15733 Results
Level of archival description:
Sub-series
Sub-series
Title:
Opera Houses
Opera Houses
Reference number:
CI001.S2.D3
Description:
Charles Rohault de Fleury's sustained involvement with the design of opera houses began with his appointment in 1846 as official architect of the existing Salle Le Pelletier, home to the *Paris Opera, and continued until an open competition was called in 1860 (Charles Garnier won this competition). During this period Rohault de Fleury submitted numerous proposals to replace theprovisional Salle Le Pelletier with a structure more appropriate to the grandeur and importance of France's national opera company. The CCA collection contains four projects related to his work for the Paris opera: two early projects (1846 and 1847) and one later one (1859) for a newopera house, and a portfolio of lithographs and drawings related to alterations and repairs to Salle Le Pelletier (1850-1854). The collection also includes Charles' earliest theatre project, a comprehensive plan for an opera house and surrounding infrastructure for the Theatre Royal Italien opera company (1838-1840), and an album containing drawings and prints of antique and contemporary theatres (1839-1854?). Charles' first project was for the Theatre Royal Italien opera company whose previous home, the Salle Favart, had burned down on the night of January 14 1838. The CCA collection contains an album of presentation drawings for a new theatre located on rue de la Paix with boutiques in the adjacent 'passages' (DR1974:0002:019:001-023). A second album consists of site plans including proposed 'maisons à loyers' (apartment buildings) and documents relating to the cost estimates and rental income for the entire project (DR1974:0002:036:001-016). The architectural style and interior arrangement of the theatre is heavily indebted to Francois Debret's Salle Le Pelletier. Charles' originality lies more in his conception of the social and economic role of the theatre in relation and integration, to its surrounding urban fabric. An explanation of the entire Theatre Royal Italien project, and Charles' role as architect in it, is found in two proposal letters (located in the Avery Library, Columbia University, NY) written by the entrepreneur Eugene Lecomte to the Minister of the Interior, Comte Duchatel, on May 15 and October 31 1839 (1). Charles' album of drawings at the CCA for the theatre and some of the cost and rental estimates are probably presentation copies directly related to the first letter, and most likely submitted to the Minister of the Interior. Charles' project was never executed, and the Italian opera company eventualy found a permanent home in the existing Salle Ventadour (1841). However, the inclusive nature of the Théâtre Royal Italien proposal, with its stress on urban development and contextuality, continued to play a seminal role in his later Paris Opera projects. Upon replacing Francois Debret as architect of Salle Le Pelletier in 1846, Charles proposed nine possible locations (site plans) for a new opera house for the Paris Opera (*Academie Royale de Musique) and, in the following year (1847) prepared a portfolio of drawings for the actual structure with an accompanying seven-page manuscript describing the project. Although executed in successive years, the site plans and 1847 drawings are conceptually related. Both components were undertaken in response to offical interest in a public competition that was never implemented (2)(3). The CCA has two sets of the nine site plans proposed in 1846 (DR1974:0002:036:001-016), one containing transfer lithographed site plans with a written analysis and cost estimate for each of the proposed locations, and the other with only the site plans (similar sets are located in the 'Archives Nationales' in France). They indicate that Charles, (heavily influenced by his Théâtre Royal Italien project) preferred the Rue de la Paix location (siteplan #3) for the new opera house. Although site plan number six, Boulevard des Capucines, was not favoured at this date, it is highly prophetic as it was the location officially chosen in 1860 for the new opera house. Apparently unique to the CCA collection is the 1847 manuscript and portfolio of drawings for the proposed opera house (DR1974:0002:036:001-016). The manuscript is both an indepth review of the requirements for a national opera house and a guide to his portfolio of drawings. Charles' conception and design continued to be strongly influenced by Debret's Salle Lepelletier, as well as his own Théâtre Italien project, and various antique and contemporary opera houses and theatres. Many of the French and Italian sources mentioned in the manuscript are collected in an album (DR1974:0002:010:001-048) as references for his own designs (4). As official architect of Salle Le pelletier, Charles was also responsible for repairs, restorations, and alterations to the existing structure. The drawings and transfer lithographs in the CCA collection (DR1974:0002:036:001-016) are primarily dated 1854, and relate to documented repair and restoration projects undertaken during this period (5)(6). The CCA collection has the presentation drawings and lithographs for the later 1859 project (DR1974:0002:027:001-027) for the Paris opera (*Theatre Imperiale de l'opera) that were sent to Achille Fould, the Minister of State. This project is probably a counterpart to a similiar one that he submitted to the Prefect of the Seine, Baron Haussmann, in the same year (7). Site plans show the opera house on an irregular polygonal site facing Boulevard des Capucines. The placement of the 'maisons à loyers' on the rear of the site reflects Charles' continued emphasis on integrating his opera projects into the surrounding urban context. In 1859, it appeared that Charles was favoured to build the new opera house. But late in the following year, a public competition was called in which Charles Garnier emerged as the victor. Although Charles did not build the final structure, his numerous projects, as exemplified in the CCA collection, were of prime importance in determining the location, configuration, and plan of the Place de l'Opera (8). * The 'Paris Opera' was France's national opera, and thus its name changed numerous times throughout its history according to altering perceptions of its role in French culture and/or changes in political regimes. For reasons of clarity, the national opera will be referred to as the Paris Opera. The names indicated in brackets with a star refer to the proper name of the opera company at the date of the project. (1) Eugene Le Comte, "Projet de Salle rue de la Paix, pour le Théâtre Royal Italien: Lettres à Monsieur le Ministre de l'Intérieur, en date des 15 mai et 31octobre 1839" (Paris: P. Dupont, 1839). (2) Christopher Curtis Mead, "Charles Garnier's Paris Opera and the Renaissance of Classicism in Nineteenth century French Architecture", 3 vols. (PhD thesis; Philadelphia: University of Pennsylvania, 1986), p. 234 and p. 956, fn. 30. (3) Monika Steinhauser, "Die Architektur des Pariser Oper" (Munich: Prestel Verlag, 1969), p. 45, fns. 143 and 144. (4) Barry Bergdoll, "Charles Rohault de Fleury: Part Three: Theatres and the Opera house", 'CCA Research Report', n.d., p. 3. (5) Larousse XIXth Century, s.v. "Rohault de Fleury, Charles". (6) Mead, p. 238. (7) Oeuvres de C. Rohault de Fleury, architecte" (Paris: Librarie centrale d'architecture, 1884).. (8) Macmillan, s.v. "Rohault de Fleury Familly".
CI001.S2.D3
Description:
Charles Rohault de Fleury's sustained involvement with the design of opera houses began with his appointment in 1846 as official architect of the existing Salle Le Pelletier, home to the *Paris Opera, and continued until an open competition was called in 1860 (Charles Garnier won this competition). During this period Rohault de Fleury submitted numerous proposals to replace theprovisional Salle Le Pelletier with a structure more appropriate to the grandeur and importance of France's national opera company. The CCA collection contains four projects related to his work for the Paris opera: two early projects (1846 and 1847) and one later one (1859) for a newopera house, and a portfolio of lithographs and drawings related to alterations and repairs to Salle Le Pelletier (1850-1854). The collection also includes Charles' earliest theatre project, a comprehensive plan for an opera house and surrounding infrastructure for the Theatre Royal Italien opera company (1838-1840), and an album containing drawings and prints of antique and contemporary theatres (1839-1854?). Charles' first project was for the Theatre Royal Italien opera company whose previous home, the Salle Favart, had burned down on the night of January 14 1838. The CCA collection contains an album of presentation drawings for a new theatre located on rue de la Paix with boutiques in the adjacent 'passages' (DR1974:0002:019:001-023). A second album consists of site plans including proposed 'maisons à loyers' (apartment buildings) and documents relating to the cost estimates and rental income for the entire project (DR1974:0002:036:001-016). The architectural style and interior arrangement of the theatre is heavily indebted to Francois Debret's Salle Le Pelletier. Charles' originality lies more in his conception of the social and economic role of the theatre in relation and integration, to its surrounding urban fabric. An explanation of the entire Theatre Royal Italien project, and Charles' role as architect in it, is found in two proposal letters (located in the Avery Library, Columbia University, NY) written by the entrepreneur Eugene Lecomte to the Minister of the Interior, Comte Duchatel, on May 15 and October 31 1839 (1). Charles' album of drawings at the CCA for the theatre and some of the cost and rental estimates are probably presentation copies directly related to the first letter, and most likely submitted to the Minister of the Interior. Charles' project was never executed, and the Italian opera company eventualy found a permanent home in the existing Salle Ventadour (1841). However, the inclusive nature of the Théâtre Royal Italien proposal, with its stress on urban development and contextuality, continued to play a seminal role in his later Paris Opera projects. Upon replacing Francois Debret as architect of Salle Le Pelletier in 1846, Charles proposed nine possible locations (site plans) for a new opera house for the Paris Opera (*Academie Royale de Musique) and, in the following year (1847) prepared a portfolio of drawings for the actual structure with an accompanying seven-page manuscript describing the project. Although executed in successive years, the site plans and 1847 drawings are conceptually related. Both components were undertaken in response to offical interest in a public competition that was never implemented (2)(3). The CCA has two sets of the nine site plans proposed in 1846 (DR1974:0002:036:001-016), one containing transfer lithographed site plans with a written analysis and cost estimate for each of the proposed locations, and the other with only the site plans (similar sets are located in the 'Archives Nationales' in France). They indicate that Charles, (heavily influenced by his Théâtre Royal Italien project) preferred the Rue de la Paix location (siteplan #3) for the new opera house. Although site plan number six, Boulevard des Capucines, was not favoured at this date, it is highly prophetic as it was the location officially chosen in 1860 for the new opera house. Apparently unique to the CCA collection is the 1847 manuscript and portfolio of drawings for the proposed opera house (DR1974:0002:036:001-016). The manuscript is both an indepth review of the requirements for a national opera house and a guide to his portfolio of drawings. Charles' conception and design continued to be strongly influenced by Debret's Salle Lepelletier, as well as his own Théâtre Italien project, and various antique and contemporary opera houses and theatres. Many of the French and Italian sources mentioned in the manuscript are collected in an album (DR1974:0002:010:001-048) as references for his own designs (4). As official architect of Salle Le pelletier, Charles was also responsible for repairs, restorations, and alterations to the existing structure. The drawings and transfer lithographs in the CCA collection (DR1974:0002:036:001-016) are primarily dated 1854, and relate to documented repair and restoration projects undertaken during this period (5)(6). The CCA collection has the presentation drawings and lithographs for the later 1859 project (DR1974:0002:027:001-027) for the Paris opera (*Theatre Imperiale de l'opera) that were sent to Achille Fould, the Minister of State. This project is probably a counterpart to a similiar one that he submitted to the Prefect of the Seine, Baron Haussmann, in the same year (7). Site plans show the opera house on an irregular polygonal site facing Boulevard des Capucines. The placement of the 'maisons à loyers' on the rear of the site reflects Charles' continued emphasis on integrating his opera projects into the surrounding urban context. In 1859, it appeared that Charles was favoured to build the new opera house. But late in the following year, a public competition was called in which Charles Garnier emerged as the victor. Although Charles did not build the final structure, his numerous projects, as exemplified in the CCA collection, were of prime importance in determining the location, configuration, and plan of the Place de l'Opera (8). * The 'Paris Opera' was France's national opera, and thus its name changed numerous times throughout its history according to altering perceptions of its role in French culture and/or changes in political regimes. For reasons of clarity, the national opera will be referred to as the Paris Opera. The names indicated in brackets with a star refer to the proper name of the opera company at the date of the project. (1) Eugene Le Comte, "Projet de Salle rue de la Paix, pour le Théâtre Royal Italien: Lettres à Monsieur le Ministre de l'Intérieur, en date des 15 mai et 31octobre 1839" (Paris: P. Dupont, 1839). (2) Christopher Curtis Mead, "Charles Garnier's Paris Opera and the Renaissance of Classicism in Nineteenth century French Architecture", 3 vols. (PhD thesis; Philadelphia: University of Pennsylvania, 1986), p. 234 and p. 956, fn. 30. (3) Monika Steinhauser, "Die Architektur des Pariser Oper" (Munich: Prestel Verlag, 1969), p. 45, fns. 143 and 144. (4) Barry Bergdoll, "Charles Rohault de Fleury: Part Three: Theatres and the Opera house", 'CCA Research Report', n.d., p. 3. (5) Larousse XIXth Century, s.v. "Rohault de Fleury, Charles". (6) Mead, p. 238. (7) Oeuvres de C. Rohault de Fleury, architecte" (Paris: Librarie centrale d'architecture, 1884).. (8) Macmillan, s.v. "Rohault de Fleury Familly".
People:
Date:
1717-1868
1717-1868
Title:
Opera Houses
CI001.S2.D3
Description:
Charles Rohault de Fleury's sustained involvement with the design of opera houses began with his appointment in 1846 as official architect of the existing Salle Le Pelletier, home to the *Paris Opera, and continued until an open competition was called in 1860 (Charles Garnier won this competition). During this period Rohault de Fleury submitted numerous proposals to replace theprovisional Salle Le Pelletier with a structure more appropriate to the grandeur and importance of France's national opera company. The CCA collection contains four projects related to his work for the Paris opera: two early projects (1846 and 1847) and one later one (1859) for a newopera house, and a portfolio of lithographs and drawings related to alterations and repairs to Salle Le Pelletier (1850-1854). The collection also includes Charles' earliest theatre project, a comprehensive plan for an opera house and surrounding infrastructure for the Theatre Royal Italien opera company (1838-1840), and an album containing drawings and prints of antique and contemporary theatres (1839-1854?). Charles' first project was for the Theatre Royal Italien opera company whose previous home, the Salle Favart, had burned down on the night of January 14 1838. The CCA collection contains an album of presentation drawings for a new theatre located on rue de la Paix with boutiques in the adjacent 'passages' (DR1974:0002:019:001-023). A second album consists of site plans including proposed 'maisons à loyers' (apartment buildings) and documents relating to the cost estimates and rental income for the entire project (DR1974:0002:036:001-016). The architectural style and interior arrangement of the theatre is heavily indebted to Francois Debret's Salle Le Pelletier. Charles' originality lies more in his conception of the social and economic role of the theatre in relation and integration, to its surrounding urban fabric. An explanation of the entire Theatre Royal Italien project, and Charles' role as architect in it, is found in two proposal letters (located in the Avery Library, Columbia University, NY) written by the entrepreneur Eugene Lecomte to the Minister of the Interior, Comte Duchatel, on May 15 and October 31 1839 (1). Charles' album of drawings at the CCA for the theatre and some of the cost and rental estimates are probably presentation copies directly related to the first letter, and most likely submitted to the Minister of the Interior. Charles' project was never executed, and the Italian opera company eventualy found a permanent home in the existing Salle Ventadour (1841). However, the inclusive nature of the Théâtre Royal Italien proposal, with its stress on urban development and contextuality, continued to play a seminal role in his later Paris Opera projects. Upon replacing Francois Debret as architect of Salle Le Pelletier in 1846, Charles proposed nine possible locations (site plans) for a new opera house for the Paris Opera (*Academie Royale de Musique) and, in the following year (1847) prepared a portfolio of drawings for the actual structure with an accompanying seven-page manuscript describing the project. Although executed in successive years, the site plans and 1847 drawings are conceptually related. Both components were undertaken in response to offical interest in a public competition that was never implemented (2)(3). The CCA has two sets of the nine site plans proposed in 1846 (DR1974:0002:036:001-016), one containing transfer lithographed site plans with a written analysis and cost estimate for each of the proposed locations, and the other with only the site plans (similar sets are located in the 'Archives Nationales' in France). They indicate that Charles, (heavily influenced by his Théâtre Royal Italien project) preferred the Rue de la Paix location (siteplan #3) for the new opera house. Although site plan number six, Boulevard des Capucines, was not favoured at this date, it is highly prophetic as it was the location officially chosen in 1860 for the new opera house. Apparently unique to the CCA collection is the 1847 manuscript and portfolio of drawings for the proposed opera house (DR1974:0002:036:001-016). The manuscript is both an indepth review of the requirements for a national opera house and a guide to his portfolio of drawings. Charles' conception and design continued to be strongly influenced by Debret's Salle Lepelletier, as well as his own Théâtre Italien project, and various antique and contemporary opera houses and theatres. Many of the French and Italian sources mentioned in the manuscript are collected in an album (DR1974:0002:010:001-048) as references for his own designs (4). As official architect of Salle Le pelletier, Charles was also responsible for repairs, restorations, and alterations to the existing structure. The drawings and transfer lithographs in the CCA collection (DR1974:0002:036:001-016) are primarily dated 1854, and relate to documented repair and restoration projects undertaken during this period (5)(6). The CCA collection has the presentation drawings and lithographs for the later 1859 project (DR1974:0002:027:001-027) for the Paris opera (*Theatre Imperiale de l'opera) that were sent to Achille Fould, the Minister of State. This project is probably a counterpart to a similiar one that he submitted to the Prefect of the Seine, Baron Haussmann, in the same year (7). Site plans show the opera house on an irregular polygonal site facing Boulevard des Capucines. The placement of the 'maisons à loyers' on the rear of the site reflects Charles' continued emphasis on integrating his opera projects into the surrounding urban context. In 1859, it appeared that Charles was favoured to build the new opera house. But late in the following year, a public competition was called in which Charles Garnier emerged as the victor. Although Charles did not build the final structure, his numerous projects, as exemplified in the CCA collection, were of prime importance in determining the location, configuration, and plan of the Place de l'Opera (8). * The 'Paris Opera' was France's national opera, and thus its name changed numerous times throughout its history according to altering perceptions of its role in French culture and/or changes in political regimes. For reasons of clarity, the national opera will be referred to as the Paris Opera. The names indicated in brackets with a star refer to the proper name of the opera company at the date of the project. (1) Eugene Le Comte, "Projet de Salle rue de la Paix, pour le Théâtre Royal Italien: Lettres à Monsieur le Ministre de l'Intérieur, en date des 15 mai et 31octobre 1839" (Paris: P. Dupont, 1839). (2) Christopher Curtis Mead, "Charles Garnier's Paris Opera and the Renaissance of Classicism in Nineteenth century French Architecture", 3 vols. (PhD thesis; Philadelphia: University of Pennsylvania, 1986), p. 234 and p. 956, fn. 30. (3) Monika Steinhauser, "Die Architektur des Pariser Oper" (Munich: Prestel Verlag, 1969), p. 45, fns. 143 and 144. (4) Barry Bergdoll, "Charles Rohault de Fleury: Part Three: Theatres and the Opera house", 'CCA Research Report', n.d., p. 3. (5) Larousse XIXth Century, s.v. "Rohault de Fleury, Charles". (6) Mead, p. 238. (7) Oeuvres de C. Rohault de Fleury, architecte" (Paris: Librarie centrale d'architecture, 1884).. (8) Macmillan, s.v. "Rohault de Fleury Familly".
Opera Houses
CI001.S2.D3
Description:
Charles Rohault de Fleury's sustained involvement with the design of opera houses began with his appointment in 1846 as official architect of the existing Salle Le Pelletier, home to the *Paris Opera, and continued until an open competition was called in 1860 (Charles Garnier won this competition). During this period Rohault de Fleury submitted numerous proposals to replace theprovisional Salle Le Pelletier with a structure more appropriate to the grandeur and importance of France's national opera company. The CCA collection contains four projects related to his work for the Paris opera: two early projects (1846 and 1847) and one later one (1859) for a newopera house, and a portfolio of lithographs and drawings related to alterations and repairs to Salle Le Pelletier (1850-1854). The collection also includes Charles' earliest theatre project, a comprehensive plan for an opera house and surrounding infrastructure for the Theatre Royal Italien opera company (1838-1840), and an album containing drawings and prints of antique and contemporary theatres (1839-1854?). Charles' first project was for the Theatre Royal Italien opera company whose previous home, the Salle Favart, had burned down on the night of January 14 1838. The CCA collection contains an album of presentation drawings for a new theatre located on rue de la Paix with boutiques in the adjacent 'passages' (DR1974:0002:019:001-023). A second album consists of site plans including proposed 'maisons à loyers' (apartment buildings) and documents relating to the cost estimates and rental income for the entire project (DR1974:0002:036:001-016). The architectural style and interior arrangement of the theatre is heavily indebted to Francois Debret's Salle Le Pelletier. Charles' originality lies more in his conception of the social and economic role of the theatre in relation and integration, to its surrounding urban fabric. An explanation of the entire Theatre Royal Italien project, and Charles' role as architect in it, is found in two proposal letters (located in the Avery Library, Columbia University, NY) written by the entrepreneur Eugene Lecomte to the Minister of the Interior, Comte Duchatel, on May 15 and October 31 1839 (1). Charles' album of drawings at the CCA for the theatre and some of the cost and rental estimates are probably presentation copies directly related to the first letter, and most likely submitted to the Minister of the Interior. Charles' project was never executed, and the Italian opera company eventualy found a permanent home in the existing Salle Ventadour (1841). However, the inclusive nature of the Théâtre Royal Italien proposal, with its stress on urban development and contextuality, continued to play a seminal role in his later Paris Opera projects. Upon replacing Francois Debret as architect of Salle Le Pelletier in 1846, Charles proposed nine possible locations (site plans) for a new opera house for the Paris Opera (*Academie Royale de Musique) and, in the following year (1847) prepared a portfolio of drawings for the actual structure with an accompanying seven-page manuscript describing the project. Although executed in successive years, the site plans and 1847 drawings are conceptually related. Both components were undertaken in response to offical interest in a public competition that was never implemented (2)(3). The CCA has two sets of the nine site plans proposed in 1846 (DR1974:0002:036:001-016), one containing transfer lithographed site plans with a written analysis and cost estimate for each of the proposed locations, and the other with only the site plans (similar sets are located in the 'Archives Nationales' in France). They indicate that Charles, (heavily influenced by his Théâtre Royal Italien project) preferred the Rue de la Paix location (siteplan #3) for the new opera house. Although site plan number six, Boulevard des Capucines, was not favoured at this date, it is highly prophetic as it was the location officially chosen in 1860 for the new opera house. Apparently unique to the CCA collection is the 1847 manuscript and portfolio of drawings for the proposed opera house (DR1974:0002:036:001-016). The manuscript is both an indepth review of the requirements for a national opera house and a guide to his portfolio of drawings. Charles' conception and design continued to be strongly influenced by Debret's Salle Lepelletier, as well as his own Théâtre Italien project, and various antique and contemporary opera houses and theatres. Many of the French and Italian sources mentioned in the manuscript are collected in an album (DR1974:0002:010:001-048) as references for his own designs (4). As official architect of Salle Le pelletier, Charles was also responsible for repairs, restorations, and alterations to the existing structure. The drawings and transfer lithographs in the CCA collection (DR1974:0002:036:001-016) are primarily dated 1854, and relate to documented repair and restoration projects undertaken during this period (5)(6). The CCA collection has the presentation drawings and lithographs for the later 1859 project (DR1974:0002:027:001-027) for the Paris opera (*Theatre Imperiale de l'opera) that were sent to Achille Fould, the Minister of State. This project is probably a counterpart to a similiar one that he submitted to the Prefect of the Seine, Baron Haussmann, in the same year (7). Site plans show the opera house on an irregular polygonal site facing Boulevard des Capucines. The placement of the 'maisons à loyers' on the rear of the site reflects Charles' continued emphasis on integrating his opera projects into the surrounding urban context. In 1859, it appeared that Charles was favoured to build the new opera house. But late in the following year, a public competition was called in which Charles Garnier emerged as the victor. Although Charles did not build the final structure, his numerous projects, as exemplified in the CCA collection, were of prime importance in determining the location, configuration, and plan of the Place de l'Opera (8). * The 'Paris Opera' was France's national opera, and thus its name changed numerous times throughout its history according to altering perceptions of its role in French culture and/or changes in political regimes. For reasons of clarity, the national opera will be referred to as the Paris Opera. The names indicated in brackets with a star refer to the proper name of the opera company at the date of the project. (1) Eugene Le Comte, "Projet de Salle rue de la Paix, pour le Théâtre Royal Italien: Lettres à Monsieur le Ministre de l'Intérieur, en date des 15 mai et 31octobre 1839" (Paris: P. Dupont, 1839). (2) Christopher Curtis Mead, "Charles Garnier's Paris Opera and the Renaissance of Classicism in Nineteenth century French Architecture", 3 vols. (PhD thesis; Philadelphia: University of Pennsylvania, 1986), p. 234 and p. 956, fn. 30. (3) Monika Steinhauser, "Die Architektur des Pariser Oper" (Munich: Prestel Verlag, 1969), p. 45, fns. 143 and 144. (4) Barry Bergdoll, "Charles Rohault de Fleury: Part Three: Theatres and the Opera house", 'CCA Research Report', n.d., p. 3. (5) Larousse XIXth Century, s.v. "Rohault de Fleury, Charles". (6) Mead, p. 238. (7) Oeuvres de C. Rohault de Fleury, architecte" (Paris: Librarie centrale d'architecture, 1884).. (8) Macmillan, s.v. "Rohault de Fleury Familly".
Level of archival description:
File 3
File 3
Date:
1717-1868
1717-1868
People:
Form:
exhibitions
exhibitions
Title:
Mies in America
Mies in America
Actions:
Description:
A profound thinker, painstaking artist, and one of the greatest architects in history, Ludwig Mies van der Rohe emigrated from Germany to the United States in 1938, when he was already in his fifties and one of the recognized masters of his profession. Transplanted from the Bauhaus (of which he was the last director) to a technical institute in Chicago, from the European(...)
A profound thinker, painstaking artist, and one of the greatest architects in history, Ludwig Mies van der Rohe emigrated from Germany to the United States in 1938, when he was already in his fifties and one of the recognized masters of his profession. Transplanted from the Bauhaus (of which he was the last director) to a technical institute in Chicago, from the European(...)
Location:
Main galleries
Main galleries
Date:
17 October 2001 to 20 January 2002
17 October 2001 to 20 January 2002
Title:
Mies in America
Actions:
Description:
A profound thinker, painstaking artist, and one of the greatest architects in history, Ludwig Mies van der Rohe emigrated from Germany to the United States in 1938, when he was already in his fifties and one of the recognized masters of his profession. Transplanted from the Bauhaus (of which he was the last director) to a technical institute in Chicago, from the European(...)
Mies in America
Actions:
Description:
A profound thinker, painstaking artist, and one of the greatest architects in history, Ludwig Mies van der Rohe emigrated from Germany to the United States in 1938, when he was already in his fifties and one of the recognized masters of his profession. Transplanted from the Bauhaus (of which he was the last director) to a technical institute in Chicago, from the European(...)
Form:
exhibitions
exhibitions
Date:
17 October 2001 to
20 January 2002
17 October 2001 to
20 January 2002
Location:
Main galleries
Main galleries
Form:
exhibitions
exhibitions
Actions:
Description:
Hochelaga Depicta: Documenting Montréal traces the urban and architectural development of Montreal since its founding in 1642. Engravings of different scenes of Montreal, guide books, postcards, and other documents from the CCA collection present this history. Curated by Joshua Wolfe, Héritage Montréal, and Helen Malkin, CCA.
Hochelaga Depicta: Documenting Montréal traces the urban and architectural development of Montreal since its founding in 1642. Engravings of different scenes of Montreal, guide books, postcards, and other documents from the CCA collection present this history. Curated by Joshua Wolfe, Héritage Montréal, and Helen Malkin, CCA.
Location:
Hall cases
Hall cases
Date:
7 May 1989 to 15 August 1989
7 May 1989 to 15 August 1989
Title:
Hochelaga Depicta: Documenting Montréal
Actions:
Description:
Hochelaga Depicta: Documenting Montréal traces the urban and architectural development of Montreal since its founding in 1642. Engravings of different scenes of Montreal, guide books, postcards, and other documents from the CCA collection present this history. Curated by Joshua Wolfe, Héritage Montréal, and Helen Malkin, CCA.
Hochelaga Depicta: Documenting Montréal
Actions:
Description:
Hochelaga Depicta: Documenting Montréal traces the urban and architectural development of Montreal since its founding in 1642. Engravings of different scenes of Montreal, guide books, postcards, and other documents from the CCA collection present this history. Curated by Joshua Wolfe, Héritage Montréal, and Helen Malkin, CCA.
Form:
exhibitions
exhibitions
Date:
7 May 1989 to
15 August 1989
7 May 1989 to
15 August 1989
Location:
Hall cases
Hall cases
Form:
exhibitions
exhibitions
Actions:
Description:
The beginning of the 1950s was a moment of global upheaval. From India to Morocco, from Guatemala to Indochina, the process of decolonization gained momentum and the Cold War began. Architects working or acting as experts in the non-Western areas of the globe could no longer plan as if sites were terrains vague and people were mute subjects. The end of colonial(...)
The beginning of the 1950s was a moment of global upheaval. From India to Morocco, from Guatemala to Indochina, the process of decolonization gained momentum and the Cold War began. Architects working or acting as experts in the non-Western areas of the globe could no longer plan as if sites were terrains vague and people were mute subjects. The end of colonial(...)
Location:
Main galleries Keyword(s):
Casablanca, Chandigarh, Le Corbusier, Jeanneret, Morocco, Punjab, India, Morocco, modernism, Africa, Takashi Homma, Yto Barrada
Main galleries Keyword(s):
Casablanca, Chandigarh, Le Corbusier, Jeanneret, Morocco, Punjab, India, Morocco, modernism, Africa, Takashi Homma, Yto Barrada
Date:
26 November 2013 to 20 April 2014
26 November 2013 to 20 April 2014
Title:
How architects, experts, politicians, international agencies and citizens negotiate modern planning: Casablanca Chandigarh
Actions:
Description:
The beginning of the 1950s was a moment of global upheaval. From India to Morocco, from Guatemala to Indochina, the process of decolonization gained momentum and the Cold War began. Architects working or acting as experts in the non-Western areas of the globe could no longer plan as if sites were terrains vague and people were mute subjects. The end of colonial(...)
How architects, experts, politicians, international agencies and citizens negotiate modern planning: Casablanca Chandigarh
Actions:
Description:
The beginning of the 1950s was a moment of global upheaval. From India to Morocco, from Guatemala to Indochina, the process of decolonization gained momentum and the Cold War began. Architects working or acting as experts in the non-Western areas of the globe could no longer plan as if sites were terrains vague and people were mute subjects. The end of colonial(...)
Form:
exhibitions
exhibitions
Date:
26 November 2013 to
20 April 2014
26 November 2013 to
20 April 2014
Location:
Main galleries Keyword(s):
Casablanca, Chandigarh, Le Corbusier, Jeanneret, Morocco, Punjab, India, Morocco, modernism, Africa, Takashi Homma, Yto Barrada
Main galleries Keyword(s):
Casablanca, Chandigarh, Le Corbusier, Jeanneret, Morocco, Punjab, India, Morocco, modernism, Africa, Takashi Homma, Yto Barrada
Form:
events
events
Title:
Learning from... Los Angeles
Learning from... Los Angeles
Actions:
Description:
Los Angeles-based historian and tour guide Richard Schave examines developments in Los Angeles in the 35 years since the landmark urban tour film Reyner Banham Loves Los Angeles (UK,1972). Schave, a former student of Banham, elaborates on his professor’s research by showing excerpts of the film in comparison with his own documentary photography. In particular, he explores(...)
Los Angeles-based historian and tour guide Richard Schave examines developments in Los Angeles in the 35 years since the landmark urban tour film Reyner Banham Loves Los Angeles (UK,1972). Schave, a former student of Banham, elaborates on his professor’s research by showing excerpts of the film in comparison with his own documentary photography. In particular, he explores(...)
Location:
Paul Desmarais Theatre
Paul Desmarais Theatre
Date:
28 May 2009
28 May 2009
Title:
Learning from... Los Angeles
Actions:
Description:
Los Angeles-based historian and tour guide Richard Schave examines developments in Los Angeles in the 35 years since the landmark urban tour film Reyner Banham Loves Los Angeles (UK,1972). Schave, a former student of Banham, elaborates on his professor’s research by showing excerpts of the film in comparison with his own documentary photography. In particular, he explores(...)
Learning from... Los Angeles
Actions:
Description:
Los Angeles-based historian and tour guide Richard Schave examines developments in Los Angeles in the 35 years since the landmark urban tour film Reyner Banham Loves Los Angeles (UK,1972). Schave, a former student of Banham, elaborates on his professor’s research by showing excerpts of the film in comparison with his own documentary photography. In particular, he explores(...)
Form:
events
events
Date:
28 May 2009
28 May 2009
Location:
Paul Desmarais Theatre
Paul Desmarais Theatre
Form:
events
events
Actions:
Description:
None
None
Date:
14 December 2017
14 December 2017
Title:
Eve Blau, Richard Pare, and Phyllis Lambert on Photographic Evidence
Actions:
Description:
None
Eve Blau, Richard Pare, and Phyllis Lambert on Photographic Evidence
Actions:
Description:
None
Form:
events
events
Date:
14 December 2017
14 December 2017
Form:
events
events
Title:
Learning from... Cairo
Learning from... Cairo
Actions:
Description:
Nasser Rabbat challenges the traditional framing strategies of East vs. West or traditional vs. modern, focusing instead on the dialectical relationship of modernity and history in the making of contemporary Cairo. Shaped by distinct waves of modernity from the colonial Napoleonic invasion of 1789 to the revolution and independence in 1952, the city responded with layers(...)
Nasser Rabbat challenges the traditional framing strategies of East vs. West or traditional vs. modern, focusing instead on the dialectical relationship of modernity and history in the making of contemporary Cairo. Shaped by distinct waves of modernity from the colonial Napoleonic invasion of 1789 to the revolution and independence in 1952, the city responded with layers(...)
Location:
Paul-Desmarais Theatre
Paul-Desmarais Theatre
Date:
15 September 2011 , 7pm
15 September 2011 , 7pm
Title:
Learning from... Cairo
Actions:
Description:
Nasser Rabbat challenges the traditional framing strategies of East vs. West or traditional vs. modern, focusing instead on the dialectical relationship of modernity and history in the making of contemporary Cairo. Shaped by distinct waves of modernity from the colonial Napoleonic invasion of 1789 to the revolution and independence in 1952, the city responded with layers(...)
Learning from... Cairo
Actions:
Description:
Nasser Rabbat challenges the traditional framing strategies of East vs. West or traditional vs. modern, focusing instead on the dialectical relationship of modernity and history in the making of contemporary Cairo. Shaped by distinct waves of modernity from the colonial Napoleonic invasion of 1789 to the revolution and independence in 1952, the city responded with layers(...)
Form:
events
events
Date:
15 September 2011
7pm
15 September 2011
7pm
Location:
Paul-Desmarais Theatre
Paul-Desmarais Theatre
Form:
exhibitions
exhibitions
Title:
Architects’ Books
Architects’ Books
Actions:
Description:
This exhibition presents three phases in the history of the architect’s book: the mid-sixteenth century, when architects first proved themselves in the field; the late-nineteenth to early-twentieth centuries, when architects turned to book design as a serious complement to their professional career; and contemporary times, when architectural firms, in league with their(...)
This exhibition presents three phases in the history of the architect’s book: the mid-sixteenth century, when architects first proved themselves in the field; the late-nineteenth to early-twentieth centuries, when architects turned to book design as a serious complement to their professional career; and contemporary times, when architectural firms, in league with their(...)
Location:
Octagonal gallery
Octagonal gallery
Date:
24 June 2004 to 26 September 2004
24 June 2004 to 26 September 2004
Title:
Architects’ Books
Actions:
Description:
This exhibition presents three phases in the history of the architect’s book: the mid-sixteenth century, when architects first proved themselves in the field; the late-nineteenth to early-twentieth centuries, when architects turned to book design as a serious complement to their professional career; and contemporary times, when architectural firms, in league with their(...)
Architects’ Books
Actions:
Description:
This exhibition presents three phases in the history of the architect’s book: the mid-sixteenth century, when architects first proved themselves in the field; the late-nineteenth to early-twentieth centuries, when architects turned to book design as a serious complement to their professional career; and contemporary times, when architectural firms, in league with their(...)
Form:
exhibitions
exhibitions
Date:
24 June 2004 to
26 September 2004
24 June 2004 to
26 September 2004
Location:
Octagonal gallery
Octagonal gallery
Form:
events
events
Title:
Learning from… Toronto
Learning from… Toronto
Actions:
Description:
Ian Chodikoff, architect, urban designer, and editor of Canadian Architect magazine, presents his research on the contemporary suburb and how the influences of ethnic diversity and multiculturalism affect architecture and urban design within the suburban landscape across the Greater Toronto Area (GTA). Today’s suburbs are more ethnically diverse, globally connected and(...)
Ian Chodikoff, architect, urban designer, and editor of Canadian Architect magazine, presents his research on the contemporary suburb and how the influences of ethnic diversity and multiculturalism affect architecture and urban design within the suburban landscape across the Greater Toronto Area (GTA). Today’s suburbs are more ethnically diverse, globally connected and(...)
Location:
Paul Desmarais Theatre
Paul Desmarais Theatre
Date:
4 March 2010 , 7pm
4 March 2010 , 7pm
Title:
Learning from… Toronto
Actions:
Description:
Ian Chodikoff, architect, urban designer, and editor of Canadian Architect magazine, presents his research on the contemporary suburb and how the influences of ethnic diversity and multiculturalism affect architecture and urban design within the suburban landscape across the Greater Toronto Area (GTA). Today’s suburbs are more ethnically diverse, globally connected and(...)
Learning from… Toronto
Actions:
Description:
Ian Chodikoff, architect, urban designer, and editor of Canadian Architect magazine, presents his research on the contemporary suburb and how the influences of ethnic diversity and multiculturalism affect architecture and urban design within the suburban landscape across the Greater Toronto Area (GTA). Today’s suburbs are more ethnically diverse, globally connected and(...)
Form:
events
events
Date:
4 March 2010
7pm
4 March 2010
7pm
Location:
Paul Desmarais Theatre
Paul Desmarais Theatre
Form:
events
events
Title:
Learning from... Hong Kong
Learning from... Hong Kong
Actions:
Description:
Self-built settlements on the roofs of high-rise buildings have been an integral part of Hong Kong’s history for over half a century. Rooftop structures range from basic shelters for the disadvantaged to intricate multi-storey constructions equipped with the amenities of modern life. Rufina Wu and Stefan Canham use the tools of an architect and a photographer to document(...)
Self-built settlements on the roofs of high-rise buildings have been an integral part of Hong Kong’s history for over half a century. Rooftop structures range from basic shelters for the disadvantaged to intricate multi-storey constructions equipped with the amenities of modern life. Rufina Wu and Stefan Canham use the tools of an architect and a photographer to document(...)
Location:
Paul-Desmarais Theatre
Paul-Desmarais Theatre
Date:
3 May 2012 , 7pm
3 May 2012 , 7pm
Title:
Learning from... Hong Kong
Actions:
Description:
Self-built settlements on the roofs of high-rise buildings have been an integral part of Hong Kong’s history for over half a century. Rooftop structures range from basic shelters for the disadvantaged to intricate multi-storey constructions equipped with the amenities of modern life. Rufina Wu and Stefan Canham use the tools of an architect and a photographer to document(...)
Learning from... Hong Kong
Actions:
Description:
Self-built settlements on the roofs of high-rise buildings have been an integral part of Hong Kong’s history for over half a century. Rooftop structures range from basic shelters for the disadvantaged to intricate multi-storey constructions equipped with the amenities of modern life. Rufina Wu and Stefan Canham use the tools of an architect and a photographer to document(...)
Form:
events
events
Date:
3 May 2012
7pm
3 May 2012
7pm
Location:
Paul-Desmarais Theatre
Paul-Desmarais Theatre
