 1833 to 1862. His work for the Muséum is represented in the CCA collection by a diverse group of prints and drawings. In addition to documenting his built and unbuilt projects, the inclusion of prints and drawings of museum and zoo buildings by other architects record, if only partially, the resources available to Charles in designing his buildings. This reference material provides insight into the influences on Charles' work as well as the nature of the design process itself. His built works, with the exception of the 1854 addition to the greenhouses, are illustrated in a book of prints with a brief accompanying text - "Muséum d'histoire naturelle: serres chaudes, galeries de minéralogie, etc. etc." (published 1837) (DR1974:0002:004:001; a second copy is held by the CCA library) (1). While prints are included for the Galerie de minéralogie et de géologie, the monkey house and the reservoirs, the majority of the prints are of the greenhouses (serres chaudes) begun 1833 (2). Known for their technological innovations in iron construction, these greenhouses utilized the first multi-storey load-bearing cast-iron façades for the central pavilions as well as space frame roof structures and prefabricated parts. This structural system is well documented in the prints in the CCA collection. The design was apparently inspired by the English greenhouses - a plate of which are included in the book - that Charles saw on a tour of England. The use of prestressed beams and curved roofs in the lateral wings attest to this influence. Charles' greenhouses, in turn, influenced the design of other greenhouses in Europe especially those at the Jardins Botanique in Liège and Ghent, Belgium (3). Although Joseph Paxton saw the greenhouses in 1833, it is unclear if they had an impact on the design of the Crystal Palace constructed 1850-1851 (4). The innovations of Charles' greenhouses continued to be acknowledged into the 20th century. Giedion in "Space, Time and Architecture", while erroneously attributing them to Rouhault (5)(6), refers to the greenhouses as "the prototype of all large iron-framed conservatories" (7). In addition to the greenhouses for the Muséum, the CCA collection includes three proposals (dated 1841) for a private greenhouse designed by Charles Rohault de Fleury (DR1974:0002:002:008 - DR1974:0002:002:013). The designs utilize the same curved roofs as the wings of the greenhouses at the Muséum combined with classically detailed stonework. An different aspect of Charles' work for the Muséum national d'histoire naturelle is represented in the album of unexecuted proposals -the only design drawings for the Muséum in the collection - for a Galerie de zoologie (DR1974:0002:024:001-079). Building on the typology of his earlier classical Galerie de minéralogie et de géologie (constructed 1833 -1841), the proposals, which date from between 1838 and 1862, illustrate a gradual enrichment of Charles' classical architectural vocabulary (8). They vary in their spatial configurations and façade treatments ranging from austere colonnaded designs with little ornament to more elaborate ones with richly encrusted facades, complex rooflines and more dramatic interior spaces characteristic of the Second Empire. The majority of the proposals consist of preliminary drawings illustrating the essential formal, spatial and ornamental aspects of the building. One proposal, dated January 1846, is substantially more developed than the others; in addition to general plans, sections and elevations, more detailed drawings are included for the layout of spaces, the elaboration of the facades, the configuration of the structure and even the designs for the specimen display cases. It is also worth noting that this album includes several plans outlining Rohault de Fleury's ideas for the overall development of the Muséum national d'histoire naturelle. In 1846, an album of prints of the Museo di fiscia e storia naturelle in Florence (DR1974:0002:005:001-018) was presented to Charles by the Grand Duke of Tuscany in response to his request for tracings of that building. These prints were probably used as reference material for the design of the new Galerie de zoologie described above. The portfolio of record drawings (ca. 1862) of the zoos in Antwerp, Brussels, Marseille and Amsterdam (DR1974:0002:018:001-027) is probably a dummy for a publication on zoological gardens as well as background documentation for the renovation and expansion of the zoo at the Muséum national d'histoire naturelle in Paris. Both drawings of the facilities for the animals and visitors and general plans of the zoological gardens are included. The Paris zoo project was apparently never undertaken. (1) These prints were reused in the "Oeuvre de C. Rohault de Fleury, architecte" (published 1884) (DR1974:0002:029:001-044). (2) Rohault de Fleury's greenhouses were destroyed in the Prussian bombardments of 1870. The greenhouses, which now stand in their place, are similar in layout and appearance to the original design, but their structural system is different. (3) John Hix, 'The Glass House' (Cambridge, Mass.: The MIT Press, 1981), p. 115. (4) Ibid., p. 115. (5) This error has been repeated by other authors including Henry-Russell Hitchcock, 'Architecture: Nineteenth and Twentieth Centuries' (Baltimore, Maryland: Penguin Books, 1968), p. 120. (6) Leonardo Benevolo, 'History of Modern Architecture' Volume 1: The tradition of modern architecture (Cambridge, Mass.: The M.I.T. Press, 1971), p. 22. (7) Sigfried Giedion, 'Space, Time and Architecture; the growth of a new tradition' (Cambridge: Harvard University Press, 1941), p. 181. (8) Barry Bergdoll, "Charles Rohault de Fleury: Part two: Muséum d'Histoire Naturelle and Studies on analogous Constructions in Europe", 'CCA Research Report", n.d., p. 1.
CI001.S2.D5
Description:
Charles Rohault de Fleury was architect for the Muséum national d'histoire naturelle from 1833 to 1862. His work for the Muséum is represented in the CCA collection by a diverse group of prints and drawings. In addition to documenting his built and unbuilt projects, the inclusion of prints and drawings of museum and zoo buildings by other architects record, if only partially, the resources available to Charles in designing his buildings. This reference material provides insight into the influences on Charles' work as well as the nature of the design process itself. His built works, with the exception of the 1854 addition to the greenhouses, are illustrated in a book of prints with a brief accompanying text - "Muséum d'histoire naturelle: serres chaudes, galeries de minéralogie, etc. etc." (published 1837) (DR1974:0002:004:001; a second copy is held by the CCA library) (1). While prints are included for the Galerie de minéralogie et de géologie, the monkey house and the reservoirs, the majority of the prints are of the greenhouses (serres chaudes) begun 1833 (2). Known for their technological innovations in iron construction, these greenhouses utilized the first multi-storey load-bearing cast-iron façades for the central pavilions as well as space frame roof structures and prefabricated parts. This structural system is well documented in the prints in the CCA collection. The design was apparently inspired by the English greenhouses - a plate of which are included in the book - that Charles saw on a tour of England. The use of prestressed beams and curved roofs in the lateral wings attest to this influence. Charles' greenhouses, in turn, influenced the design of other greenhouses in Europe especially those at the Jardins Botanique in Liège and Ghent, Belgium (3). Although Joseph Paxton saw the greenhouses in 1833, it is unclear if they had an impact on the design of the Crystal Palace constructed 1850-1851 (4). The innovations of Charles' greenhouses continued to be acknowledged into the 20th century. Giedion in "Space, Time and Architecture", while erroneously attributing them to Rouhault (5)(6), refers to the greenhouses as "the prototype of all large iron-framed conservatories" (7). In addition to the greenhouses for the Muséum, the CCA collection includes three proposals (dated 1841) for a private greenhouse designed by Charles Rohault de Fleury (DR1974:0002:002:008 - DR1974:0002:002:013). The designs utilize the same curved roofs as the wings of the greenhouses at the Muséum combined with classically detailed stonework. An different aspect of Charles' work for the Muséum national d'histoire naturelle is represented in the album of unexecuted proposals -the only design drawings for the Muséum in the collection - for a Galerie de zoologie (DR1974:0002:024:001-079). Building on the typology of his earlier classical Galerie de minéralogie et de géologie (constructed 1833 -1841), the proposals, which date from between 1838 and 1862, illustrate a gradual enrichment of Charles' classical architectural vocabulary (8). They vary in their spatial configurations and façade treatments ranging from austere colonnaded designs with little ornament to more elaborate ones with richly encrusted facades, complex rooflines and more dramatic interior spaces characteristic of the Second Empire. The majority of the proposals consist of preliminary drawings illustrating the essential formal, spatial and ornamental aspects of the building. One proposal, dated January 1846, is substantially more developed than the others; in addition to general plans, sections and elevations, more detailed drawings are included for the layout of spaces, the elaboration of the facades, the configuration of the structure and even the designs for the specimen display cases. It is also worth noting that this album includes several plans outlining Rohault de Fleury's ideas for the overall development of the Muséum national d'histoire naturelle. In 1846, an album of prints of the Museo di fiscia e storia naturelle in Florence (DR1974:0002:005:001-018) was presented to Charles by the Grand Duke of Tuscany in response to his request for tracings of that building. These prints were probably used as reference material for the design of the new Galerie de zoologie described above. The portfolio of record drawings (ca. 1862) of the zoos in Antwerp, Brussels, Marseille and Amsterdam (DR1974:0002:018:001-027) is probably a dummy for a publication on zoological gardens as well as background documentation for the renovation and expansion of the zoo at the Muséum national d'histoire naturelle in Paris. Both drawings of the facilities for the animals and visitors and general plans of the zoological gardens are included. The Paris zoo project was apparently never undertaken. (1) These prints were reused in the "Oeuvre de C. Rohault de Fleury, architecte" (published 1884) (DR1974:0002:029:001-044). (2) Rohault de Fleury's greenhouses were destroyed in the Prussian bombardments of 1870. The greenhouses, which now stand in their place, are similar in layout and appearance to the original design, but their structural system is different. (3) John Hix, 'The Glass House' (Cambridge, Mass.: The MIT Press, 1981), p. 115. (4) Ibid., p. 115. (5) This error has been repeated by other authors including Henry-Russell Hitchcock, 'Architecture: Nineteenth and Twentieth Centuries' (Baltimore, Maryland: Penguin Books, 1968), p. 120. (6) Leonardo Benevolo, 'History of Modern Architecture' Volume 1: The tradition of modern architecture (Cambridge, Mass.: The M.I.T. Press, 1971), p. 22. (7) Sigfried Giedion, 'Space, Time and Architecture; the growth of a new tradition' (Cambridge: Harvard University Press, 1941), p. 181. (8) Barry Bergdoll, "Charles Rohault de Fleury: Part two: Muséum d'Histoire Naturelle and Studies on analogous Constructions in Europe", 'CCA Research Report", n.d., p. 1.
People:
Date:
[1837-ca. 1862]
[1837-ca. 1862]
Title:
Muséum nationale d'histoire naturelle
CI001.S2.D5
Description:
Charles Rohault de Fleury was architect for the Muséum national d'histoire naturelle from 1833 to 1862. His work for the Muséum is represented in the CCA collection by a diverse group of prints and drawings. In addition to documenting his built and unbuilt projects, the inclusion of prints and drawings of museum and zoo buildings by other architects record, if only partially, the resources available to Charles in designing his buildings. This reference material provides insight into the influences on Charles' work as well as the nature of the design process itself. His built works, with the exception of the 1854 addition to the greenhouses, are illustrated in a book of prints with a brief accompanying text - "Muséum d'histoire naturelle: serres chaudes, galeries de minéralogie, etc. etc." (published 1837) (DR1974:0002:004:001; a second copy is held by the CCA library) (1). While prints are included for the Galerie de minéralogie et de géologie, the monkey house and the reservoirs, the majority of the prints are of the greenhouses (serres chaudes) begun 1833 (2). Known for their technological innovations in iron construction, these greenhouses utilized the first multi-storey load-bearing cast-iron façades for the central pavilions as well as space frame roof structures and prefabricated parts. This structural system is well documented in the prints in the CCA collection. The design was apparently inspired by the English greenhouses - a plate of which are included in the book - that Charles saw on a tour of England. The use of prestressed beams and curved roofs in the lateral wings attest to this influence. Charles' greenhouses, in turn, influenced the design of other greenhouses in Europe especially those at the Jardins Botanique in Liège and Ghent, Belgium (3). Although Joseph Paxton saw the greenhouses in 1833, it is unclear if they had an impact on the design of the Crystal Palace constructed 1850-1851 (4). The innovations of Charles' greenhouses continued to be acknowledged into the 20th century. Giedion in "Space, Time and Architecture", while erroneously attributing them to Rouhault (5)(6), refers to the greenhouses as "the prototype of all large iron-framed conservatories" (7). In addition to the greenhouses for the Muséum, the CCA collection includes three proposals (dated 1841) for a private greenhouse designed by Charles Rohault de Fleury (DR1974:0002:002:008 - DR1974:0002:002:013). The designs utilize the same curved roofs as the wings of the greenhouses at the Muséum combined with classically detailed stonework. An different aspect of Charles' work for the Muséum national d'histoire naturelle is represented in the album of unexecuted proposals -the only design drawings for the Muséum in the collection - for a Galerie de zoologie (DR1974:0002:024:001-079). Building on the typology of his earlier classical Galerie de minéralogie et de géologie (constructed 1833 -1841), the proposals, which date from between 1838 and 1862, illustrate a gradual enrichment of Charles' classical architectural vocabulary (8). They vary in their spatial configurations and façade treatments ranging from austere colonnaded designs with little ornament to more elaborate ones with richly encrusted facades, complex rooflines and more dramatic interior spaces characteristic of the Second Empire. The majority of the proposals consist of preliminary drawings illustrating the essential formal, spatial and ornamental aspects of the building. One proposal, dated January 1846, is substantially more developed than the others; in addition to general plans, sections and elevations, more detailed drawings are included for the layout of spaces, the elaboration of the facades, the configuration of the structure and even the designs for the specimen display cases. It is also worth noting that this album includes several plans outlining Rohault de Fleury's ideas for the overall development of the Muséum national d'histoire naturelle. In 1846, an album of prints of the Museo di fiscia e storia naturelle in Florence (DR1974:0002:005:001-018) was presented to Charles by the Grand Duke of Tuscany in response to his request for tracings of that building. These prints were probably used as reference material for the design of the new Galerie de zoologie described above. The portfolio of record drawings (ca. 1862) of the zoos in Antwerp, Brussels, Marseille and Amsterdam (DR1974:0002:018:001-027) is probably a dummy for a publication on zoological gardens as well as background documentation for the renovation and expansion of the zoo at the Muséum national d'histoire naturelle in Paris. Both drawings of the facilities for the animals and visitors and general plans of the zoological gardens are included. The Paris zoo project was apparently never undertaken. (1) These prints were reused in the "Oeuvre de C. Rohault de Fleury, architecte" (published 1884) (DR1974:0002:029:001-044). (2) Rohault de Fleury's greenhouses were destroyed in the Prussian bombardments of 1870. The greenhouses, which now stand in their place, are similar in layout and appearance to the original design, but their structural system is different. (3) John Hix, 'The Glass House' (Cambridge, Mass.: The MIT Press, 1981), p. 115. (4) Ibid., p. 115. (5) This error has been repeated by other authors including Henry-Russell Hitchcock, 'Architecture: Nineteenth and Twentieth Centuries' (Baltimore, Maryland: Penguin Books, 1968), p. 120. (6) Leonardo Benevolo, 'History of Modern Architecture' Volume 1: The tradition of modern architecture (Cambridge, Mass.: The M.I.T. Press, 1971), p. 22. (7) Sigfried Giedion, 'Space, Time and Architecture; the growth of a new tradition' (Cambridge: Harvard University Press, 1941), p. 181. (8) Barry Bergdoll, "Charles Rohault de Fleury: Part two: Muséum d'Histoire Naturelle and Studies on analogous Constructions in Europe", 'CCA Research Report", n.d., p. 1.
Muséum nationale d'histoire naturelle
CI001.S2.D5
Description:
Charles Rohault de Fleury was architect for the Muséum national d'histoire naturelle from 1833 to 1862. His work for the Muséum is represented in the CCA collection by a diverse group of prints and drawings. In addition to documenting his built and unbuilt projects, the inclusion of prints and drawings of museum and zoo buildings by other architects record, if only partially, the resources available to Charles in designing his buildings. This reference material provides insight into the influences on Charles' work as well as the nature of the design process itself. His built works, with the exception of the 1854 addition to the greenhouses, are illustrated in a book of prints with a brief accompanying text - "Muséum d'histoire naturelle: serres chaudes, galeries de minéralogie, etc. etc." (published 1837) (DR1974:0002:004:001; a second copy is held by the CCA library) (1). While prints are included for the Galerie de minéralogie et de géologie, the monkey house and the reservoirs, the majority of the prints are of the greenhouses (serres chaudes) begun 1833 (2). Known for their technological innovations in iron construction, these greenhouses utilized the first multi-storey load-bearing cast-iron façades for the central pavilions as well as space frame roof structures and prefabricated parts. This structural system is well documented in the prints in the CCA collection. The design was apparently inspired by the English greenhouses - a plate of which are included in the book - that Charles saw on a tour of England. The use of prestressed beams and curved roofs in the lateral wings attest to this influence. Charles' greenhouses, in turn, influenced the design of other greenhouses in Europe especially those at the Jardins Botanique in Liège and Ghent, Belgium (3). Although Joseph Paxton saw the greenhouses in 1833, it is unclear if they had an impact on the design of the Crystal Palace constructed 1850-1851 (4). The innovations of Charles' greenhouses continued to be acknowledged into the 20th century. Giedion in "Space, Time and Architecture", while erroneously attributing them to Rouhault (5)(6), refers to the greenhouses as "the prototype of all large iron-framed conservatories" (7). In addition to the greenhouses for the Muséum, the CCA collection includes three proposals (dated 1841) for a private greenhouse designed by Charles Rohault de Fleury (DR1974:0002:002:008 - DR1974:0002:002:013). The designs utilize the same curved roofs as the wings of the greenhouses at the Muséum combined with classically detailed stonework. An different aspect of Charles' work for the Muséum national d'histoire naturelle is represented in the album of unexecuted proposals -the only design drawings for the Muséum in the collection - for a Galerie de zoologie (DR1974:0002:024:001-079). Building on the typology of his earlier classical Galerie de minéralogie et de géologie (constructed 1833 -1841), the proposals, which date from between 1838 and 1862, illustrate a gradual enrichment of Charles' classical architectural vocabulary (8). They vary in their spatial configurations and façade treatments ranging from austere colonnaded designs with little ornament to more elaborate ones with richly encrusted facades, complex rooflines and more dramatic interior spaces characteristic of the Second Empire. The majority of the proposals consist of preliminary drawings illustrating the essential formal, spatial and ornamental aspects of the building. One proposal, dated January 1846, is substantially more developed than the others; in addition to general plans, sections and elevations, more detailed drawings are included for the layout of spaces, the elaboration of the facades, the configuration of the structure and even the designs for the specimen display cases. It is also worth noting that this album includes several plans outlining Rohault de Fleury's ideas for the overall development of the Muséum national d'histoire naturelle. In 1846, an album of prints of the Museo di fiscia e storia naturelle in Florence (DR1974:0002:005:001-018) was presented to Charles by the Grand Duke of Tuscany in response to his request for tracings of that building. These prints were probably used as reference material for the design of the new Galerie de zoologie described above. The portfolio of record drawings (ca. 1862) of the zoos in Antwerp, Brussels, Marseille and Amsterdam (DR1974:0002:018:001-027) is probably a dummy for a publication on zoological gardens as well as background documentation for the renovation and expansion of the zoo at the Muséum national d'histoire naturelle in Paris. Both drawings of the facilities for the animals and visitors and general plans of the zoological gardens are included. The Paris zoo project was apparently never undertaken. (1) These prints were reused in the "Oeuvre de C. Rohault de Fleury, architecte" (published 1884) (DR1974:0002:029:001-044). (2) Rohault de Fleury's greenhouses were destroyed in the Prussian bombardments of 1870. The greenhouses, which now stand in their place, are similar in layout and appearance to the original design, but their structural system is different. (3) John Hix, 'The Glass House' (Cambridge, Mass.: The MIT Press, 1981), p. 115. (4) Ibid., p. 115. (5) This error has been repeated by other authors including Henry-Russell Hitchcock, 'Architecture: Nineteenth and Twentieth Centuries' (Baltimore, Maryland: Penguin Books, 1968), p. 120. (6) Leonardo Benevolo, 'History of Modern Architecture' Volume 1: The tradition of modern architecture (Cambridge, Mass.: The M.I.T. Press, 1971), p. 22. (7) Sigfried Giedion, 'Space, Time and Architecture; the growth of a new tradition' (Cambridge: Harvard University Press, 1941), p. 181. (8) Barry Bergdoll, "Charles Rohault de Fleury: Part two: Muséum d'Histoire Naturelle and Studies on analogous Constructions in Europe", 'CCA Research Report", n.d., p. 1.
Level of archival description:
File 5
File 5
Date:
[1837-ca. 1862]
[1837-ca. 1862]
People:
Form:
exhibitions
exhibitions
Description:
Alongside a growth in decentralized, experimental, and underground cinema at the end of the 1960s and in the early 1970s, many groups operating from inside the field of architecture such as Superstudio, Studio 9999, and Ant Farm explored the short film as a medium to expand architectural discourse, embed their projects with bold reflections and projections of society, and(...)
Alongside a growth in decentralized, experimental, and underground cinema at the end of the 1960s and in the early 1970s, many groups operating from inside the field of architecture such as Superstudio, Studio 9999, and Ant Farm explored the short film as a medium to expand architectural discourse, embed their projects with bold reflections and projections of society, and(...)
Location:
Octagonal gallery
Octagonal gallery
Date:
21 September 2018 to 19 May 2019
21 September 2018 to 19 May 2019
Title:
Scripts for a new world
Actions:
Description:
Alongside a growth in decentralized, experimental, and underground cinema at the end of the 1960s and in the early 1970s, many groups operating from inside the field of architecture such as Superstudio, Studio 9999, and Ant Farm explored the short film as a medium to expand architectural discourse, embed their projects with bold reflections and projections of society, and(...)
Scripts for a new world
Actions:
Description:
Alongside a growth in decentralized, experimental, and underground cinema at the end of the 1960s and in the early 1970s, many groups operating from inside the field of architecture such as Superstudio, Studio 9999, and Ant Farm explored the short film as a medium to expand architectural discourse, embed their projects with bold reflections and projections of society, and(...)
Form:
exhibitions
exhibitions
Date:
21 September 2018 to
19 May 2019
21 September 2018 to
19 May 2019
Location:
Octagonal gallery
Octagonal gallery
Form:
articles
articles
Title:
Where Was Not Modernism?
Where Was Not Modernism?
Actions:
Ikem Stanley Okoye redefines the origins of African modernism
Title:
Where Was Not Modernism?
Ikem Stanley Okoye redefines the origins of African modernism
Actions:
Where Was Not Modernism?
Ikem Stanley Okoye redefines the origins of African modernism
Actions:
