710 Results
Form:
drawings
drawings
Actions:
Reference number:
DR1987:0273
Description:
- A long, rectangular garden structure in the form of a loggia separating two small end pavilions. The loggia, consisting of five bays articulated by freestanding Doric columns, is approached by steps across its entire width and opens onto a series of niches occupied by sculptural figures in the rear wall. The end pavilions, which show on the main exterior elevation a pedimented window framed by rustication and a molded arch, are square in plan and capped by a dome not expressed on the exterior.
DR1987:0273
Description:
- A long, rectangular garden structure in the form of a loggia separating two small end pavilions. The loggia, consisting of five bays articulated by freestanding Doric columns, is approached by steps across its entire width and opens onto a series of niches occupied by sculptural figures in the rear wall. The end pavilions, which show on the main exterior elevation a pedimented window framed by rustication and a molded arch, are square in plan and capped by a dome not expressed on the exterior.
People:
Subject:
architecture, landscape architecture
architecture, landscape architecture
Date:
ca. 1800
ca. 1800
Title:
Plan, elevation, and sections of a garden coffee house
Actions:
DR1987:0273
Description:
- A long, rectangular garden structure in the form of a loggia separating two small end pavilions. The loggia, consisting of five bays articulated by freestanding Doric columns, is approached by steps across its entire width and opens onto a series of niches occupied by sculptural figures in the rear wall. The end pavilions, which show on the main exterior elevation a pedimented window framed by rustication and a molded arch, are square in plan and capped by a dome not expressed on the exterior.
Plan, elevation, and sections of a garden coffee house
Actions:
DR1987:0273
Description:
- A long, rectangular garden structure in the form of a loggia separating two small end pavilions. The loggia, consisting of five bays articulated by freestanding Doric columns, is approached by steps across its entire width and opens onto a series of niches occupied by sculptural figures in the rear wall. The end pavilions, which show on the main exterior elevation a pedimented window framed by rustication and a molded arch, are square in plan and capped by a dome not expressed on the exterior.
Form:
drawings
drawings
Date:
ca. 1800
ca. 1800
People:
Subject:
architecture, landscape architecture
architecture, landscape architecture
Form:
works of art
works of art
Reference number:
DR1984:0574
Description:
- DR1984:0574, DR1984:0575, and DR1984:0576 describe a theoretical project for a garden house consisting of a central block and two pavilions. The plan of the central block has the form of a stretched octagon curved inward on the two longest sides. These two sides are approached by double stairs and constitute the front and back of the building. The short sides on the long axis open into the two pavilions (joined at right angles to the central block), which are square in plan and contain stairs leading to the upper floor. As in the building described in DR1984:0572 and DR1984:0573, the pavilions are two storeys high, while the area above the central hall is open to the sky. The interior and exterior of this structure are articulated much as in the first garden house (DR1984:0572 - DR1984:0573) except that the second storey exterior walls of the pavilions are enframed by Ionic pilasters. Also, only two fountains, one at front and back, are used at ground level.
DR1984:0574
Description:
- DR1984:0574, DR1984:0575, and DR1984:0576 describe a theoretical project for a garden house consisting of a central block and two pavilions. The plan of the central block has the form of a stretched octagon curved inward on the two longest sides. These two sides are approached by double stairs and constitute the front and back of the building. The short sides on the long axis open into the two pavilions (joined at right angles to the central block), which are square in plan and contain stairs leading to the upper floor. As in the building described in DR1984:0572 and DR1984:0573, the pavilions are two storeys high, while the area above the central hall is open to the sky. The interior and exterior of this structure are articulated much as in the first garden house (DR1984:0572 - DR1984:0573) except that the second storey exterior walls of the pavilions are enframed by Ionic pilasters. Also, only two fountains, one at front and back, are used at ground level.
People:
Subject:
architecture, landscape architecture
architecture, landscape architecture
Date:
ca. 1735-ca. 1745
ca. 1735-ca. 1745
Title:
Ground-floor plan and principal elevation of a Garden Pleasure House
Actions:
DR1984:0574
Description:
- DR1984:0574, DR1984:0575, and DR1984:0576 describe a theoretical project for a garden house consisting of a central block and two pavilions. The plan of the central block has the form of a stretched octagon curved inward on the two longest sides. These two sides are approached by double stairs and constitute the front and back of the building. The short sides on the long axis open into the two pavilions (joined at right angles to the central block), which are square in plan and contain stairs leading to the upper floor. As in the building described in DR1984:0572 and DR1984:0573, the pavilions are two storeys high, while the area above the central hall is open to the sky. The interior and exterior of this structure are articulated much as in the first garden house (DR1984:0572 - DR1984:0573) except that the second storey exterior walls of the pavilions are enframed by Ionic pilasters. Also, only two fountains, one at front and back, are used at ground level.
Ground-floor plan and principal elevation of a Garden Pleasure House
Actions:
DR1984:0574
Description:
- DR1984:0574, DR1984:0575, and DR1984:0576 describe a theoretical project for a garden house consisting of a central block and two pavilions. The plan of the central block has the form of a stretched octagon curved inward on the two longest sides. These two sides are approached by double stairs and constitute the front and back of the building. The short sides on the long axis open into the two pavilions (joined at right angles to the central block), which are square in plan and contain stairs leading to the upper floor. As in the building described in DR1984:0572 and DR1984:0573, the pavilions are two storeys high, while the area above the central hall is open to the sky. The interior and exterior of this structure are articulated much as in the first garden house (DR1984:0572 - DR1984:0573) except that the second storey exterior walls of the pavilions are enframed by Ionic pilasters. Also, only two fountains, one at front and back, are used at ground level.
Form:
works of art
works of art
Date:
ca. 1735-ca. 1745
ca. 1735-ca. 1745
People:
Subject:
architecture, landscape architecture
architecture, landscape architecture
Form:
works of art
works of art
Reference number:
DR1984:0572
Description:
- DR1984:0572 and DR1984:0573 describe a theoretical project for a garden house consisting of a central block and four smaller pavilions. The central block, rectangular in plan and containing a single-storey, oval salon, or hall, is entered by means of curved stair ramps on front and back. The four pavilions, also rectangular in plan but two storeys in height, are joined at a forty-five degree angle to the four corners of the central block. On the main level the interior walls of the central hall and of three pavilions are articulated by statue niches. The fourth pavilion contains a staircase leading to the second floor. Except for the pavilions this upper level is open to the sky. At ground level four fountains are placed axially in the angles created by the pavilions. On the exterior the walls of the main floor are rusticated, while those of the pavilions at second-storey level are framed by an order of Corinthian pilasters.
DR1984:0572
Description:
- DR1984:0572 and DR1984:0573 describe a theoretical project for a garden house consisting of a central block and four smaller pavilions. The central block, rectangular in plan and containing a single-storey, oval salon, or hall, is entered by means of curved stair ramps on front and back. The four pavilions, also rectangular in plan but two storeys in height, are joined at a forty-five degree angle to the four corners of the central block. On the main level the interior walls of the central hall and of three pavilions are articulated by statue niches. The fourth pavilion contains a staircase leading to the second floor. Except for the pavilions this upper level is open to the sky. At ground level four fountains are placed axially in the angles created by the pavilions. On the exterior the walls of the main floor are rusticated, while those of the pavilions at second-storey level are framed by an order of Corinthian pilasters.
People:
Subject:
architecture, landscape architecture
architecture, landscape architecture
Date:
ca. 1735-ca. 1745
ca. 1735-ca. 1745
Title:
Ground floor plan and front elevation of a Garden Pleasure House
Actions:
DR1984:0572
Description:
- DR1984:0572 and DR1984:0573 describe a theoretical project for a garden house consisting of a central block and four smaller pavilions. The central block, rectangular in plan and containing a single-storey, oval salon, or hall, is entered by means of curved stair ramps on front and back. The four pavilions, also rectangular in plan but two storeys in height, are joined at a forty-five degree angle to the four corners of the central block. On the main level the interior walls of the central hall and of three pavilions are articulated by statue niches. The fourth pavilion contains a staircase leading to the second floor. Except for the pavilions this upper level is open to the sky. At ground level four fountains are placed axially in the angles created by the pavilions. On the exterior the walls of the main floor are rusticated, while those of the pavilions at second-storey level are framed by an order of Corinthian pilasters.
Ground floor plan and front elevation of a Garden Pleasure House
Actions:
DR1984:0572
Description:
- DR1984:0572 and DR1984:0573 describe a theoretical project for a garden house consisting of a central block and four smaller pavilions. The central block, rectangular in plan and containing a single-storey, oval salon, or hall, is entered by means of curved stair ramps on front and back. The four pavilions, also rectangular in plan but two storeys in height, are joined at a forty-five degree angle to the four corners of the central block. On the main level the interior walls of the central hall and of three pavilions are articulated by statue niches. The fourth pavilion contains a staircase leading to the second floor. Except for the pavilions this upper level is open to the sky. At ground level four fountains are placed axially in the angles created by the pavilions. On the exterior the walls of the main floor are rusticated, while those of the pavilions at second-storey level are framed by an order of Corinthian pilasters.
Form:
works of art
works of art
Date:
ca. 1735-ca. 1745
ca. 1735-ca. 1745
People:
Subject:
architecture, landscape architecture
architecture, landscape architecture
Form:
photographs
photographs
Title:
Stereograph of Horton House, San Diego, California, United States of America (demolished 1905)
Stereograph of Horton House, San Diego, California, United States of America (demolished 1905)
Actions:
Reference number:
PH1984:0977:429
Description:
View of Horton House situated on an unpaved road with wooden board walks, pictured from across the street. Horton House was a two-story, hip roof brick building with a cupola structure on top that served as a hotel, which opened in 1870 and was demolished in 1905 to make way for the new U.S. Grant Hotel.
PH1984:0977:429
Description:
View of Horton House situated on an unpaved road with wooden board walks, pictured from across the street. Horton House was a two-story, hip roof brick building with a cupola structure on top that served as a hotel, which opened in 1870 and was demolished in 1905 to make way for the new U.S. Grant Hotel.
People:
Date:
ca. 1870-1885
ca. 1870-1885
Title:
Stereograph of Horton House, San Diego, California, United States of America (demolished 1905)
Actions:
PH1984:0977:429
Description:
View of Horton House situated on an unpaved road with wooden board walks, pictured from across the street. Horton House was a two-story, hip roof brick building with a cupola structure on top that served as a hotel, which opened in 1870 and was demolished in 1905 to make way for the new U.S. Grant Hotel.
Stereograph of Horton House, San Diego, California, United States of America (demolished 1905)
Actions:
PH1984:0977:429
Description:
View of Horton House situated on an unpaved road with wooden board walks, pictured from across the street. Horton House was a two-story, hip roof brick building with a cupola structure on top that served as a hotel, which opened in 1870 and was demolished in 1905 to make way for the new U.S. Grant Hotel.
Form:
photographs
photographs
Date:
ca. 1870-1885
ca. 1870-1885
People:
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:
Level of archival description:
Project
Project
Actions:
Reference number:
CI005.S1.1926.PR3
Description:
In addition to its regular municipal housing program, the city of Stuttgart initiated the Weissenhof estate project in 1925, which featured the design and construction of 40 homes as part of the international exhibition of modern construction. Originally intended as an affordable housing project, the plans were later tailored to meet the needs of educated middle class citizens. The exhibition featured the experimental designs of various architects, experimenting with home economics and new building types and materials. When it opened in 1927, the Weissenhof estate comprehended 21 projects of 63 dwellings with Oud contributing designs for five identical terraced homes that were built (Taverne et al. 2001, 291-297). Project series includes photographs of exterior and interior views of terraced housing as well as Oud's drawings for plans.
CI005.S1.1926.PR3
Description:
In addition to its regular municipal housing program, the city of Stuttgart initiated the Weissenhof estate project in 1925, which featured the design and construction of 40 homes as part of the international exhibition of modern construction. Originally intended as an affordable housing project, the plans were later tailored to meet the needs of educated middle class citizens. The exhibition featured the experimental designs of various architects, experimenting with home economics and new building types and materials. When it opened in 1927, the Weissenhof estate comprehended 21 projects of 63 dwellings with Oud contributing designs for five identical terraced homes that were built (Taverne et al. 2001, 291-297). Project series includes photographs of exterior and interior views of terraced housing as well as Oud's drawings for plans.
People:
Date:
1926-1927
1926-1927
Title:
Five Row Houses in the Weissenhofsiedlung, Stuttgart, Germany (1926-1927)
Actions:
CI005.S1.1926.PR3
Description:
In addition to its regular municipal housing program, the city of Stuttgart initiated the Weissenhof estate project in 1925, which featured the design and construction of 40 homes as part of the international exhibition of modern construction. Originally intended as an affordable housing project, the plans were later tailored to meet the needs of educated middle class citizens. The exhibition featured the experimental designs of various architects, experimenting with home economics and new building types and materials. When it opened in 1927, the Weissenhof estate comprehended 21 projects of 63 dwellings with Oud contributing designs for five identical terraced homes that were built (Taverne et al. 2001, 291-297). Project series includes photographs of exterior and interior views of terraced housing as well as Oud's drawings for plans.
Five Row Houses in the Weissenhofsiedlung, Stuttgart, Germany (1926-1927)
Actions:
CI005.S1.1926.PR3
Description:
In addition to its regular municipal housing program, the city of Stuttgart initiated the Weissenhof estate project in 1925, which featured the design and construction of 40 homes as part of the international exhibition of modern construction. Originally intended as an affordable housing project, the plans were later tailored to meet the needs of educated middle class citizens. The exhibition featured the experimental designs of various architects, experimenting with home economics and new building types and materials. When it opened in 1927, the Weissenhof estate comprehended 21 projects of 63 dwellings with Oud contributing designs for five identical terraced homes that were built (Taverne et al. 2001, 291-297). Project series includes photographs of exterior and interior views of terraced housing as well as Oud's drawings for plans.
Level of archival description:
project
project
Date:
1926-1927
1926-1927
People:
Form:
journals and magazines
journals and magazines
Title:
New York
New York
Actions:
Reference number:
PH2008:0037:002
Description:
Article by Jerry Saltz titled "Conspicuous Consumption" (p. 89) mentions Gordon Matta-Clark's project Open House.
PH2008:0037:002
Description:
Article by Jerry Saltz titled "Conspicuous Consumption" (p. 89) mentions Gordon Matta-Clark's project Open House.
People:
Date:
14 May 2007
14 May 2007
Title:
New York
Actions:
PH2008:0037:002
Description:
Article by Jerry Saltz titled "Conspicuous Consumption" (p. 89) mentions Gordon Matta-Clark's project Open House.
New York
Actions:
PH2008:0037:002
Description:
Article by Jerry Saltz titled "Conspicuous Consumption" (p. 89) mentions Gordon Matta-Clark's project Open House.
Form:
journals and magazines
journals and magazines
Date:
14 May 2007
14 May 2007
People:
Level of archival description:
Sub-series
Sub-series
Title:
Other publications
Other publications
Actions:
Reference number:
AP149.S2.SS2
Description:
File related to other publications by the Minimum Cost Housing Group, or publication to which the group participated, about low-cost housing and energy saving devices, including to various edition of the publication "Open House International". The material in this file was produced in the 1970s and between 1981 and 1988. The file contains textual records, predominantly dummies, including a dummy for the publication "Open House International", but also correspondence and photographs related to these publications.
AP149.S2.SS2
Description:
File related to other publications by the Minimum Cost Housing Group, or publication to which the group participated, about low-cost housing and energy saving devices, including to various edition of the publication "Open House International". The material in this file was produced in the 1970s and between 1981 and 1988. The file contains textual records, predominantly dummies, including a dummy for the publication "Open House International", but also correspondence and photographs related to these publications.
People:
Date:
1970-1988
1970-1988
Title:
Other publications
Actions:
AP149.S2.SS2
Description:
File related to other publications by the Minimum Cost Housing Group, or publication to which the group participated, about low-cost housing and energy saving devices, including to various edition of the publication "Open House International". The material in this file was produced in the 1970s and between 1981 and 1988. The file contains textual records, predominantly dummies, including a dummy for the publication "Open House International", but also correspondence and photographs related to these publications.
Other publications
Actions:
AP149.S2.SS2
Description:
File related to other publications by the Minimum Cost Housing Group, or publication to which the group participated, about low-cost housing and energy saving devices, including to various edition of the publication "Open House International". The material in this file was produced in the 1970s and between 1981 and 1988. The file contains textual records, predominantly dummies, including a dummy for the publication "Open House International", but also correspondence and photographs related to these publications.
Level of archival description:
Sub-series
Sub-series
Date:
1970-1988
1970-1988
People:
Form:
textual records, photographs
textual records, photographs
Actions:
Reference number:
AP178.S1.1983.PR08.010.1
Description:
Original file title: Macau diversos asuntos This file includes an article of the Open House International (Vol. 9., no 4., 1984).
AP178.S1.1983.PR08.010.1
Description:
Original file title: Macau diversos asuntos This file includes an article of the Open House International (Vol. 9., no 4., 1984).
People:
Date:
1981-1990
1981-1990
Title:
General documentation, photographs of Siza's visit, and preliminary building program for the Zona Da Baia Da Praia Grande, Plano de Expansão da Cidade de Macau (Areia P. e Porto E.), Macau (folder 1 of 2)
Actions:
AP178.S1.1983.PR08.010.1
Description:
Original file title: Macau diversos asuntos This file includes an article of the Open House International (Vol. 9., no 4., 1984).
General documentation, photographs of Siza's visit, and preliminary building program for the Zona Da Baia Da Praia Grande, Plano de Expansão da Cidade de Macau (Areia P. e Porto E.), Macau (folder 1 of 2)
Actions:
AP178.S1.1983.PR08.010.1
Description:
Original file title: Macau diversos asuntos This file includes an article of the Open House International (Vol. 9., no 4., 1984).
Form:
textual records, photographs
textual records, photographs
Date:
1981-1990
1981-1990
People:
Level of archival description:
Sub-series
Sub-series
Title:
Alternatives in Retrospect
Alternatives in Retrospect
Actions:
Reference number:
CP138.S9.SS3.D4
Description:
File consists of a videocassette of interviews with Richard Nonas and Tina Girouard and excerpts of the Gordon Matta-Clark "Open House" (1972) film that were included in "Alternatives in Retrospect," a 1981 film produced by Jacki Apple made for the exhibition of the same name at The New Museum of Contemporary Art, New York City, New York. File contains a videocassette.
CP138.S9.SS3.D4
Description:
File consists of a videocassette of interviews with Richard Nonas and Tina Girouard and excerpts of the Gordon Matta-Clark "Open House" (1972) film that were included in "Alternatives in Retrospect," a 1981 film produced by Jacki Apple made for the exhibition of the same name at The New Museum of Contemporary Art, New York City, New York. File contains a videocassette.
People:
Date:
1981
1981
Title:
Alternatives in Retrospect
Actions:
CP138.S9.SS3.D4
Description:
File consists of a videocassette of interviews with Richard Nonas and Tina Girouard and excerpts of the Gordon Matta-Clark "Open House" (1972) film that were included in "Alternatives in Retrospect," a 1981 film produced by Jacki Apple made for the exhibition of the same name at The New Museum of Contemporary Art, New York City, New York. File contains a videocassette.
Alternatives in Retrospect
Actions:
CP138.S9.SS3.D4
Description:
File consists of a videocassette of interviews with Richard Nonas and Tina Girouard and excerpts of the Gordon Matta-Clark "Open House" (1972) film that were included in "Alternatives in Retrospect," a 1981 film produced by Jacki Apple made for the exhibition of the same name at The New Museum of Contemporary Art, New York City, New York. File contains a videocassette.
Level of archival description:
File 4
File 4
Date:
1981
1981
People:
