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2016 Visiting Scholar Farhan Karim presents his research: In the recent development of architectural history, the involvement of Western architects in emerging postcolonial nations has been reviewed within the broader geopolitics of decolonization and global cold war. That analysis is certainly correct, as far as it goes, but what is needed historiographically is nuanced(...)
2016 Visiting Scholar Farhan Karim presents his research: In the recent development of architectural history, the involvement of Western architects in emerging postcolonial nations has been reviewed within the broader geopolitics of decolonization and global cold war. That analysis is certainly correct, as far as it goes, but what is needed historiographically is nuanced(...)
Location:
Shaughnessy House
Shaughnessy House
Date:
7 July 2016, 6pm
7 July 2016, 6pm
Title:
Visiting Scholar Seminar: Farhan Karim
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Description:
2016 Visiting Scholar Farhan Karim presents his research: In the recent development of architectural history, the involvement of Western architects in emerging postcolonial nations has been reviewed within the broader geopolitics of decolonization and global cold war. That analysis is certainly correct, as far as it goes, but what is needed historiographically is nuanced(...)
Visiting Scholar Seminar: Farhan Karim
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Description:
2016 Visiting Scholar Farhan Karim presents his research: In the recent development of architectural history, the involvement of Western architects in emerging postcolonial nations has been reviewed within the broader geopolitics of decolonization and global cold war. That analysis is certainly correct, as far as it goes, but what is needed historiographically is nuanced(...)
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events
events
Date:
7 July 2016
6pm
7 July 2016
6pm
Location:
Shaughnessy House
Shaughnessy House
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events
events
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Blake Fitzpatrick and Robert Del Tredici talk about their investigations of Port Hope in a conversation moderated by Louise Désy, CCA Curator, Photographs. Port Hope is Canada’s premier atomic town and the nation’s conduit to the nuclear world. In 1932, Eldorado Nuclear Ltd. built a radium refinery a stone’s throw from the town’s Main Street. After shifting to uranium(...)
Blake Fitzpatrick and Robert Del Tredici talk about their investigations of Port Hope in a conversation moderated by Louise Désy, CCA Curator, Photographs. Port Hope is Canada’s premier atomic town and the nation’s conduit to the nuclear world. In 1932, Eldorado Nuclear Ltd. built a radium refinery a stone’s throw from the town’s Main Street. After shifting to uranium(...)
Location:
Main galleries
Main galleries
Date:
25 March 2017, 3pm
25 March 2017, 3pm
Title:
Port Hope in the Age of Nuclear Waste
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Description:
Blake Fitzpatrick and Robert Del Tredici talk about their investigations of Port Hope in a conversation moderated by Louise Désy, CCA Curator, Photographs. Port Hope is Canada’s premier atomic town and the nation’s conduit to the nuclear world. In 1932, Eldorado Nuclear Ltd. built a radium refinery a stone’s throw from the town’s Main Street. After shifting to uranium(...)
Port Hope in the Age of Nuclear Waste
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Blake Fitzpatrick and Robert Del Tredici talk about their investigations of Port Hope in a conversation moderated by Louise Désy, CCA Curator, Photographs. Port Hope is Canada’s premier atomic town and the nation’s conduit to the nuclear world. In 1932, Eldorado Nuclear Ltd. built a radium refinery a stone’s throw from the town’s Main Street. After shifting to uranium(...)
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events
events
Date:
25 March 2017
3pm
25 March 2017
3pm
Location:
Main galleries
Main galleries
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events
events
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2016 Visiting Scholar Olumuyiwa Adegun presents his research: European cities of the nineteenth century, like African cities today, experienced severe housing problems. Shanty towns marked Berlin and Paris in ways that are similar to how Nairobi and Johannesburg have been characterized by informal settlements in the last few decades. This lecture explores the history of(...)
2016 Visiting Scholar Olumuyiwa Adegun presents his research: European cities of the nineteenth century, like African cities today, experienced severe housing problems. Shanty towns marked Berlin and Paris in ways that are similar to how Nairobi and Johannesburg have been characterized by informal settlements in the last few decades. This lecture explores the history of(...)
Location:
Shaughnessy House
Shaughnessy House
Date:
4 August 2016, 6pm
4 August 2016, 6pm
Title:
Visiting Scholar Seminar: Olumuyiwa Adegun
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Description:
2016 Visiting Scholar Olumuyiwa Adegun presents his research: European cities of the nineteenth century, like African cities today, experienced severe housing problems. Shanty towns marked Berlin and Paris in ways that are similar to how Nairobi and Johannesburg have been characterized by informal settlements in the last few decades. This lecture explores the history of(...)
Visiting Scholar Seminar: Olumuyiwa Adegun
Actions:
Description:
2016 Visiting Scholar Olumuyiwa Adegun presents his research: European cities of the nineteenth century, like African cities today, experienced severe housing problems. Shanty towns marked Berlin and Paris in ways that are similar to how Nairobi and Johannesburg have been characterized by informal settlements in the last few decades. This lecture explores the history of(...)
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events
events
Date:
4 August 2016
6pm
4 August 2016
6pm
Location:
Shaughnessy House
Shaughnessy House
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exhibitions
exhibitions
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The H-Block buildings of Maze Prison were a potent symbol of the often violent political struggles in Northern Ireland known today as the Troubles. The prison, opened in 1971 by the British government, was designed to keep apart warring loyalist and republican paramilitaries, the latter demanding to be treated as prisoners of war rather than criminals. As part of this(...)
The H-Block buildings of Maze Prison were a potent symbol of the often violent political struggles in Northern Ireland known today as the Troubles. The prison, opened in 1971 by the British government, was designed to keep apart warring loyalist and republican paramilitaries, the latter demanding to be treated as prisoners of war rather than criminals. As part of this(...)
Location:
Octagonal gallery
Octagonal gallery
Date:
5 September 2013 to 12 January 2014
5 September 2013 to 12 January 2014
Title:
H-BLOCK: Prison Housing – Donovan Wylie
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Description:
The H-Block buildings of Maze Prison were a potent symbol of the often violent political struggles in Northern Ireland known today as the Troubles. The prison, opened in 1971 by the British government, was designed to keep apart warring loyalist and republican paramilitaries, the latter demanding to be treated as prisoners of war rather than criminals. As part of this(...)
H-BLOCK: Prison Housing – Donovan Wylie
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Description:
The H-Block buildings of Maze Prison were a potent symbol of the often violent political struggles in Northern Ireland known today as the Troubles. The prison, opened in 1971 by the British government, was designed to keep apart warring loyalist and republican paramilitaries, the latter demanding to be treated as prisoners of war rather than criminals. As part of this(...)
Form:
exhibitions
exhibitions
Date:
5 September 2013 to
12 January 2014
5 September 2013 to
12 January 2014
Location:
Octagonal gallery
Octagonal gallery
Form:
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:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Reference number:
AP196
Synopsis:
Studio Gang Ford Calumet Environmental Center project records, 2003-2012, documents the design process for the Ford Calumet Environmental Center in Chicago, United-States. The records represent both phases during the competition and the full-term design, after the firm won the project. The records consist of born-digital material, sketches and drawings, textual records, photographs and seven models.
AP196
Synopsis:
Studio Gang Ford Calumet Environmental Center project records, 2003-2012, documents the design process for the Ford Calumet Environmental Center in Chicago, United-States. The records represent both phases during the competition and the full-term design, after the firm won the project. The records consist of born-digital material, sketches and drawings, textual records, photographs and seven models.
People:
Date:
2003-2011
2003-2011
Title:
Studio Gang Ford Calumet Environmental Center project records
Actions:
AP196
Synopsis:
Studio Gang Ford Calumet Environmental Center project records, 2003-2012, documents the design process for the Ford Calumet Environmental Center in Chicago, United-States. The records represent both phases during the competition and the full-term design, after the firm won the project. The records consist of born-digital material, sketches and drawings, textual records, photographs and seven models.
Studio Gang Ford Calumet Environmental Center project records
Actions:
AP196
Synopsis:
Studio Gang Ford Calumet Environmental Center project records, 2003-2012, documents the design process for the Ford Calumet Environmental Center in Chicago, United-States. The records represent both phases during the competition and the full-term design, after the firm won the project. The records consist of born-digital material, sketches and drawings, textual records, photographs and seven models.
Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Date:
2003-2011
2003-2011
People:
Form:
exhibitions
exhibitions
Description:
The exhibition explores one of the most adventurous and influential moments in the history of architecture: the explosion of invention and ideas that followed the October Revolution in Russia. The Soviet avant-garde architects were productivist as much as aesthetic in their concerns; they saw architecture and the arts as one, and they were committed to bringing design(...)
The exhibition explores one of the most adventurous and influential moments in the history of architecture: the explosion of invention and ideas that followed the October Revolution in Russia. The Soviet avant-garde architects were productivist as much as aesthetic in their concerns; they saw architecture and the arts as one, and they were committed to bringing design(...)
Location:
Main galleries
Main galleries
Date:
19 June 1991 to 8 September 1991
19 June 1991 to 8 September 1991
Title:
Architectural Drawings of the Russian Avant-Garde, 1917-1935
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Description:
The exhibition explores one of the most adventurous and influential moments in the history of architecture: the explosion of invention and ideas that followed the October Revolution in Russia. The Soviet avant-garde architects were productivist as much as aesthetic in their concerns; they saw architecture and the arts as one, and they were committed to bringing design(...)
Architectural Drawings of the Russian Avant-Garde, 1917-1935
Actions:
Description:
The exhibition explores one of the most adventurous and influential moments in the history of architecture: the explosion of invention and ideas that followed the October Revolution in Russia. The Soviet avant-garde architects were productivist as much as aesthetic in their concerns; they saw architecture and the arts as one, and they were committed to bringing design(...)
Form:
exhibitions
exhibitions
Date:
19 June 1991 to
8 September 1991
19 June 1991 to
8 September 1991
Location:
Main galleries
Main galleries
Form:
events
events
Actions:
Description:
Ben Bradley presents how the automobile shaped how Canadians encountered their country during the 20th century. As thousands and then millions came to know Canada by motoring, their travel patterns, viewing habits, and tastes shaped and reshaped the places they passed through. Canada’s roads came to be festooned with scenic pullouts, viewpoints, and a constellation of(...)
Ben Bradley presents how the automobile shaped how Canadians encountered their country during the 20th century. As thousands and then millions came to know Canada by motoring, their travel patterns, viewing habits, and tastes shaped and reshaped the places they passed through. Canada’s roads came to be festooned with scenic pullouts, viewpoints, and a constellation of(...)
Location:
Paul Desmarais Theatre Keyword(s):
Canada, environment, Bradley, It's all happening so fast, roadside
Paul Desmarais Theatre Keyword(s):
Canada, environment, Bradley, It's all happening so fast, roadside
Date:
23 February 2017, 6pm
23 February 2017, 6pm
Title:
Making Canada a Roadside Attraction
Actions:
Description:
Ben Bradley presents how the automobile shaped how Canadians encountered their country during the 20th century. As thousands and then millions came to know Canada by motoring, their travel patterns, viewing habits, and tastes shaped and reshaped the places they passed through. Canada’s roads came to be festooned with scenic pullouts, viewpoints, and a constellation of(...)
Making Canada a Roadside Attraction
Actions:
Description:
Ben Bradley presents how the automobile shaped how Canadians encountered their country during the 20th century. As thousands and then millions came to know Canada by motoring, their travel patterns, viewing habits, and tastes shaped and reshaped the places they passed through. Canada’s roads came to be festooned with scenic pullouts, viewpoints, and a constellation of(...)
Form:
events
events
Date:
23 February 2017
6pm
23 February 2017
6pm
Location:
Paul Desmarais Theatre Keyword(s):
Canada, environment, Bradley, It's all happening so fast, roadside
Paul Desmarais Theatre Keyword(s):
Canada, environment, Bradley, It's all happening so fast, roadside
Level of archival description:
Sub-series
Sub-series
Reference number:
CI001.S2.D5
Description:
Charles Rohault de Fleury was architect for the Muséum national d'histoire naturelle from 1833 to 1862. His work for the Muséum is represented in the CCA collection by a diverse group of prints and drawings. In addition to documenting his built and unbuilt projects, the inclusion of prints and drawings of museum and zoo buildings by other architects record, if only partially, the resources available to Charles in designing his buildings. This reference material provides insight into the influences on Charles' work as well as the nature of the design process itself. His built works, with the exception of the 1854 addition to the greenhouses, are illustrated in a book of prints with a brief accompanying text - "Muséum d'histoire naturelle: serres chaudes, galeries de minéralogie, etc. etc." (published 1837) (DR1974:0002:004:001; a second copy is held by the CCA library) (1). While prints are included for the Galerie de minéralogie et de géologie, the monkey house and the reservoirs, the majority of the prints are of the greenhouses (serres chaudes) begun 1833 (2). Known for their technological innovations in iron construction, these greenhouses utilized the first multi-storey load-bearing cast-iron façades for the central pavilions as well as space frame roof structures and prefabricated parts. This structural system is well documented in the prints in the CCA collection. The design was apparently inspired by the English greenhouses - a plate of which are included in the book - that Charles saw on a tour of England. The use of prestressed beams and curved roofs in the lateral wings attest to this influence. Charles' greenhouses, in turn, influenced the design of other greenhouses in Europe especially those at the Jardins Botanique in Liège and Ghent, Belgium (3). Although Joseph Paxton saw the greenhouses in 1833, it is unclear if they had an impact on the design of the Crystal Palace constructed 1850-1851 (4). The innovations of Charles' greenhouses continued to be acknowledged into the 20th century. Giedion in "Space, Time and Architecture", while erroneously attributing them to Rouhault (5)(6), refers to the greenhouses as "the prototype of all large iron-framed conservatories" (7). In addition to the greenhouses for the Muséum, the CCA collection includes three proposals (dated 1841) for a private greenhouse designed by Charles Rohault de Fleury (DR1974:0002:002:008 - DR1974:0002:002:013). The designs utilize the same curved roofs as the wings of the greenhouses at the Muséum combined with classically detailed stonework. An different aspect of Charles' work for the Muséum national d'histoire naturelle is represented in the album of unexecuted proposals -the only design drawings for the Muséum in the collection - for a Galerie de zoologie (DR1974:0002:024:001-079). Building on the typology of his earlier classical Galerie de minéralogie et de géologie (constructed 1833 -1841), the proposals, which date from between 1838 and 1862, illustrate a gradual enrichment of Charles' classical architectural vocabulary (8). They vary in their spatial configurations and façade treatments ranging from austere colonnaded designs with little ornament to more elaborate ones with richly encrusted facades, complex rooflines and more dramatic interior spaces characteristic of the Second Empire. The majority of the proposals consist of preliminary drawings illustrating the essential formal, spatial and ornamental aspects of the building. One proposal, dated January 1846, is substantially more developed than the others; in addition to general plans, sections and elevations, more detailed drawings are included for the layout of spaces, the elaboration of the facades, the configuration of the structure and even the designs for the specimen display cases. It is also worth noting that this album includes several plans outlining Rohault de Fleury's ideas for the overall development of the Muséum national d'histoire naturelle. In 1846, an album of prints of the Museo di fiscia e storia naturelle in Florence (DR1974:0002:005:001-018) was presented to Charles by the Grand Duke of Tuscany in response to his request for tracings of that building. These prints were probably used as reference material for the design of the new Galerie de zoologie described above. The portfolio of record drawings (ca. 1862) of the zoos in Antwerp, Brussels, Marseille and Amsterdam (DR1974:0002:018:001-027) is probably a dummy for a publication on zoological gardens as well as background documentation for the renovation and expansion of the zoo at the Muséum national d'histoire naturelle in Paris. Both drawings of the facilities for the animals and visitors and general plans of the zoological gardens are included. The Paris zoo project was apparently never undertaken. (1) These prints were reused in the "Oeuvre de C. Rohault de Fleury, architecte" (published 1884) (DR1974:0002:029:001-044). (2) Rohault de Fleury's greenhouses were destroyed in the Prussian bombardments of 1870. The greenhouses, which now stand in their place, are similar in layout and appearance to the original design, but their structural system is different. (3) John Hix, 'The Glass House' (Cambridge, Mass.: The MIT Press, 1981), p. 115. (4) Ibid., p. 115. (5) This error has been repeated by other authors including Henry-Russell Hitchcock, 'Architecture: Nineteenth and Twentieth Centuries' (Baltimore, Maryland: Penguin Books, 1968), p. 120. (6) Leonardo Benevolo, 'History of Modern Architecture' Volume 1: The tradition of modern architecture (Cambridge, Mass.: The M.I.T. Press, 1971), p. 22. (7) Sigfried Giedion, 'Space, Time and Architecture; the growth of a new tradition' (Cambridge: Harvard University Press, 1941), p. 181. (8) Barry Bergdoll, "Charles Rohault de Fleury: Part two: Muséum d'Histoire Naturelle and Studies on analogous Constructions in Europe", 'CCA Research Report", n.d., p. 1.
CI001.S2.D5
Description:
Charles Rohault de Fleury was architect for the Muséum national d'histoire naturelle from 1833 to 1862. His work for the Muséum is represented in the CCA collection by a diverse group of prints and drawings. In addition to documenting his built and unbuilt projects, the inclusion of prints and drawings of museum and zoo buildings by other architects record, if only partially, the resources available to Charles in designing his buildings. This reference material provides insight into the influences on Charles' work as well as the nature of the design process itself. His built works, with the exception of the 1854 addition to the greenhouses, are illustrated in a book of prints with a brief accompanying text - "Muséum d'histoire naturelle: serres chaudes, galeries de minéralogie, etc. etc." (published 1837) (DR1974:0002:004:001; a second copy is held by the CCA library) (1). While prints are included for the Galerie de minéralogie et de géologie, the monkey house and the reservoirs, the majority of the prints are of the greenhouses (serres chaudes) begun 1833 (2). Known for their technological innovations in iron construction, these greenhouses utilized the first multi-storey load-bearing cast-iron façades for the central pavilions as well as space frame roof structures and prefabricated parts. This structural system is well documented in the prints in the CCA collection. The design was apparently inspired by the English greenhouses - a plate of which are included in the book - that Charles saw on a tour of England. The use of prestressed beams and curved roofs in the lateral wings attest to this influence. Charles' greenhouses, in turn, influenced the design of other greenhouses in Europe especially those at the Jardins Botanique in Liège and Ghent, Belgium (3). Although Joseph Paxton saw the greenhouses in 1833, it is unclear if they had an impact on the design of the Crystal Palace constructed 1850-1851 (4). The innovations of Charles' greenhouses continued to be acknowledged into the 20th century. Giedion in "Space, Time and Architecture", while erroneously attributing them to Rouhault (5)(6), refers to the greenhouses as "the prototype of all large iron-framed conservatories" (7). In addition to the greenhouses for the Muséum, the CCA collection includes three proposals (dated 1841) for a private greenhouse designed by Charles Rohault de Fleury (DR1974:0002:002:008 - DR1974:0002:002:013). The designs utilize the same curved roofs as the wings of the greenhouses at the Muséum combined with classically detailed stonework. An different aspect of Charles' work for the Muséum national d'histoire naturelle is represented in the album of unexecuted proposals -the only design drawings for the Muséum in the collection - for a Galerie de zoologie (DR1974:0002:024:001-079). Building on the typology of his earlier classical Galerie de minéralogie et de géologie (constructed 1833 -1841), the proposals, which date from between 1838 and 1862, illustrate a gradual enrichment of Charles' classical architectural vocabulary (8). They vary in their spatial configurations and façade treatments ranging from austere colonnaded designs with little ornament to more elaborate ones with richly encrusted facades, complex rooflines and more dramatic interior spaces characteristic of the Second Empire. The majority of the proposals consist of preliminary drawings illustrating the essential formal, spatial and ornamental aspects of the building. One proposal, dated January 1846, is substantially more developed than the others; in addition to general plans, sections and elevations, more detailed drawings are included for the layout of spaces, the elaboration of the facades, the configuration of the structure and even the designs for the specimen display cases. It is also worth noting that this album includes several plans outlining Rohault de Fleury's ideas for the overall development of the Muséum national d'histoire naturelle. In 1846, an album of prints of the Museo di fiscia e storia naturelle in Florence (DR1974:0002:005:001-018) was presented to Charles by the Grand Duke of Tuscany in response to his request for tracings of that building. These prints were probably used as reference material for the design of the new Galerie de zoologie described above. The portfolio of record drawings (ca. 1862) of the zoos in Antwerp, Brussels, Marseille and Amsterdam (DR1974:0002:018:001-027) is probably a dummy for a publication on zoological gardens as well as background documentation for the renovation and expansion of the zoo at the Muséum national d'histoire naturelle in Paris. Both drawings of the facilities for the animals and visitors and general plans of the zoological gardens are included. The Paris zoo project was apparently never undertaken. (1) These prints were reused in the "Oeuvre de C. Rohault de Fleury, architecte" (published 1884) (DR1974:0002:029:001-044). (2) Rohault de Fleury's greenhouses were destroyed in the Prussian bombardments of 1870. The greenhouses, which now stand in their place, are similar in layout and appearance to the original design, but their structural system is different. (3) John Hix, 'The Glass House' (Cambridge, Mass.: The MIT Press, 1981), p. 115. (4) Ibid., p. 115. (5) This error has been repeated by other authors including Henry-Russell Hitchcock, 'Architecture: Nineteenth and Twentieth Centuries' (Baltimore, Maryland: Penguin Books, 1968), p. 120. (6) Leonardo Benevolo, 'History of Modern Architecture' Volume 1: The tradition of modern architecture (Cambridge, Mass.: The M.I.T. Press, 1971), p. 22. (7) Sigfried Giedion, 'Space, Time and Architecture; the growth of a new tradition' (Cambridge: Harvard University Press, 1941), p. 181. (8) Barry Bergdoll, "Charles Rohault de Fleury: Part two: Muséum d'Histoire Naturelle and Studies on analogous Constructions in Europe", 'CCA Research Report", n.d., p. 1.
People:
Date:
[1837-ca. 1862]
[1837-ca. 1862]
Title:
Muséum nationale d'histoire naturelle
CI001.S2.D5
Description:
Charles Rohault de Fleury was architect for the Muséum national d'histoire naturelle from 1833 to 1862. His work for the Muséum is represented in the CCA collection by a diverse group of prints and drawings. In addition to documenting his built and unbuilt projects, the inclusion of prints and drawings of museum and zoo buildings by other architects record, if only partially, the resources available to Charles in designing his buildings. This reference material provides insight into the influences on Charles' work as well as the nature of the design process itself. His built works, with the exception of the 1854 addition to the greenhouses, are illustrated in a book of prints with a brief accompanying text - "Muséum d'histoire naturelle: serres chaudes, galeries de minéralogie, etc. etc." (published 1837) (DR1974:0002:004:001; a second copy is held by the CCA library) (1). While prints are included for the Galerie de minéralogie et de géologie, the monkey house and the reservoirs, the majority of the prints are of the greenhouses (serres chaudes) begun 1833 (2). Known for their technological innovations in iron construction, these greenhouses utilized the first multi-storey load-bearing cast-iron façades for the central pavilions as well as space frame roof structures and prefabricated parts. This structural system is well documented in the prints in the CCA collection. The design was apparently inspired by the English greenhouses - a plate of which are included in the book - that Charles saw on a tour of England. The use of prestressed beams and curved roofs in the lateral wings attest to this influence. Charles' greenhouses, in turn, influenced the design of other greenhouses in Europe especially those at the Jardins Botanique in Liège and Ghent, Belgium (3). Although Joseph Paxton saw the greenhouses in 1833, it is unclear if they had an impact on the design of the Crystal Palace constructed 1850-1851 (4). The innovations of Charles' greenhouses continued to be acknowledged into the 20th century. Giedion in "Space, Time and Architecture", while erroneously attributing them to Rouhault (5)(6), refers to the greenhouses as "the prototype of all large iron-framed conservatories" (7). In addition to the greenhouses for the Muséum, the CCA collection includes three proposals (dated 1841) for a private greenhouse designed by Charles Rohault de Fleury (DR1974:0002:002:008 - DR1974:0002:002:013). The designs utilize the same curved roofs as the wings of the greenhouses at the Muséum combined with classically detailed stonework. An different aspect of Charles' work for the Muséum national d'histoire naturelle is represented in the album of unexecuted proposals -the only design drawings for the Muséum in the collection - for a Galerie de zoologie (DR1974:0002:024:001-079). Building on the typology of his earlier classical Galerie de minéralogie et de géologie (constructed 1833 -1841), the proposals, which date from between 1838 and 1862, illustrate a gradual enrichment of Charles' classical architectural vocabulary (8). They vary in their spatial configurations and façade treatments ranging from austere colonnaded designs with little ornament to more elaborate ones with richly encrusted facades, complex rooflines and more dramatic interior spaces characteristic of the Second Empire. The majority of the proposals consist of preliminary drawings illustrating the essential formal, spatial and ornamental aspects of the building. One proposal, dated January 1846, is substantially more developed than the others; in addition to general plans, sections and elevations, more detailed drawings are included for the layout of spaces, the elaboration of the facades, the configuration of the structure and even the designs for the specimen display cases. It is also worth noting that this album includes several plans outlining Rohault de Fleury's ideas for the overall development of the Muséum national d'histoire naturelle. In 1846, an album of prints of the Museo di fiscia e storia naturelle in Florence (DR1974:0002:005:001-018) was presented to Charles by the Grand Duke of Tuscany in response to his request for tracings of that building. These prints were probably used as reference material for the design of the new Galerie de zoologie described above. The portfolio of record drawings (ca. 1862) of the zoos in Antwerp, Brussels, Marseille and Amsterdam (DR1974:0002:018:001-027) is probably a dummy for a publication on zoological gardens as well as background documentation for the renovation and expansion of the zoo at the Muséum national d'histoire naturelle in Paris. Both drawings of the facilities for the animals and visitors and general plans of the zoological gardens are included. The Paris zoo project was apparently never undertaken. (1) These prints were reused in the "Oeuvre de C. Rohault de Fleury, architecte" (published 1884) (DR1974:0002:029:001-044). (2) Rohault de Fleury's greenhouses were destroyed in the Prussian bombardments of 1870. The greenhouses, which now stand in their place, are similar in layout and appearance to the original design, but their structural system is different. (3) John Hix, 'The Glass House' (Cambridge, Mass.: The MIT Press, 1981), p. 115. (4) Ibid., p. 115. (5) This error has been repeated by other authors including Henry-Russell Hitchcock, 'Architecture: Nineteenth and Twentieth Centuries' (Baltimore, Maryland: Penguin Books, 1968), p. 120. (6) Leonardo Benevolo, 'History of Modern Architecture' Volume 1: The tradition of modern architecture (Cambridge, Mass.: The M.I.T. Press, 1971), p. 22. (7) Sigfried Giedion, 'Space, Time and Architecture; the growth of a new tradition' (Cambridge: Harvard University Press, 1941), p. 181. (8) Barry Bergdoll, "Charles Rohault de Fleury: Part two: Muséum d'Histoire Naturelle and Studies on analogous Constructions in Europe", 'CCA Research Report", n.d., p. 1.
Muséum nationale d'histoire naturelle
CI001.S2.D5
Description:
Charles Rohault de Fleury was architect for the Muséum national d'histoire naturelle from 1833 to 1862. His work for the Muséum is represented in the CCA collection by a diverse group of prints and drawings. In addition to documenting his built and unbuilt projects, the inclusion of prints and drawings of museum and zoo buildings by other architects record, if only partially, the resources available to Charles in designing his buildings. This reference material provides insight into the influences on Charles' work as well as the nature of the design process itself. His built works, with the exception of the 1854 addition to the greenhouses, are illustrated in a book of prints with a brief accompanying text - "Muséum d'histoire naturelle: serres chaudes, galeries de minéralogie, etc. etc." (published 1837) (DR1974:0002:004:001; a second copy is held by the CCA library) (1). While prints are included for the Galerie de minéralogie et de géologie, the monkey house and the reservoirs, the majority of the prints are of the greenhouses (serres chaudes) begun 1833 (2). Known for their technological innovations in iron construction, these greenhouses utilized the first multi-storey load-bearing cast-iron façades for the central pavilions as well as space frame roof structures and prefabricated parts. This structural system is well documented in the prints in the CCA collection. The design was apparently inspired by the English greenhouses - a plate of which are included in the book - that Charles saw on a tour of England. The use of prestressed beams and curved roofs in the lateral wings attest to this influence. Charles' greenhouses, in turn, influenced the design of other greenhouses in Europe especially those at the Jardins Botanique in Liège and Ghent, Belgium (3). Although Joseph Paxton saw the greenhouses in 1833, it is unclear if they had an impact on the design of the Crystal Palace constructed 1850-1851 (4). The innovations of Charles' greenhouses continued to be acknowledged into the 20th century. Giedion in "Space, Time and Architecture", while erroneously attributing them to Rouhault (5)(6), refers to the greenhouses as "the prototype of all large iron-framed conservatories" (7). In addition to the greenhouses for the Muséum, the CCA collection includes three proposals (dated 1841) for a private greenhouse designed by Charles Rohault de Fleury (DR1974:0002:002:008 - DR1974:0002:002:013). The designs utilize the same curved roofs as the wings of the greenhouses at the Muséum combined with classically detailed stonework. An different aspect of Charles' work for the Muséum national d'histoire naturelle is represented in the album of unexecuted proposals -the only design drawings for the Muséum in the collection - for a Galerie de zoologie (DR1974:0002:024:001-079). Building on the typology of his earlier classical Galerie de minéralogie et de géologie (constructed 1833 -1841), the proposals, which date from between 1838 and 1862, illustrate a gradual enrichment of Charles' classical architectural vocabulary (8). They vary in their spatial configurations and façade treatments ranging from austere colonnaded designs with little ornament to more elaborate ones with richly encrusted facades, complex rooflines and more dramatic interior spaces characteristic of the Second Empire. The majority of the proposals consist of preliminary drawings illustrating the essential formal, spatial and ornamental aspects of the building. One proposal, dated January 1846, is substantially more developed than the others; in addition to general plans, sections and elevations, more detailed drawings are included for the layout of spaces, the elaboration of the facades, the configuration of the structure and even the designs for the specimen display cases. It is also worth noting that this album includes several plans outlining Rohault de Fleury's ideas for the overall development of the Muséum national d'histoire naturelle. In 1846, an album of prints of the Museo di fiscia e storia naturelle in Florence (DR1974:0002:005:001-018) was presented to Charles by the Grand Duke of Tuscany in response to his request for tracings of that building. These prints were probably used as reference material for the design of the new Galerie de zoologie described above. The portfolio of record drawings (ca. 1862) of the zoos in Antwerp, Brussels, Marseille and Amsterdam (DR1974:0002:018:001-027) is probably a dummy for a publication on zoological gardens as well as background documentation for the renovation and expansion of the zoo at the Muséum national d'histoire naturelle in Paris. Both drawings of the facilities for the animals and visitors and general plans of the zoological gardens are included. The Paris zoo project was apparently never undertaken. (1) These prints were reused in the "Oeuvre de C. Rohault de Fleury, architecte" (published 1884) (DR1974:0002:029:001-044). (2) Rohault de Fleury's greenhouses were destroyed in the Prussian bombardments of 1870. The greenhouses, which now stand in their place, are similar in layout and appearance to the original design, but their structural system is different. (3) John Hix, 'The Glass House' (Cambridge, Mass.: The MIT Press, 1981), p. 115. (4) Ibid., p. 115. (5) This error has been repeated by other authors including Henry-Russell Hitchcock, 'Architecture: Nineteenth and Twentieth Centuries' (Baltimore, Maryland: Penguin Books, 1968), p. 120. (6) Leonardo Benevolo, 'History of Modern Architecture' Volume 1: The tradition of modern architecture (Cambridge, Mass.: The M.I.T. Press, 1971), p. 22. (7) Sigfried Giedion, 'Space, Time and Architecture; the growth of a new tradition' (Cambridge: Harvard University Press, 1941), p. 181. (8) Barry Bergdoll, "Charles Rohault de Fleury: Part two: Muséum d'Histoire Naturelle and Studies on analogous Constructions in Europe", 'CCA Research Report", n.d., p. 1.
Level of archival description:
File 5
File 5
Date:
[1837-ca. 1862]
[1837-ca. 1862]
People:
Form:
exhibitions
exhibitions
Actions:
Description:
The exhibition examines the important role the Pantheon played in French artistic and political life from its foundation in 1744 well into the twentieth century. Coinciding with the international celebrations of the bicentennial of the French Revolution, the exhibition focuses on one of the central architectural episodes of the Revolution—the transformation of Saint(...)
The exhibition examines the important role the Pantheon played in French artistic and political life from its foundation in 1744 well into the twentieth century. Coinciding with the international celebrations of the bicentennial of the French Revolution, the exhibition focuses on one of the central architectural episodes of the Revolution—the transformation of Saint(...)
Location:
Main galleries
Main galleries
Date:
19 September 1989 to 19 November 1989
19 September 1989 to 19 November 1989
Title:
Le Panthéon: Symbol of Revolution
Actions:
Description:
The exhibition examines the important role the Pantheon played in French artistic and political life from its foundation in 1744 well into the twentieth century. Coinciding with the international celebrations of the bicentennial of the French Revolution, the exhibition focuses on one of the central architectural episodes of the Revolution—the transformation of Saint(...)
Le Panthéon: Symbol of Revolution
Actions:
Description:
The exhibition examines the important role the Pantheon played in French artistic and political life from its foundation in 1744 well into the twentieth century. Coinciding with the international celebrations of the bicentennial of the French Revolution, the exhibition focuses on one of the central architectural episodes of the Revolution—the transformation of Saint(...)
Form:
exhibitions
exhibitions
Date:
19 September 1989 to
19 November 1989
19 September 1989 to
19 November 1989
Location:
Main galleries
Main galleries
