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ARCH158357
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Cette chemise contient de la documentation au sujet de la Fondation Frank Lloyd Wright et et de la correspondance diverse de la Fondation Frank Lloyd Wright, adressée à M. et Mme Roger D'Astous, soit à titre d'amis de la Fondation ou à titre d'ancien apprenti du Fellowship, selon le cas. Elle contient également les documents suivants: 6 exemplaires du bulletin Friends of Taliesin : vol. 1, no 1 (avril 1985), no 3 (déc. 1985), vol. 2, no 1 (avril 1986), vol. 4, no 3 (oct. 1988), vol. 5, no 1 (fév. 1989) et no 2 (mai 1989); 1 exemplaire du Taliesin Fellowship news : vol. 1, no 1 (printemps 1988); 1 exemplaire du programme du The Taliesin Festival of Music and Dance qui a eu lieu au Pavillon de Taliesin West en 1968; 1 exemplaire de Arizona Biltmore - History and Guide; 1 exemplaire d'une brochure parue en mai 1953 à l'occasion de l'exposition Small Exhibition of Organic Architecture; 1 exemplaire du catalogue paru vers 1954 lors de la présentation de l'exposition Sixty Years of Living Architecture, à Los Angeles (cette exposition avait d'abord été présentée à Florence en 1951); 1 exemplaire de Bâtiment, vol. 36, no 12 (décembre 1960); 1 exemplaire du The Los Angeles Times Home magazine (9 mars 1969).
ARCH158357
Description:
Cette chemise contient de la documentation au sujet de la Fondation Frank Lloyd Wright et et de la correspondance diverse de la Fondation Frank Lloyd Wright, adressée à M. et Mme Roger D'Astous, soit à titre d'amis de la Fondation ou à titre d'ancien apprenti du Fellowship, selon le cas. Elle contient également les documents suivants: 6 exemplaires du bulletin Friends of Taliesin : vol. 1, no 1 (avril 1985), no 3 (déc. 1985), vol. 2, no 1 (avril 1986), vol. 4, no 3 (oct. 1988), vol. 5, no 1 (fév. 1989) et no 2 (mai 1989); 1 exemplaire du Taliesin Fellowship news : vol. 1, no 1 (printemps 1988); 1 exemplaire du programme du The Taliesin Festival of Music and Dance qui a eu lieu au Pavillon de Taliesin West en 1968; 1 exemplaire de Arizona Biltmore - History and Guide; 1 exemplaire d'une brochure parue en mai 1953 à l'occasion de l'exposition Small Exhibition of Organic Architecture; 1 exemplaire du catalogue paru vers 1954 lors de la présentation de l'exposition Sixty Years of Living Architecture, à Los Angeles (cette exposition avait d'abord été présentée à Florence en 1951); 1 exemplaire de Bâtiment, vol. 36, no 12 (décembre 1960); 1 exemplaire du The Los Angeles Times Home magazine (9 mars 1969).
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Title:
Documentation au sujet de la Fondation Frank Lloyd Wright
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ARCH158357
Description:
Cette chemise contient de la documentation au sujet de la Fondation Frank Lloyd Wright et et de la correspondance diverse de la Fondation Frank Lloyd Wright, adressée à M. et Mme Roger D'Astous, soit à titre d'amis de la Fondation ou à titre d'ancien apprenti du Fellowship, selon le cas. Elle contient également les documents suivants: 6 exemplaires du bulletin Friends of Taliesin : vol. 1, no 1 (avril 1985), no 3 (déc. 1985), vol. 2, no 1 (avril 1986), vol. 4, no 3 (oct. 1988), vol. 5, no 1 (fév. 1989) et no 2 (mai 1989); 1 exemplaire du Taliesin Fellowship news : vol. 1, no 1 (printemps 1988); 1 exemplaire du programme du The Taliesin Festival of Music and Dance qui a eu lieu au Pavillon de Taliesin West en 1968; 1 exemplaire de Arizona Biltmore - History and Guide; 1 exemplaire d'une brochure parue en mai 1953 à l'occasion de l'exposition Small Exhibition of Organic Architecture; 1 exemplaire du catalogue paru vers 1954 lors de la présentation de l'exposition Sixty Years of Living Architecture, à Los Angeles (cette exposition avait d'abord été présentée à Florence en 1951); 1 exemplaire de Bâtiment, vol. 36, no 12 (décembre 1960); 1 exemplaire du The Los Angeles Times Home magazine (9 mars 1969).
Documentation au sujet de la Fondation Frank Lloyd Wright
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ARCH158357
Description:
Cette chemise contient de la documentation au sujet de la Fondation Frank Lloyd Wright et et de la correspondance diverse de la Fondation Frank Lloyd Wright, adressée à M. et Mme Roger D'Astous, soit à titre d'amis de la Fondation ou à titre d'ancien apprenti du Fellowship, selon le cas. Elle contient également les documents suivants: 6 exemplaires du bulletin Friends of Taliesin : vol. 1, no 1 (avril 1985), no 3 (déc. 1985), vol. 2, no 1 (avril 1986), vol. 4, no 3 (oct. 1988), vol. 5, no 1 (fév. 1989) et no 2 (mai 1989); 1 exemplaire du Taliesin Fellowship news : vol. 1, no 1 (printemps 1988); 1 exemplaire du programme du The Taliesin Festival of Music and Dance qui a eu lieu au Pavillon de Taliesin West en 1968; 1 exemplaire de Arizona Biltmore - History and Guide; 1 exemplaire d'une brochure parue en mai 1953 à l'occasion de l'exposition Small Exhibition of Organic Architecture; 1 exemplaire du catalogue paru vers 1954 lors de la présentation de l'exposition Sixty Years of Living Architecture, à Los Angeles (cette exposition avait d'abord été présentée à Florence en 1951); 1 exemplaire de Bâtiment, vol. 36, no 12 (décembre 1960); 1 exemplaire du The Los Angeles Times Home magazine (9 mars 1969).
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exhibitions
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Description:
Process as Interpretation seeks to sharpen the viewer’s awareness through consideration of nearly identical but subtly different images. The exhibition presents seven pairs of images from the CCA collection. Although these pairs are printed from the same negative, careful comparison of the subtleties of cropping, scale, tonal gradations, and medium reveal the printing and(...)
Process as Interpretation seeks to sharpen the viewer’s awareness through consideration of nearly identical but subtly different images. The exhibition presents seven pairs of images from the CCA collection. Although these pairs are printed from the same negative, careful comparison of the subtleties of cropping, scale, tonal gradations, and medium reveal the printing and(...)
Location:
Hall cases
Hall cases
Date:
17 January 1990 to 22 April 1990
17 January 1990 to 22 April 1990
Title:
Process as Interpretation: Photographs from the CCA
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Description:
Process as Interpretation seeks to sharpen the viewer’s awareness through consideration of nearly identical but subtly different images. The exhibition presents seven pairs of images from the CCA collection. Although these pairs are printed from the same negative, careful comparison of the subtleties of cropping, scale, tonal gradations, and medium reveal the printing and(...)
Process as Interpretation: Photographs from the CCA
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Description:
Process as Interpretation seeks to sharpen the viewer’s awareness through consideration of nearly identical but subtly different images. The exhibition presents seven pairs of images from the CCA collection. Although these pairs are printed from the same negative, careful comparison of the subtleties of cropping, scale, tonal gradations, and medium reveal the printing and(...)
Form:
exhibitions
exhibitions
Date:
17 January 1990 to
22 April 1990
17 January 1990 to
22 April 1990
Location:
Hall cases
Hall cases
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exhibitions
exhibitions
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Description:
Herzog de Meuron: Archaeology of the Mind presents an exhaustive display of materials from the architects’ archive and from related collections. Referencing a natural history, the exhibition includes study models, books, photographs, toys, fossils, Chinese scholars’ rocks, and significant works of contemporary art, all of which have informed the thinking of the Swiss(...)
Herzog de Meuron: Archaeology of the Mind presents an exhaustive display of materials from the architects’ archive and from related collections. Referencing a natural history, the exhibition includes study models, books, photographs, toys, fossils, Chinese scholars’ rocks, and significant works of contemporary art, all of which have informed the thinking of the Swiss(...)
Location:
Main galleries
Main galleries
Date:
23 October 2002 to 6 April 2003
23 October 2002 to 6 April 2003
Title:
Herzog & de Meuron: Archaeology of the Mind
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Description:
Herzog de Meuron: Archaeology of the Mind presents an exhaustive display of materials from the architects’ archive and from related collections. Referencing a natural history, the exhibition includes study models, books, photographs, toys, fossils, Chinese scholars’ rocks, and significant works of contemporary art, all of which have informed the thinking of the Swiss(...)
Herzog & de Meuron: Archaeology of the Mind
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Description:
Herzog de Meuron: Archaeology of the Mind presents an exhaustive display of materials from the architects’ archive and from related collections. Referencing a natural history, the exhibition includes study models, books, photographs, toys, fossils, Chinese scholars’ rocks, and significant works of contemporary art, all of which have informed the thinking of the Swiss(...)
Form:
exhibitions
exhibitions
Date:
23 October 2002 to
6 April 2003
23 October 2002 to
6 April 2003
Location:
Main galleries
Main galleries
Form:
exhibitions
exhibitions
Title:
John Soane 1753-1837
John Soane 1753-1837
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Description:
Described by Henry James as “one of the most curious things in London,” Sir John Soane’s Museum was built as the picturesque and enigmatic home, office, collector’s trove, and personal showplace of one of history’s most innovative architects. This exhibition is a major re-evaluation of Soane’s career, as well as a reconsideration of his importance to the history of modern(...)
Described by Henry James as “one of the most curious things in London,” Sir John Soane’s Museum was built as the picturesque and enigmatic home, office, collector’s trove, and personal showplace of one of history’s most innovative architects. This exhibition is a major re-evaluation of Soane’s career, as well as a reconsideration of his importance to the history of modern(...)
Location:
Main galleries
Main galleries
Date:
16 May 2001 to 3 September 2001
16 May 2001 to 3 September 2001
Title:
John Soane 1753-1837
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Description:
Described by Henry James as “one of the most curious things in London,” Sir John Soane’s Museum was built as the picturesque and enigmatic home, office, collector’s trove, and personal showplace of one of history’s most innovative architects. This exhibition is a major re-evaluation of Soane’s career, as well as a reconsideration of his importance to the history of modern(...)
John Soane 1753-1837
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Description:
Described by Henry James as “one of the most curious things in London,” Sir John Soane’s Museum was built as the picturesque and enigmatic home, office, collector’s trove, and personal showplace of one of history’s most innovative architects. This exhibition is a major re-evaluation of Soane’s career, as well as a reconsideration of his importance to the history of modern(...)
Form:
exhibitions
exhibitions
Date:
16 May 2001 to
3 September 2001
16 May 2001 to
3 September 2001
Location:
Main galleries
Main galleries
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events
events
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Join us tonight, 9 June 2011 at 6 pm in the Shaughnessy House. Visiting Scholar Elisabeth Essaïan presents her research on urban planning during the Stalin era, and a critical assessment of the reception it received in European and North American publications from the 1920s to 1950s. Presented in French. Click here for the Facebook event. Consult the summer seminar(...)
Join us tonight, 9 June 2011 at 6 pm in the Shaughnessy House. Visiting Scholar Elisabeth Essaïan presents her research on urban planning during the Stalin era, and a critical assessment of the reception it received in European and North American publications from the 1920s to 1950s. Presented in French. Click here for the Facebook event. Consult the summer seminar(...)
Location:
Shaughnessy House
Shaughnessy House
Date:
9 June 2011 , 6pm
9 June 2011 , 6pm
Title:
Visiting Scholar Seminar: Elisabeth Essaïan
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Description:
Join us tonight, 9 June 2011 at 6 pm in the Shaughnessy House. Visiting Scholar Elisabeth Essaïan presents her research on urban planning during the Stalin era, and a critical assessment of the reception it received in European and North American publications from the 1920s to 1950s. Presented in French. Click here for the Facebook event. Consult the summer seminar(...)
Visiting Scholar Seminar: Elisabeth Essaïan
Actions:
Description:
Join us tonight, 9 June 2011 at 6 pm in the Shaughnessy House. Visiting Scholar Elisabeth Essaïan presents her research on urban planning during the Stalin era, and a critical assessment of the reception it received in European and North American publications from the 1920s to 1950s. Presented in French. Click here for the Facebook event. Consult the summer seminar(...)
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events
events
Date:
9 June 2011
6pm
9 June 2011
6pm
Location:
Shaughnessy House
Shaughnessy House
Form:
exhibitions
exhibitions
Description:
Meditations on Piero presents contemporary sculptures by British/Canadian artist Geoffrey Smedley alongside over thirty rare books from the fifteenth to the eighteenth centuries. The sculptures draw their inspiration from a series of drawings of the human head by the great Italian Renaissance artist Piero della Francesca. The exhibition relates these drawings and(...)
Meditations on Piero presents contemporary sculptures by British/Canadian artist Geoffrey Smedley alongside over thirty rare books from the fifteenth to the eighteenth centuries. The sculptures draw their inspiration from a series of drawings of the human head by the great Italian Renaissance artist Piero della Francesca. The exhibition relates these drawings and(...)
Location:
Octagonal gallery
Octagonal gallery
Date:
2 May 2001 to 16 September 2001
2 May 2001 to 16 September 2001
Title:
Meditations on Piero
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Description:
Meditations on Piero presents contemporary sculptures by British/Canadian artist Geoffrey Smedley alongside over thirty rare books from the fifteenth to the eighteenth centuries. The sculptures draw their inspiration from a series of drawings of the human head by the great Italian Renaissance artist Piero della Francesca. The exhibition relates these drawings and(...)
Meditations on Piero
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Description:
Meditations on Piero presents contemporary sculptures by British/Canadian artist Geoffrey Smedley alongside over thirty rare books from the fifteenth to the eighteenth centuries. The sculptures draw their inspiration from a series of drawings of the human head by the great Italian Renaissance artist Piero della Francesca. The exhibition relates these drawings and(...)
Form:
exhibitions
exhibitions
Date:
2 May 2001 to
16 September 2001
2 May 2001 to
16 September 2001
Location:
Octagonal gallery
Octagonal gallery
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exhibitions
exhibitions
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Description:
Parables and Other Allegories: The Work of Melvin Charney 1975–1990 comprises approximately 100 drawings, including many large-scale, sketches, photographs, and three large constructions. By assembling works from various public and private collections, including the CCA, the exhibition permits a comprehensive analysis of Charney’s artistic process to reveal the dialogue(...)
Parables and Other Allegories: The Work of Melvin Charney 1975–1990 comprises approximately 100 drawings, including many large-scale, sketches, photographs, and three large constructions. By assembling works from various public and private collections, including the CCA, the exhibition permits a comprehensive analysis of Charney’s artistic process to reveal the dialogue(...)
Location:
Main galleries
Main galleries
Date:
9 October 1991 to 12 January 1992
9 October 1991 to 12 January 1992
Title:
Parables and Other Allegories: The Work of Melvin Charney, 1975-1990
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Description:
Parables and Other Allegories: The Work of Melvin Charney 1975–1990 comprises approximately 100 drawings, including many large-scale, sketches, photographs, and three large constructions. By assembling works from various public and private collections, including the CCA, the exhibition permits a comprehensive analysis of Charney’s artistic process to reveal the dialogue(...)
Parables and Other Allegories: The Work of Melvin Charney, 1975-1990
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Description:
Parables and Other Allegories: The Work of Melvin Charney 1975–1990 comprises approximately 100 drawings, including many large-scale, sketches, photographs, and three large constructions. By assembling works from various public and private collections, including the CCA, the exhibition permits a comprehensive analysis of Charney’s artistic process to reveal the dialogue(...)
Form:
exhibitions
exhibitions
Date:
9 October 1991 to
12 January 1992
9 October 1991 to
12 January 1992
Location:
Main galleries
Main galleries
Form:
events
events
Title:
Isola and Norzi: Conshelf II
Isola and Norzi: Conshelf II
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Description:
Artists Hilario Isola and Matteo Norzi discuss Jacques Cousteau’s Conshelf II underwater base and their own project Liquid Door, which proposes to revive the dream of living underwater by making Cousteau’s Starfish House inhabitable. Based in New York, Italian-born Hilario Isola and Matteo Norzi have collaborated since 2003, pooling their backgrounds and interests in art(...)
Artists Hilario Isola and Matteo Norzi discuss Jacques Cousteau’s Conshelf II underwater base and their own project Liquid Door, which proposes to revive the dream of living underwater by making Cousteau’s Starfish House inhabitable. Based in New York, Italian-born Hilario Isola and Matteo Norzi have collaborated since 2003, pooling their backgrounds and interests in art(...)
Location:
Paul Desmarais Theatre
Paul Desmarais Theatre
Date:
13 May 2010 , 7pm
13 May 2010 , 7pm
Title:
Isola and Norzi: Conshelf II
Actions:
Description:
Artists Hilario Isola and Matteo Norzi discuss Jacques Cousteau’s Conshelf II underwater base and their own project Liquid Door, which proposes to revive the dream of living underwater by making Cousteau’s Starfish House inhabitable. Based in New York, Italian-born Hilario Isola and Matteo Norzi have collaborated since 2003, pooling their backgrounds and interests in art(...)
Isola and Norzi: Conshelf II
Actions:
Description:
Artists Hilario Isola and Matteo Norzi discuss Jacques Cousteau’s Conshelf II underwater base and their own project Liquid Door, which proposes to revive the dream of living underwater by making Cousteau’s Starfish House inhabitable. Based in New York, Italian-born Hilario Isola and Matteo Norzi have collaborated since 2003, pooling their backgrounds and interests in art(...)
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events
events
Date:
13 May 2010
7pm
13 May 2010
7pm
Location:
Paul Desmarais Theatre
Paul Desmarais Theatre
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events
events
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Description:
In this lecture, Christophe Girot discusses digital landscape models: A quiet revolution has taken place in digital landscape design and analysis over the past decade, caused by the introduction of digital point-cloud models. The scope and precision of these digital landscape models, created with terrestrial laser scanners and mobile and airborne lidar, lead to new(...)
In this lecture, Christophe Girot discusses digital landscape models: A quiet revolution has taken place in digital landscape design and analysis over the past decade, caused by the introduction of digital point-cloud models. The scope and precision of these digital landscape models, created with terrestrial laser scanners and mobile and airborne lidar, lead to new(...)
Location:
Paul Desmarais Theatre
Paul Desmarais Theatre
Date:
6 October 2016, 6pm
6 October 2016, 6pm
Title:
Unravelling the Digital Landscape
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Description:
In this lecture, Christophe Girot discusses digital landscape models: A quiet revolution has taken place in digital landscape design and analysis over the past decade, caused by the introduction of digital point-cloud models. The scope and precision of these digital landscape models, created with terrestrial laser scanners and mobile and airborne lidar, lead to new(...)
Unravelling the Digital Landscape
Actions:
Description:
In this lecture, Christophe Girot discusses digital landscape models: A quiet revolution has taken place in digital landscape design and analysis over the past decade, caused by the introduction of digital point-cloud models. The scope and precision of these digital landscape models, created with terrestrial laser scanners and mobile and airborne lidar, lead to new(...)
Form:
events
events
Date:
6 October 2016
6pm
6 October 2016
6pm
Location:
Paul Desmarais Theatre
Paul Desmarais Theatre
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:
