16290 Results
Level of archival description:
Project
Project
Reference number:
AP075.S1.1965.PR01
Description:
This project series documents Cornelia Hahn Oberlander's landscape project for the outdoor playground of the Children's Creative Centre. The Centre was part of the Canadian Federal Pavilion built for the Universal and International Exposition of 1967 (Expo 67), located at the south end of Notre-Dame Island in Montréal. Oberlander worked on this project from 1965-1966. She based her design on children's spontaneous exploration, to encourage self-motivation and creative play. The playground included a rolling terrain, looping paths, a wobble walk made of short logs embeded in the ground, a canal, and "giant wooden building pieces and a rocking boat in water replaced static sculptures". [1] The playground included a sand beach-like area with drifwood and plants to be used as play props. At the centre of the playground was a grass mound with an interior cave and a high wooden platform only reachable by a commando rope. A forty-foot long circulating water channel was situated in the east section of the playground and included two small islands linked by bridges, but was narrow enough to allow children to jump over it. The project series contains sketches, preliminary landscape concept plans, site plans, general landscape plans at different stages of design development, several sections and detail drawings for the playground's equipment and installations, and presentation drawings, including perspective views. The project series also contains architectural, electrical, and structural drawings of the Pavilion, which were provided to Oberlander for reference. Also included are photographs of the playground, research material on playgrounds, and articles and publications on the project, including Oberlander's writings, and publications on Expo '67. Source: [1] Herrington, Susan. Cornelia Hahn Oberlander: Making the Modern Landscape, University of Virginia Press, 2014, 304 pages. p. 106.
AP075.S1.1965.PR01
Description:
This project series documents Cornelia Hahn Oberlander's landscape project for the outdoor playground of the Children's Creative Centre. The Centre was part of the Canadian Federal Pavilion built for the Universal and International Exposition of 1967 (Expo 67), located at the south end of Notre-Dame Island in Montréal. Oberlander worked on this project from 1965-1966. She based her design on children's spontaneous exploration, to encourage self-motivation and creative play. The playground included a rolling terrain, looping paths, a wobble walk made of short logs embeded in the ground, a canal, and "giant wooden building pieces and a rocking boat in water replaced static sculptures". [1] The playground included a sand beach-like area with drifwood and plants to be used as play props. At the centre of the playground was a grass mound with an interior cave and a high wooden platform only reachable by a commando rope. A forty-foot long circulating water channel was situated in the east section of the playground and included two small islands linked by bridges, but was narrow enough to allow children to jump over it. The project series contains sketches, preliminary landscape concept plans, site plans, general landscape plans at different stages of design development, several sections and detail drawings for the playground's equipment and installations, and presentation drawings, including perspective views. The project series also contains architectural, electrical, and structural drawings of the Pavilion, which were provided to Oberlander for reference. Also included are photographs of the playground, research material on playgrounds, and articles and publications on the project, including Oberlander's writings, and publications on Expo '67. Source: [1] Herrington, Susan. Cornelia Hahn Oberlander: Making the Modern Landscape, University of Virginia Press, 2014, 304 pages. p. 106.
People:
Date:
1965-1971
1965-1971
Title:
Children's Creative Centre Playground, Canadian Federal Pavilion, Expo '67, Montréal, Québec (1965-1967)
Actions:
AP075.S1.1965.PR01
Description:
This project series documents Cornelia Hahn Oberlander's landscape project for the outdoor playground of the Children's Creative Centre. The Centre was part of the Canadian Federal Pavilion built for the Universal and International Exposition of 1967 (Expo 67), located at the south end of Notre-Dame Island in Montréal. Oberlander worked on this project from 1965-1966. She based her design on children's spontaneous exploration, to encourage self-motivation and creative play. The playground included a rolling terrain, looping paths, a wobble walk made of short logs embeded in the ground, a canal, and "giant wooden building pieces and a rocking boat in water replaced static sculptures". [1] The playground included a sand beach-like area with drifwood and plants to be used as play props. At the centre of the playground was a grass mound with an interior cave and a high wooden platform only reachable by a commando rope. A forty-foot long circulating water channel was situated in the east section of the playground and included two small islands linked by bridges, but was narrow enough to allow children to jump over it. The project series contains sketches, preliminary landscape concept plans, site plans, general landscape plans at different stages of design development, several sections and detail drawings for the playground's equipment and installations, and presentation drawings, including perspective views. The project series also contains architectural, electrical, and structural drawings of the Pavilion, which were provided to Oberlander for reference. Also included are photographs of the playground, research material on playgrounds, and articles and publications on the project, including Oberlander's writings, and publications on Expo '67. Source: [1] Herrington, Susan. Cornelia Hahn Oberlander: Making the Modern Landscape, University of Virginia Press, 2014, 304 pages. p. 106.
Children's Creative Centre Playground, Canadian Federal Pavilion, Expo '67, Montréal, Québec (1965-1967)
Actions:
AP075.S1.1965.PR01
Description:
This project series documents Cornelia Hahn Oberlander's landscape project for the outdoor playground of the Children's Creative Centre. The Centre was part of the Canadian Federal Pavilion built for the Universal and International Exposition of 1967 (Expo 67), located at the south end of Notre-Dame Island in Montréal. Oberlander worked on this project from 1965-1966. She based her design on children's spontaneous exploration, to encourage self-motivation and creative play. The playground included a rolling terrain, looping paths, a wobble walk made of short logs embeded in the ground, a canal, and "giant wooden building pieces and a rocking boat in water replaced static sculptures". [1] The playground included a sand beach-like area with drifwood and plants to be used as play props. At the centre of the playground was a grass mound with an interior cave and a high wooden platform only reachable by a commando rope. A forty-foot long circulating water channel was situated in the east section of the playground and included two small islands linked by bridges, but was narrow enough to allow children to jump over it. The project series contains sketches, preliminary landscape concept plans, site plans, general landscape plans at different stages of design development, several sections and detail drawings for the playground's equipment and installations, and presentation drawings, including perspective views. The project series also contains architectural, electrical, and structural drawings of the Pavilion, which were provided to Oberlander for reference. Also included are photographs of the playground, research material on playgrounds, and articles and publications on the project, including Oberlander's writings, and publications on Expo '67. Source: [1] Herrington, Susan. Cornelia Hahn Oberlander: Making the Modern Landscape, University of Virginia Press, 2014, 304 pages. p. 106.
Level of archival description:
Project
Project
Date:
1965-1971
1965-1971
People:
Form:
drawings, textual records, graphic materials, photographs
drawings, textual records, graphic materials, photographs
Actions:
Reference number:
DR1989:0026:001-051
Description:
- This group is comprised of drawings and photographs for Francis Fowke's winning entry in the 1864 competition for the Natural History and Patent Museums, South Kensington, London, and correspondence and pamphlets related to John Liddell's subsequent claim (1866) of sole authorship of the external treatment of Fowke's design. A hand-coloured reprographic copy (DR1989:0026:005) is apparently an elevation for Fowke's final design for the Natural History and Patent Museum, and a photograph of the section through the Patent Museum (DR1989:0026:001) is also possibly for Fowke's final design. Other drawings (DR1989:0026:003, DR1989:0026:006, and DR1989:0026:007 R/V) and another photograph (DR1989:0026:002) are possibly for preliminary designs for the competition. Many of the letters are by John Liddell to the First Commissioner of Works (W.F. Cowper and later, Lord John Manners), and Alfred Waterhouse asserting his claim to authorship of the external treatment of Fowke's design (DR1989:0026:013, DR1989:0026:015, DR1989:0026:017, DR1989:0026:029, DR1989:0026:031-33, DR1989:0026:036, DR1989:0026:040). The First Commissioner's secretaries' replies to these are also included (DR1989:0026:016, DR1989:0026:035, DR1989:0026:041-043). Liddell compiled many of these letters, as well as some not included in this group, into a pamphlet in order to publicize his case (DR1989:0026:020, DR1989:0026:023-24, DR1989:0026:026-27, DR1989:0026:039, DR1989:0026:044-045). There are ten copies of this transcribed correspondence as well letters to the editors of four London newspapers (DR1989:0026:022, DR1989:0026:025, DR1989:0026:028, DR1989:0026:030, DR1989:0026:051). Also included is Liddell's correspondence to two of the competition judges (DR1989:0026:019, DR1989:0026:037, DR1989:0026:038) and several Members of Parliament (DR1989:0026:014, DR1989:0026:018, DR1989:0026:021, DR1989:0026:034) solicting support for his claims. A letter from Fowke to Liddell accompanies the payment of Liddell's portion of the competition premium (DR1989:0026:009). Three letters discuss a recommendation for Liddell from Sir Henry Cole (DR1989:0026:010-012). Pamphlets include two copies of pamphlets (one incomplete) published in 1863 by the House of Commons describing Sir Richard Owens' ideas for the Natural History Museum, with hand-coloured plans and sections drawn by Sir Henry A. Hunt and printed by Henry Hansard (DR1989:0026:046-47); two copies of the competition guidelines, each annotated with sketches, probably by Fowke and Liddell (DR1989:0026:048-049); and two copies of the description of Fowke's design, one with his motto and modifications (DR1989:0026:050 ?). The tabletop designs on the verso of some of the sketches date to 1907 and are unrelated to the other material in the collection (DR1989:0026:006 R/V and DR1989:0026:007 R/V).
DR1989:0026:001-051
Description:
- This group is comprised of drawings and photographs for Francis Fowke's winning entry in the 1864 competition for the Natural History and Patent Museums, South Kensington, London, and correspondence and pamphlets related to John Liddell's subsequent claim (1866) of sole authorship of the external treatment of Fowke's design. A hand-coloured reprographic copy (DR1989:0026:005) is apparently an elevation for Fowke's final design for the Natural History and Patent Museum, and a photograph of the section through the Patent Museum (DR1989:0026:001) is also possibly for Fowke's final design. Other drawings (DR1989:0026:003, DR1989:0026:006, and DR1989:0026:007 R/V) and another photograph (DR1989:0026:002) are possibly for preliminary designs for the competition. Many of the letters are by John Liddell to the First Commissioner of Works (W.F. Cowper and later, Lord John Manners), and Alfred Waterhouse asserting his claim to authorship of the external treatment of Fowke's design (DR1989:0026:013, DR1989:0026:015, DR1989:0026:017, DR1989:0026:029, DR1989:0026:031-33, DR1989:0026:036, DR1989:0026:040). The First Commissioner's secretaries' replies to these are also included (DR1989:0026:016, DR1989:0026:035, DR1989:0026:041-043). Liddell compiled many of these letters, as well as some not included in this group, into a pamphlet in order to publicize his case (DR1989:0026:020, DR1989:0026:023-24, DR1989:0026:026-27, DR1989:0026:039, DR1989:0026:044-045). There are ten copies of this transcribed correspondence as well letters to the editors of four London newspapers (DR1989:0026:022, DR1989:0026:025, DR1989:0026:028, DR1989:0026:030, DR1989:0026:051). Also included is Liddell's correspondence to two of the competition judges (DR1989:0026:019, DR1989:0026:037, DR1989:0026:038) and several Members of Parliament (DR1989:0026:014, DR1989:0026:018, DR1989:0026:021, DR1989:0026:034) solicting support for his claims. A letter from Fowke to Liddell accompanies the payment of Liddell's portion of the competition premium (DR1989:0026:009). Three letters discuss a recommendation for Liddell from Sir Henry Cole (DR1989:0026:010-012). Pamphlets include two copies of pamphlets (one incomplete) published in 1863 by the House of Commons describing Sir Richard Owens' ideas for the Natural History Museum, with hand-coloured plans and sections drawn by Sir Henry A. Hunt and printed by Henry Hansard (DR1989:0026:046-47); two copies of the competition guidelines, each annotated with sketches, probably by Fowke and Liddell (DR1989:0026:048-049); and two copies of the description of Fowke's design, one with his motto and modifications (DR1989:0026:050 ?). The tabletop designs on the verso of some of the sketches date to 1907 and are unrelated to the other material in the collection (DR1989:0026:006 R/V and DR1989:0026:007 R/V).
People:
Subject:
architecture
architecture
Date:
drawings executed between 1864 and 1907
drawings executed between 1864 and 1907
Title:
Documents and drawings related to the winning entry in the 1864 competition for a Natural History Museum and Patent Museum, South Kensington, London, England
Actions:
DR1989:0026:001-051
Description:
- This group is comprised of drawings and photographs for Francis Fowke's winning entry in the 1864 competition for the Natural History and Patent Museums, South Kensington, London, and correspondence and pamphlets related to John Liddell's subsequent claim (1866) of sole authorship of the external treatment of Fowke's design. A hand-coloured reprographic copy (DR1989:0026:005) is apparently an elevation for Fowke's final design for the Natural History and Patent Museum, and a photograph of the section through the Patent Museum (DR1989:0026:001) is also possibly for Fowke's final design. Other drawings (DR1989:0026:003, DR1989:0026:006, and DR1989:0026:007 R/V) and another photograph (DR1989:0026:002) are possibly for preliminary designs for the competition. Many of the letters are by John Liddell to the First Commissioner of Works (W.F. Cowper and later, Lord John Manners), and Alfred Waterhouse asserting his claim to authorship of the external treatment of Fowke's design (DR1989:0026:013, DR1989:0026:015, DR1989:0026:017, DR1989:0026:029, DR1989:0026:031-33, DR1989:0026:036, DR1989:0026:040). The First Commissioner's secretaries' replies to these are also included (DR1989:0026:016, DR1989:0026:035, DR1989:0026:041-043). Liddell compiled many of these letters, as well as some not included in this group, into a pamphlet in order to publicize his case (DR1989:0026:020, DR1989:0026:023-24, DR1989:0026:026-27, DR1989:0026:039, DR1989:0026:044-045). There are ten copies of this transcribed correspondence as well letters to the editors of four London newspapers (DR1989:0026:022, DR1989:0026:025, DR1989:0026:028, DR1989:0026:030, DR1989:0026:051). Also included is Liddell's correspondence to two of the competition judges (DR1989:0026:019, DR1989:0026:037, DR1989:0026:038) and several Members of Parliament (DR1989:0026:014, DR1989:0026:018, DR1989:0026:021, DR1989:0026:034) solicting support for his claims. A letter from Fowke to Liddell accompanies the payment of Liddell's portion of the competition premium (DR1989:0026:009). Three letters discuss a recommendation for Liddell from Sir Henry Cole (DR1989:0026:010-012). Pamphlets include two copies of pamphlets (one incomplete) published in 1863 by the House of Commons describing Sir Richard Owens' ideas for the Natural History Museum, with hand-coloured plans and sections drawn by Sir Henry A. Hunt and printed by Henry Hansard (DR1989:0026:046-47); two copies of the competition guidelines, each annotated with sketches, probably by Fowke and Liddell (DR1989:0026:048-049); and two copies of the description of Fowke's design, one with his motto and modifications (DR1989:0026:050 ?). The tabletop designs on the verso of some of the sketches date to 1907 and are unrelated to the other material in the collection (DR1989:0026:006 R/V and DR1989:0026:007 R/V).
Documents and drawings related to the winning entry in the 1864 competition for a Natural History Museum and Patent Museum, South Kensington, London, England
Actions:
DR1989:0026:001-051
Description:
- This group is comprised of drawings and photographs for Francis Fowke's winning entry in the 1864 competition for the Natural History and Patent Museums, South Kensington, London, and correspondence and pamphlets related to John Liddell's subsequent claim (1866) of sole authorship of the external treatment of Fowke's design. A hand-coloured reprographic copy (DR1989:0026:005) is apparently an elevation for Fowke's final design for the Natural History and Patent Museum, and a photograph of the section through the Patent Museum (DR1989:0026:001) is also possibly for Fowke's final design. Other drawings (DR1989:0026:003, DR1989:0026:006, and DR1989:0026:007 R/V) and another photograph (DR1989:0026:002) are possibly for preliminary designs for the competition. Many of the letters are by John Liddell to the First Commissioner of Works (W.F. Cowper and later, Lord John Manners), and Alfred Waterhouse asserting his claim to authorship of the external treatment of Fowke's design (DR1989:0026:013, DR1989:0026:015, DR1989:0026:017, DR1989:0026:029, DR1989:0026:031-33, DR1989:0026:036, DR1989:0026:040). The First Commissioner's secretaries' replies to these are also included (DR1989:0026:016, DR1989:0026:035, DR1989:0026:041-043). Liddell compiled many of these letters, as well as some not included in this group, into a pamphlet in order to publicize his case (DR1989:0026:020, DR1989:0026:023-24, DR1989:0026:026-27, DR1989:0026:039, DR1989:0026:044-045). There are ten copies of this transcribed correspondence as well letters to the editors of four London newspapers (DR1989:0026:022, DR1989:0026:025, DR1989:0026:028, DR1989:0026:030, DR1989:0026:051). Also included is Liddell's correspondence to two of the competition judges (DR1989:0026:019, DR1989:0026:037, DR1989:0026:038) and several Members of Parliament (DR1989:0026:014, DR1989:0026:018, DR1989:0026:021, DR1989:0026:034) solicting support for his claims. A letter from Fowke to Liddell accompanies the payment of Liddell's portion of the competition premium (DR1989:0026:009). Three letters discuss a recommendation for Liddell from Sir Henry Cole (DR1989:0026:010-012). Pamphlets include two copies of pamphlets (one incomplete) published in 1863 by the House of Commons describing Sir Richard Owens' ideas for the Natural History Museum, with hand-coloured plans and sections drawn by Sir Henry A. Hunt and printed by Henry Hansard (DR1989:0026:046-47); two copies of the competition guidelines, each annotated with sketches, probably by Fowke and Liddell (DR1989:0026:048-049); and two copies of the description of Fowke's design, one with his motto and modifications (DR1989:0026:050 ?). The tabletop designs on the verso of some of the sketches date to 1907 and are unrelated to the other material in the collection (DR1989:0026:006 R/V and DR1989:0026:007 R/V).
Form:
drawings, textual records, graphic materials, photographs
drawings, textual records, graphic materials, photographs
Date:
drawings executed between 1864 and 1907
drawings executed between 1864 and 1907
People:
Subject:
architecture
architecture
Level of archival description:
Project
Project
Reference number:
AP143.S4.D10
Description:
File documents an executed project for the Falk House, Hardwick, Vermont. This single-family dwelling for Mr. and Mrs. Richard Falk, was constructed on a hilltop near Hardwick, Vermont. Material in this file was produced in 1969 and 1970. Among the 103 conceptual sketches by Eisenman (DR1994:0130:001-103) are 36 large format conceptual drawings on tracing paper (DR1994:0130:068-103). Early ground and second floor plans for the house by Eisenman are probably presentation drawings, since they include a description of the functions of the rooms and furniture layouts (DR1994:0130:196-197). All of the second floor rooms have skylights, for which there are numerous design development details (DR1994:0130:207-220). Original working drawings include construction details (DR1994:0130:409-440). Among the numerous drawings for publication is a proposal for a cover of Casabella magazine (DR1994:0130:301). File contains conceptual drawings, including plans, elevations, sections, and axonometrics - many black felt-tip pen and/or graphite on yellow tracing paper and some black felt-tip pen on wove paper; and a sketchbook - many coloured pencil and/or black felt-tip pen on tracing vellum. Design development drawings include plans and axonometrics - many black felt-tip pen on blueline prints on wove paper; and reprographic copies - all blueline prints on wove paper. Presentation drawings include plans, elevations, and axonometrics - mostly pen and black ink on mylar. Drawings for publication include axonometrics - some black felt-tip pen on tracing vellum; reprographic copies - some photocopies on wove paper and some photocopies on mylar; and photomechanical prints - on wove paper. Working drawings include plans, elevations, sections, and details - many graphite on tracing vellum; reprographic copies - all sepia prints on vellum; and large internegatives of drawings. Photographs include a photograph of a model and a photograph of the finished building.
AP143.S4.D10
Description:
File documents an executed project for the Falk House, Hardwick, Vermont. This single-family dwelling for Mr. and Mrs. Richard Falk, was constructed on a hilltop near Hardwick, Vermont. Material in this file was produced in 1969 and 1970. Among the 103 conceptual sketches by Eisenman (DR1994:0130:001-103) are 36 large format conceptual drawings on tracing paper (DR1994:0130:068-103). Early ground and second floor plans for the house by Eisenman are probably presentation drawings, since they include a description of the functions of the rooms and furniture layouts (DR1994:0130:196-197). All of the second floor rooms have skylights, for which there are numerous design development details (DR1994:0130:207-220). Original working drawings include construction details (DR1994:0130:409-440). Among the numerous drawings for publication is a proposal for a cover of Casabella magazine (DR1994:0130:301). File contains conceptual drawings, including plans, elevations, sections, and axonometrics - many black felt-tip pen and/or graphite on yellow tracing paper and some black felt-tip pen on wove paper; and a sketchbook - many coloured pencil and/or black felt-tip pen on tracing vellum. Design development drawings include plans and axonometrics - many black felt-tip pen on blueline prints on wove paper; and reprographic copies - all blueline prints on wove paper. Presentation drawings include plans, elevations, and axonometrics - mostly pen and black ink on mylar. Drawings for publication include axonometrics - some black felt-tip pen on tracing vellum; reprographic copies - some photocopies on wove paper and some photocopies on mylar; and photomechanical prints - on wove paper. Working drawings include plans, elevations, sections, and details - many graphite on tracing vellum; reprographic copies - all sepia prints on vellum; and large internegatives of drawings. Photographs include a photograph of a model and a photograph of the finished building.
People:
Date:
1969-1970
1969-1970
Title:
Falk House (House II)
Actions:
AP143.S4.D10
Description:
File documents an executed project for the Falk House, Hardwick, Vermont. This single-family dwelling for Mr. and Mrs. Richard Falk, was constructed on a hilltop near Hardwick, Vermont. Material in this file was produced in 1969 and 1970. Among the 103 conceptual sketches by Eisenman (DR1994:0130:001-103) are 36 large format conceptual drawings on tracing paper (DR1994:0130:068-103). Early ground and second floor plans for the house by Eisenman are probably presentation drawings, since they include a description of the functions of the rooms and furniture layouts (DR1994:0130:196-197). All of the second floor rooms have skylights, for which there are numerous design development details (DR1994:0130:207-220). Original working drawings include construction details (DR1994:0130:409-440). Among the numerous drawings for publication is a proposal for a cover of Casabella magazine (DR1994:0130:301). File contains conceptual drawings, including plans, elevations, sections, and axonometrics - many black felt-tip pen and/or graphite on yellow tracing paper and some black felt-tip pen on wove paper; and a sketchbook - many coloured pencil and/or black felt-tip pen on tracing vellum. Design development drawings include plans and axonometrics - many black felt-tip pen on blueline prints on wove paper; and reprographic copies - all blueline prints on wove paper. Presentation drawings include plans, elevations, and axonometrics - mostly pen and black ink on mylar. Drawings for publication include axonometrics - some black felt-tip pen on tracing vellum; reprographic copies - some photocopies on wove paper and some photocopies on mylar; and photomechanical prints - on wove paper. Working drawings include plans, elevations, sections, and details - many graphite on tracing vellum; reprographic copies - all sepia prints on vellum; and large internegatives of drawings. Photographs include a photograph of a model and a photograph of the finished building.
Falk House (House II)
Actions:
AP143.S4.D10
Description:
File documents an executed project for the Falk House, Hardwick, Vermont. This single-family dwelling for Mr. and Mrs. Richard Falk, was constructed on a hilltop near Hardwick, Vermont. Material in this file was produced in 1969 and 1970. Among the 103 conceptual sketches by Eisenman (DR1994:0130:001-103) are 36 large format conceptual drawings on tracing paper (DR1994:0130:068-103). Early ground and second floor plans for the house by Eisenman are probably presentation drawings, since they include a description of the functions of the rooms and furniture layouts (DR1994:0130:196-197). All of the second floor rooms have skylights, for which there are numerous design development details (DR1994:0130:207-220). Original working drawings include construction details (DR1994:0130:409-440). Among the numerous drawings for publication is a proposal for a cover of Casabella magazine (DR1994:0130:301). File contains conceptual drawings, including plans, elevations, sections, and axonometrics - many black felt-tip pen and/or graphite on yellow tracing paper and some black felt-tip pen on wove paper; and a sketchbook - many coloured pencil and/or black felt-tip pen on tracing vellum. Design development drawings include plans and axonometrics - many black felt-tip pen on blueline prints on wove paper; and reprographic copies - all blueline prints on wove paper. Presentation drawings include plans, elevations, and axonometrics - mostly pen and black ink on mylar. Drawings for publication include axonometrics - some black felt-tip pen on tracing vellum; reprographic copies - some photocopies on wove paper and some photocopies on mylar; and photomechanical prints - on wove paper. Working drawings include plans, elevations, sections, and details - many graphite on tracing vellum; reprographic copies - all sepia prints on vellum; and large internegatives of drawings. Photographs include a photograph of a model and a photograph of the finished building.
Level of archival description:
File 10
File 10
Date:
1969-1970
1969-1970
People:
Level of archival description:
Project
Project
Reference number:
AP075.S1.1974.PR01
Description:
Project series documents Cornelia Hahn Oberlander's project for the landscape of Robson Square Provincial Government Complex in Vancouver, British Columbia. Oberlander worked on this project in 1974-1982 with architect Arthur Erickson and architect Bing Thom. The project consisted in designing a new provincial civic complex that included a courthouse and provincial government offices. The initial plan consisted in a 55-storey highrise. Arthur Erickson suggested to lay the building on its side and spread it accross three city blocks (known as Block 51, Block 61 and Block 71) and add a green roof to create linear park. Oberlander's ideas for the landscape concept was to create a space accessible for everyone that will be attractive and interesting in all seasons. Her design consisted in a series of pathways, stairs and terraces, mainly situated on Block 61, and rising gradually up to 30 feets above the Robson street level. The design was intented to "encourage pedestrians to cut accross the urban grid". [1] Planters where included to buildings facades to create a hanging garden using hanging plants. The project series contains design development drawings and working drawings for the landscape design, such as landscape plans, landscape sections, elevations and details, grading and irrigation plans, and planting plans. The drawings includes in this project series also comprises plans of the complex buildings used as reference. The majority of the drawings are reprographic copies. The series also comprises five original sketches by Oberlander. The project is also documented through interior and exterior photographs of the building, photographs of the landscape and various views of the completed complex. The project series also includes textual records, including documents related to the plants selection, specifications, financial documents, concept development notes of Oberlander, correspondence with architects, clients and consultants, documentation and research material, and clippings and articles on Robson Square project. Source: [1] Herrington, Susan. Cornelia Hahn Oberlander: Making the Modern Landscape, University of Virginia Press, 2014, 304 pages. p. 123.
AP075.S1.1974.PR01
Description:
Project series documents Cornelia Hahn Oberlander's project for the landscape of Robson Square Provincial Government Complex in Vancouver, British Columbia. Oberlander worked on this project in 1974-1982 with architect Arthur Erickson and architect Bing Thom. The project consisted in designing a new provincial civic complex that included a courthouse and provincial government offices. The initial plan consisted in a 55-storey highrise. Arthur Erickson suggested to lay the building on its side and spread it accross three city blocks (known as Block 51, Block 61 and Block 71) and add a green roof to create linear park. Oberlander's ideas for the landscape concept was to create a space accessible for everyone that will be attractive and interesting in all seasons. Her design consisted in a series of pathways, stairs and terraces, mainly situated on Block 61, and rising gradually up to 30 feets above the Robson street level. The design was intented to "encourage pedestrians to cut accross the urban grid". [1] Planters where included to buildings facades to create a hanging garden using hanging plants. The project series contains design development drawings and working drawings for the landscape design, such as landscape plans, landscape sections, elevations and details, grading and irrigation plans, and planting plans. The drawings includes in this project series also comprises plans of the complex buildings used as reference. The majority of the drawings are reprographic copies. The series also comprises five original sketches by Oberlander. The project is also documented through interior and exterior photographs of the building, photographs of the landscape and various views of the completed complex. The project series also includes textual records, including documents related to the plants selection, specifications, financial documents, concept development notes of Oberlander, correspondence with architects, clients and consultants, documentation and research material, and clippings and articles on Robson Square project. Source: [1] Herrington, Susan. Cornelia Hahn Oberlander: Making the Modern Landscape, University of Virginia Press, 2014, 304 pages. p. 123.
People:
Date:
1970-1995
1970-1995
Title:
Robson Square Provincial Government Complex, Vancouver, British Columbia (1974-1982)
Actions:
AP075.S1.1974.PR01
Description:
Project series documents Cornelia Hahn Oberlander's project for the landscape of Robson Square Provincial Government Complex in Vancouver, British Columbia. Oberlander worked on this project in 1974-1982 with architect Arthur Erickson and architect Bing Thom. The project consisted in designing a new provincial civic complex that included a courthouse and provincial government offices. The initial plan consisted in a 55-storey highrise. Arthur Erickson suggested to lay the building on its side and spread it accross three city blocks (known as Block 51, Block 61 and Block 71) and add a green roof to create linear park. Oberlander's ideas for the landscape concept was to create a space accessible for everyone that will be attractive and interesting in all seasons. Her design consisted in a series of pathways, stairs and terraces, mainly situated on Block 61, and rising gradually up to 30 feets above the Robson street level. The design was intented to "encourage pedestrians to cut accross the urban grid". [1] Planters where included to buildings facades to create a hanging garden using hanging plants. The project series contains design development drawings and working drawings for the landscape design, such as landscape plans, landscape sections, elevations and details, grading and irrigation plans, and planting plans. The drawings includes in this project series also comprises plans of the complex buildings used as reference. The majority of the drawings are reprographic copies. The series also comprises five original sketches by Oberlander. The project is also documented through interior and exterior photographs of the building, photographs of the landscape and various views of the completed complex. The project series also includes textual records, including documents related to the plants selection, specifications, financial documents, concept development notes of Oberlander, correspondence with architects, clients and consultants, documentation and research material, and clippings and articles on Robson Square project. Source: [1] Herrington, Susan. Cornelia Hahn Oberlander: Making the Modern Landscape, University of Virginia Press, 2014, 304 pages. p. 123.
Robson Square Provincial Government Complex, Vancouver, British Columbia (1974-1982)
Actions:
AP075.S1.1974.PR01
Description:
Project series documents Cornelia Hahn Oberlander's project for the landscape of Robson Square Provincial Government Complex in Vancouver, British Columbia. Oberlander worked on this project in 1974-1982 with architect Arthur Erickson and architect Bing Thom. The project consisted in designing a new provincial civic complex that included a courthouse and provincial government offices. The initial plan consisted in a 55-storey highrise. Arthur Erickson suggested to lay the building on its side and spread it accross three city blocks (known as Block 51, Block 61 and Block 71) and add a green roof to create linear park. Oberlander's ideas for the landscape concept was to create a space accessible for everyone that will be attractive and interesting in all seasons. Her design consisted in a series of pathways, stairs and terraces, mainly situated on Block 61, and rising gradually up to 30 feets above the Robson street level. The design was intented to "encourage pedestrians to cut accross the urban grid". [1] Planters where included to buildings facades to create a hanging garden using hanging plants. The project series contains design development drawings and working drawings for the landscape design, such as landscape plans, landscape sections, elevations and details, grading and irrigation plans, and planting plans. The drawings includes in this project series also comprises plans of the complex buildings used as reference. The majority of the drawings are reprographic copies. The series also comprises five original sketches by Oberlander. The project is also documented through interior and exterior photographs of the building, photographs of the landscape and various views of the completed complex. The project series also includes textual records, including documents related to the plants selection, specifications, financial documents, concept development notes of Oberlander, correspondence with architects, clients and consultants, documentation and research material, and clippings and articles on Robson Square project. Source: [1] Herrington, Susan. Cornelia Hahn Oberlander: Making the Modern Landscape, University of Virginia Press, 2014, 304 pages. p. 123.
Level of archival description:
Project
Project
Date:
1970-1995
1970-1995
People:
Level of archival description:
Series
Series
Title:
Personal Papers
Personal Papers
Reference number:
AP032.S1
Description:
This series contains chronologically-arranged papers, photographs and drawings concerning Goldsmith's life from about the time of his enrollment at the Armour Institute in Chicago, to the mid-1950s when he returned from Europe to America to join Skidmore, Owings & Merrill. These documents are records of Goldsmith's early influences, and his education and training as an architect at the Armour Institute (later the Illinois Institute of Technology) and at the University of Rome. The papers also concern his service as an structural engineer in the U.S. armed forces, work in the office of Mies van der Rohe, and travels in Europe in the early 1950's all of which could be also considered as part of his education. The documents in this series are interesting for the quantity of Goldsmith's student sketches and research notes, including lectures by and observations on Mies van der Rohe and Pier Luigi Nervi. Moreover, correspondence, notes and photographs reveal a variety of other important influences on the young Goldsmith, such as a pilgrimage to visit Frank Lloyd Wright at Taliesan East, and letters to Buckminister Fuller. Of particular interest are the papers concerning Mies van der Rohe as teacher, mentor and friend to Goldsmith. The fonds contains various documents from office files, including Goldsmith's notations on projects like the Farnsworth House, and collections of period photographs and blueprints of Mies' buildings and furniture designs. Related documentation on Mies exists in various files throughout the fonds, especially in the Mies van der Rohe Centennial Project located in Series 3: Professional Activities - Teaching. The last section in this series, Papers and Correspondence, which consists of personal and business papers dating from the late 1950's to the mid-1990's. This material includes the Goldsmith-Ferris Portfolio, a collection of 150 mounted photographs (possibly for an exhibition) that presents mostly Goldsmith's collaborative work with architect James Ferris, from the experimental projects in reinforced concrete in Rome to the Kitt Peak Solar Telescope of 1962. Also included are documents concerning Mies van der Rohe's Mansion House Square scheme as revived by architect Peter Carter (1982-84).
AP032.S1
Description:
This series contains chronologically-arranged papers, photographs and drawings concerning Goldsmith's life from about the time of his enrollment at the Armour Institute in Chicago, to the mid-1950s when he returned from Europe to America to join Skidmore, Owings & Merrill. These documents are records of Goldsmith's early influences, and his education and training as an architect at the Armour Institute (later the Illinois Institute of Technology) and at the University of Rome. The papers also concern his service as an structural engineer in the U.S. armed forces, work in the office of Mies van der Rohe, and travels in Europe in the early 1950's all of which could be also considered as part of his education. The documents in this series are interesting for the quantity of Goldsmith's student sketches and research notes, including lectures by and observations on Mies van der Rohe and Pier Luigi Nervi. Moreover, correspondence, notes and photographs reveal a variety of other important influences on the young Goldsmith, such as a pilgrimage to visit Frank Lloyd Wright at Taliesan East, and letters to Buckminister Fuller. Of particular interest are the papers concerning Mies van der Rohe as teacher, mentor and friend to Goldsmith. The fonds contains various documents from office files, including Goldsmith's notations on projects like the Farnsworth House, and collections of period photographs and blueprints of Mies' buildings and furniture designs. Related documentation on Mies exists in various files throughout the fonds, especially in the Mies van der Rohe Centennial Project located in Series 3: Professional Activities - Teaching. The last section in this series, Papers and Correspondence, which consists of personal and business papers dating from the late 1950's to the mid-1990's. This material includes the Goldsmith-Ferris Portfolio, a collection of 150 mounted photographs (possibly for an exhibition) that presents mostly Goldsmith's collaborative work with architect James Ferris, from the experimental projects in reinforced concrete in Rome to the Kitt Peak Solar Telescope of 1962. Also included are documents concerning Mies van der Rohe's Mansion House Square scheme as revived by architect Peter Carter (1982-84).
People:
Date:
1931-1995
1931-1995
Title:
Personal Papers
Actions:
AP032.S1
Description:
This series contains chronologically-arranged papers, photographs and drawings concerning Goldsmith's life from about the time of his enrollment at the Armour Institute in Chicago, to the mid-1950s when he returned from Europe to America to join Skidmore, Owings & Merrill. These documents are records of Goldsmith's early influences, and his education and training as an architect at the Armour Institute (later the Illinois Institute of Technology) and at the University of Rome. The papers also concern his service as an structural engineer in the U.S. armed forces, work in the office of Mies van der Rohe, and travels in Europe in the early 1950's all of which could be also considered as part of his education. The documents in this series are interesting for the quantity of Goldsmith's student sketches and research notes, including lectures by and observations on Mies van der Rohe and Pier Luigi Nervi. Moreover, correspondence, notes and photographs reveal a variety of other important influences on the young Goldsmith, such as a pilgrimage to visit Frank Lloyd Wright at Taliesan East, and letters to Buckminister Fuller. Of particular interest are the papers concerning Mies van der Rohe as teacher, mentor and friend to Goldsmith. The fonds contains various documents from office files, including Goldsmith's notations on projects like the Farnsworth House, and collections of period photographs and blueprints of Mies' buildings and furniture designs. Related documentation on Mies exists in various files throughout the fonds, especially in the Mies van der Rohe Centennial Project located in Series 3: Professional Activities - Teaching. The last section in this series, Papers and Correspondence, which consists of personal and business papers dating from the late 1950's to the mid-1990's. This material includes the Goldsmith-Ferris Portfolio, a collection of 150 mounted photographs (possibly for an exhibition) that presents mostly Goldsmith's collaborative work with architect James Ferris, from the experimental projects in reinforced concrete in Rome to the Kitt Peak Solar Telescope of 1962. Also included are documents concerning Mies van der Rohe's Mansion House Square scheme as revived by architect Peter Carter (1982-84).
Personal Papers
Actions:
AP032.S1
Description:
This series contains chronologically-arranged papers, photographs and drawings concerning Goldsmith's life from about the time of his enrollment at the Armour Institute in Chicago, to the mid-1950s when he returned from Europe to America to join Skidmore, Owings & Merrill. These documents are records of Goldsmith's early influences, and his education and training as an architect at the Armour Institute (later the Illinois Institute of Technology) and at the University of Rome. The papers also concern his service as an structural engineer in the U.S. armed forces, work in the office of Mies van der Rohe, and travels in Europe in the early 1950's all of which could be also considered as part of his education. The documents in this series are interesting for the quantity of Goldsmith's student sketches and research notes, including lectures by and observations on Mies van der Rohe and Pier Luigi Nervi. Moreover, correspondence, notes and photographs reveal a variety of other important influences on the young Goldsmith, such as a pilgrimage to visit Frank Lloyd Wright at Taliesan East, and letters to Buckminister Fuller. Of particular interest are the papers concerning Mies van der Rohe as teacher, mentor and friend to Goldsmith. The fonds contains various documents from office files, including Goldsmith's notations on projects like the Farnsworth House, and collections of period photographs and blueprints of Mies' buildings and furniture designs. Related documentation on Mies exists in various files throughout the fonds, especially in the Mies van der Rohe Centennial Project located in Series 3: Professional Activities - Teaching. The last section in this series, Papers and Correspondence, which consists of personal and business papers dating from the late 1950's to the mid-1990's. This material includes the Goldsmith-Ferris Portfolio, a collection of 150 mounted photographs (possibly for an exhibition) that presents mostly Goldsmith's collaborative work with architect James Ferris, from the experimental projects in reinforced concrete in Rome to the Kitt Peak Solar Telescope of 1962. Also included are documents concerning Mies van der Rohe's Mansion House Square scheme as revived by architect Peter Carter (1982-84).
Level of archival description:
Series 1
Series 1
Date:
1931-1995
1931-1995
People:
Level of archival description:
Project
Project
Reference number:
AP143.S4.D14
Description:
File documents an executed project for House VI, a weekend/vacation house designed for Richard and Suzanne Frank for a six-acre lot at Great Hollow Road, Cornwall, Connecticut. The file also includes material for renovations to House VI undertaken in 1983, 1986, and 1989-1990. Material in this file was produced between 1971 and 1989. The 1,500 square foot plan of House VI comprises a kitchen, dining room, living room and study on the ground floor, and a bedroom and bathroom on the second floor. The most notable formal and compositional ambiguities of House VI are the two staircases, one green, and the other red and positioned on the ceiling. Documents include drawings by Eisenman concerning the geometric operations at the origin of House VI (DR1994:0134:055-067), conceptual drawings (DR1994:0134:001-068; DR1994:0134:086-130; DR1994:0134:131-160), numerous colour studies of the elevations (DR1994:0134:262-343), a presentation panel (DR1994:0134:521) notes (DR1994:0134:779-782), and a first set of working drawings and "check set," completed on 30 Aug. 1973, (DR1994:0134:667-689). Documents also include drawings for major revisions which occurred from 3 October 1973 through August 1974, photocopies of photographs of the house under construction (DR1994:0134:783-805), and a copy of the site survey (DR1994:0134:806). Planned and executed renovations to House VI began in 1983. Documents relating to unexecuted renovations and additions of 1983 includes drawings (DR1994:0134:604-615), a "bid set" and annotated copies (DR1994:0134:552 and DR1994:0134:554-570; copies: DR1994:0134:646-655), and a photocopy of the site plan indicating Eisenman's initial ideas (DR1994:0134:224). Documents relating to unexecuted renovations and additions of 1986 includes seven drawings (DR1994:0134:553 and DR1994:0134:628-633). House VI was extensively rebuilt between 1988 and 1990. The renovations included the replacement of the exterior plywood walls, the insertion of steel reinforcement, a new roof with skylights, the replacement of the original stucco by a coat of Finestone, the repainting of the interior, and the addition of a plexiglas barrier to the staircase. Documents relating to the renovations of 1988-90 include original and photocopied detail drawings, an interior paint schedule by Eisenman's office, correspondence, original and photocopied technical literature, an incomplete copy of the specifications, and a copy of the original survey map (identical to DR1994:0134:806). There are also numerous photographs of the building before, during and after renovation, one photograph of presentation axonometrics for House VI, and one photograph of Eisenman's office. Documents relating to a publication on House VI include: notes (DR1994:0134:807-853), the book mock-up (DR1994:0134:854-855), and fragments of the original coloured transformation diagrams (DR1994:0134:530-531). File contains conceptual drawings, including plans, axonometrics, and sections - many black felt-tip pen and/or coloured felt-tip pen on tracing paper; and reprographic copies - mostly photocopies on wove paper. Design development drawings include site plans, plans, elevations, sections, and axonometrics - some graphite and/or coloured pencil on tracing paper and some pen and black ink and/or graphite on tracing vellum; and reprographic copies - some photocopies on wove paper and some sepia prints on mylar. Schematic drawings include site plans, plans, elevations, and sections - all pen and black ink on mylar; and reprographic copies - many blackline prints on wove paper. Working drawings include site plans, plans, elevations, sections, electrical drawings, HVAC drawings, structural drawings, and detail drawings - some coloured pencil on blueline prints on wove paper; and reprographic copies - mostly blueline prints on wove paper. Presentation drawings include plans, elevations, and axonometrics - some pen and black ink and/or transparent coloured adhesive film on mylar and some translucent adhesive coloured film on cardboard; and reprographic copies - mostly photocopies on wove paper. Model includes one finished model - grey, white, and silver paint on wood and Fome-Cor with plastic sheets. Notes and documents include manuscripts - mostly black felt-tip pen on wove paper; reprographic copies - mostly photocopies on wove paper; and a land surveyor plan - one blueline print on wove paper. Book project includes layout drawings - some black felt-tip pen on ruled paper; reprographic copies - all photocopies on wove paper; manuscripts - mostly black felt-tip pen on wove or ruled paper; one sample piece of grey cardboard used as backing for some of the presentation drawings; and sets of drawings in the form of book dummies - mostly pen and coloured ink and/or black felt-tip pen on photocopies on wove paper. Detail drawings include elevations, sections, details - mostly graphite on tracing paper. The linear cm of documents includes sets, reprographic copies and manuscripts. Notes and documents include elevations, sections, and details - some graphite on photocopies on wove paper; two sets of drawing copies, some with changes - mostly photocopies on wove paper; reprographic copies - mostly photocopies on wove paper; manuscripts - many graphite on wove paper; ephemera includes trade pamphlets; and photographs include colour images of House X prior to and during one of the renovations.
AP143.S4.D14
Description:
File documents an executed project for House VI, a weekend/vacation house designed for Richard and Suzanne Frank for a six-acre lot at Great Hollow Road, Cornwall, Connecticut. The file also includes material for renovations to House VI undertaken in 1983, 1986, and 1989-1990. Material in this file was produced between 1971 and 1989. The 1,500 square foot plan of House VI comprises a kitchen, dining room, living room and study on the ground floor, and a bedroom and bathroom on the second floor. The most notable formal and compositional ambiguities of House VI are the two staircases, one green, and the other red and positioned on the ceiling. Documents include drawings by Eisenman concerning the geometric operations at the origin of House VI (DR1994:0134:055-067), conceptual drawings (DR1994:0134:001-068; DR1994:0134:086-130; DR1994:0134:131-160), numerous colour studies of the elevations (DR1994:0134:262-343), a presentation panel (DR1994:0134:521) notes (DR1994:0134:779-782), and a first set of working drawings and "check set," completed on 30 Aug. 1973, (DR1994:0134:667-689). Documents also include drawings for major revisions which occurred from 3 October 1973 through August 1974, photocopies of photographs of the house under construction (DR1994:0134:783-805), and a copy of the site survey (DR1994:0134:806). Planned and executed renovations to House VI began in 1983. Documents relating to unexecuted renovations and additions of 1983 includes drawings (DR1994:0134:604-615), a "bid set" and annotated copies (DR1994:0134:552 and DR1994:0134:554-570; copies: DR1994:0134:646-655), and a photocopy of the site plan indicating Eisenman's initial ideas (DR1994:0134:224). Documents relating to unexecuted renovations and additions of 1986 includes seven drawings (DR1994:0134:553 and DR1994:0134:628-633). House VI was extensively rebuilt between 1988 and 1990. The renovations included the replacement of the exterior plywood walls, the insertion of steel reinforcement, a new roof with skylights, the replacement of the original stucco by a coat of Finestone, the repainting of the interior, and the addition of a plexiglas barrier to the staircase. Documents relating to the renovations of 1988-90 include original and photocopied detail drawings, an interior paint schedule by Eisenman's office, correspondence, original and photocopied technical literature, an incomplete copy of the specifications, and a copy of the original survey map (identical to DR1994:0134:806). There are also numerous photographs of the building before, during and after renovation, one photograph of presentation axonometrics for House VI, and one photograph of Eisenman's office. Documents relating to a publication on House VI include: notes (DR1994:0134:807-853), the book mock-up (DR1994:0134:854-855), and fragments of the original coloured transformation diagrams (DR1994:0134:530-531). File contains conceptual drawings, including plans, axonometrics, and sections - many black felt-tip pen and/or coloured felt-tip pen on tracing paper; and reprographic copies - mostly photocopies on wove paper. Design development drawings include site plans, plans, elevations, sections, and axonometrics - some graphite and/or coloured pencil on tracing paper and some pen and black ink and/or graphite on tracing vellum; and reprographic copies - some photocopies on wove paper and some sepia prints on mylar. Schematic drawings include site plans, plans, elevations, and sections - all pen and black ink on mylar; and reprographic copies - many blackline prints on wove paper. Working drawings include site plans, plans, elevations, sections, electrical drawings, HVAC drawings, structural drawings, and detail drawings - some coloured pencil on blueline prints on wove paper; and reprographic copies - mostly blueline prints on wove paper. Presentation drawings include plans, elevations, and axonometrics - some pen and black ink and/or transparent coloured adhesive film on mylar and some translucent adhesive coloured film on cardboard; and reprographic copies - mostly photocopies on wove paper. Model includes one finished model - grey, white, and silver paint on wood and Fome-Cor with plastic sheets. Notes and documents include manuscripts - mostly black felt-tip pen on wove paper; reprographic copies - mostly photocopies on wove paper; and a land surveyor plan - one blueline print on wove paper. Book project includes layout drawings - some black felt-tip pen on ruled paper; reprographic copies - all photocopies on wove paper; manuscripts - mostly black felt-tip pen on wove or ruled paper; one sample piece of grey cardboard used as backing for some of the presentation drawings; and sets of drawings in the form of book dummies - mostly pen and coloured ink and/or black felt-tip pen on photocopies on wove paper. Detail drawings include elevations, sections, details - mostly graphite on tracing paper. The linear cm of documents includes sets, reprographic copies and manuscripts. Notes and documents include elevations, sections, and details - some graphite on photocopies on wove paper; two sets of drawing copies, some with changes - mostly photocopies on wove paper; reprographic copies - mostly photocopies on wove paper; manuscripts - many graphite on wove paper; ephemera includes trade pamphlets; and photographs include colour images of House X prior to and during one of the renovations.
People:
Date:
1971-1989
1971-1989
Title:
House VI, Cornwall, Connecticut
Actions:
AP143.S4.D14
Description:
File documents an executed project for House VI, a weekend/vacation house designed for Richard and Suzanne Frank for a six-acre lot at Great Hollow Road, Cornwall, Connecticut. The file also includes material for renovations to House VI undertaken in 1983, 1986, and 1989-1990. Material in this file was produced between 1971 and 1989. The 1,500 square foot plan of House VI comprises a kitchen, dining room, living room and study on the ground floor, and a bedroom and bathroom on the second floor. The most notable formal and compositional ambiguities of House VI are the two staircases, one green, and the other red and positioned on the ceiling. Documents include drawings by Eisenman concerning the geometric operations at the origin of House VI (DR1994:0134:055-067), conceptual drawings (DR1994:0134:001-068; DR1994:0134:086-130; DR1994:0134:131-160), numerous colour studies of the elevations (DR1994:0134:262-343), a presentation panel (DR1994:0134:521) notes (DR1994:0134:779-782), and a first set of working drawings and "check set," completed on 30 Aug. 1973, (DR1994:0134:667-689). Documents also include drawings for major revisions which occurred from 3 October 1973 through August 1974, photocopies of photographs of the house under construction (DR1994:0134:783-805), and a copy of the site survey (DR1994:0134:806). Planned and executed renovations to House VI began in 1983. Documents relating to unexecuted renovations and additions of 1983 includes drawings (DR1994:0134:604-615), a "bid set" and annotated copies (DR1994:0134:552 and DR1994:0134:554-570; copies: DR1994:0134:646-655), and a photocopy of the site plan indicating Eisenman's initial ideas (DR1994:0134:224). Documents relating to unexecuted renovations and additions of 1986 includes seven drawings (DR1994:0134:553 and DR1994:0134:628-633). House VI was extensively rebuilt between 1988 and 1990. The renovations included the replacement of the exterior plywood walls, the insertion of steel reinforcement, a new roof with skylights, the replacement of the original stucco by a coat of Finestone, the repainting of the interior, and the addition of a plexiglas barrier to the staircase. Documents relating to the renovations of 1988-90 include original and photocopied detail drawings, an interior paint schedule by Eisenman's office, correspondence, original and photocopied technical literature, an incomplete copy of the specifications, and a copy of the original survey map (identical to DR1994:0134:806). There are also numerous photographs of the building before, during and after renovation, one photograph of presentation axonometrics for House VI, and one photograph of Eisenman's office. Documents relating to a publication on House VI include: notes (DR1994:0134:807-853), the book mock-up (DR1994:0134:854-855), and fragments of the original coloured transformation diagrams (DR1994:0134:530-531). File contains conceptual drawings, including plans, axonometrics, and sections - many black felt-tip pen and/or coloured felt-tip pen on tracing paper; and reprographic copies - mostly photocopies on wove paper. Design development drawings include site plans, plans, elevations, sections, and axonometrics - some graphite and/or coloured pencil on tracing paper and some pen and black ink and/or graphite on tracing vellum; and reprographic copies - some photocopies on wove paper and some sepia prints on mylar. Schematic drawings include site plans, plans, elevations, and sections - all pen and black ink on mylar; and reprographic copies - many blackline prints on wove paper. Working drawings include site plans, plans, elevations, sections, electrical drawings, HVAC drawings, structural drawings, and detail drawings - some coloured pencil on blueline prints on wove paper; and reprographic copies - mostly blueline prints on wove paper. Presentation drawings include plans, elevations, and axonometrics - some pen and black ink and/or transparent coloured adhesive film on mylar and some translucent adhesive coloured film on cardboard; and reprographic copies - mostly photocopies on wove paper. Model includes one finished model - grey, white, and silver paint on wood and Fome-Cor with plastic sheets. Notes and documents include manuscripts - mostly black felt-tip pen on wove paper; reprographic copies - mostly photocopies on wove paper; and a land surveyor plan - one blueline print on wove paper. Book project includes layout drawings - some black felt-tip pen on ruled paper; reprographic copies - all photocopies on wove paper; manuscripts - mostly black felt-tip pen on wove or ruled paper; one sample piece of grey cardboard used as backing for some of the presentation drawings; and sets of drawings in the form of book dummies - mostly pen and coloured ink and/or black felt-tip pen on photocopies on wove paper. Detail drawings include elevations, sections, details - mostly graphite on tracing paper. The linear cm of documents includes sets, reprographic copies and manuscripts. Notes and documents include elevations, sections, and details - some graphite on photocopies on wove paper; two sets of drawing copies, some with changes - mostly photocopies on wove paper; reprographic copies - mostly photocopies on wove paper; manuscripts - many graphite on wove paper; ephemera includes trade pamphlets; and photographs include colour images of House X prior to and during one of the renovations.
House VI, Cornwall, Connecticut
Actions:
AP143.S4.D14
Description:
File documents an executed project for House VI, a weekend/vacation house designed for Richard and Suzanne Frank for a six-acre lot at Great Hollow Road, Cornwall, Connecticut. The file also includes material for renovations to House VI undertaken in 1983, 1986, and 1989-1990. Material in this file was produced between 1971 and 1989. The 1,500 square foot plan of House VI comprises a kitchen, dining room, living room and study on the ground floor, and a bedroom and bathroom on the second floor. The most notable formal and compositional ambiguities of House VI are the two staircases, one green, and the other red and positioned on the ceiling. Documents include drawings by Eisenman concerning the geometric operations at the origin of House VI (DR1994:0134:055-067), conceptual drawings (DR1994:0134:001-068; DR1994:0134:086-130; DR1994:0134:131-160), numerous colour studies of the elevations (DR1994:0134:262-343), a presentation panel (DR1994:0134:521) notes (DR1994:0134:779-782), and a first set of working drawings and "check set," completed on 30 Aug. 1973, (DR1994:0134:667-689). Documents also include drawings for major revisions which occurred from 3 October 1973 through August 1974, photocopies of photographs of the house under construction (DR1994:0134:783-805), and a copy of the site survey (DR1994:0134:806). Planned and executed renovations to House VI began in 1983. Documents relating to unexecuted renovations and additions of 1983 includes drawings (DR1994:0134:604-615), a "bid set" and annotated copies (DR1994:0134:552 and DR1994:0134:554-570; copies: DR1994:0134:646-655), and a photocopy of the site plan indicating Eisenman's initial ideas (DR1994:0134:224). Documents relating to unexecuted renovations and additions of 1986 includes seven drawings (DR1994:0134:553 and DR1994:0134:628-633). House VI was extensively rebuilt between 1988 and 1990. The renovations included the replacement of the exterior plywood walls, the insertion of steel reinforcement, a new roof with skylights, the replacement of the original stucco by a coat of Finestone, the repainting of the interior, and the addition of a plexiglas barrier to the staircase. Documents relating to the renovations of 1988-90 include original and photocopied detail drawings, an interior paint schedule by Eisenman's office, correspondence, original and photocopied technical literature, an incomplete copy of the specifications, and a copy of the original survey map (identical to DR1994:0134:806). There are also numerous photographs of the building before, during and after renovation, one photograph of presentation axonometrics for House VI, and one photograph of Eisenman's office. Documents relating to a publication on House VI include: notes (DR1994:0134:807-853), the book mock-up (DR1994:0134:854-855), and fragments of the original coloured transformation diagrams (DR1994:0134:530-531). File contains conceptual drawings, including plans, axonometrics, and sections - many black felt-tip pen and/or coloured felt-tip pen on tracing paper; and reprographic copies - mostly photocopies on wove paper. Design development drawings include site plans, plans, elevations, sections, and axonometrics - some graphite and/or coloured pencil on tracing paper and some pen and black ink and/or graphite on tracing vellum; and reprographic copies - some photocopies on wove paper and some sepia prints on mylar. Schematic drawings include site plans, plans, elevations, and sections - all pen and black ink on mylar; and reprographic copies - many blackline prints on wove paper. Working drawings include site plans, plans, elevations, sections, electrical drawings, HVAC drawings, structural drawings, and detail drawings - some coloured pencil on blueline prints on wove paper; and reprographic copies - mostly blueline prints on wove paper. Presentation drawings include plans, elevations, and axonometrics - some pen and black ink and/or transparent coloured adhesive film on mylar and some translucent adhesive coloured film on cardboard; and reprographic copies - mostly photocopies on wove paper. Model includes one finished model - grey, white, and silver paint on wood and Fome-Cor with plastic sheets. Notes and documents include manuscripts - mostly black felt-tip pen on wove paper; reprographic copies - mostly photocopies on wove paper; and a land surveyor plan - one blueline print on wove paper. Book project includes layout drawings - some black felt-tip pen on ruled paper; reprographic copies - all photocopies on wove paper; manuscripts - mostly black felt-tip pen on wove or ruled paper; one sample piece of grey cardboard used as backing for some of the presentation drawings; and sets of drawings in the form of book dummies - mostly pen and coloured ink and/or black felt-tip pen on photocopies on wove paper. Detail drawings include elevations, sections, details - mostly graphite on tracing paper. The linear cm of documents includes sets, reprographic copies and manuscripts. Notes and documents include elevations, sections, and details - some graphite on photocopies on wove paper; two sets of drawing copies, some with changes - mostly photocopies on wove paper; reprographic copies - mostly photocopies on wove paper; manuscripts - many graphite on wove paper; ephemera includes trade pamphlets; and photographs include colour images of House X prior to and during one of the renovations.
Level of archival description:
File 14
File 14
Date:
1971-1989
1971-1989
People:
Level of archival description:
Project
Project
Reference number:
AP148.S1.1970.PR02
Description:
The project series documents Poli's work on the Interplanetary Architecture project, which was also made into a film by Superstudio directed by Alessandro Poli (the film is not included in the fonds). The project reflects Poli's deep fascination with the moon landing in 1969. Poli uses this major media event as a catalyst for thinking about a new approach to architecture and tools for design, including the idea that film and the movie camera should become part of the toolset. The project also seems to be in some way a response to Epoch magazine's challenge for a "Primo concorso di architettura nello spazio" (the first architectural competition in space), and includes much imagery and textual references to a new road or architectural links between the earth and other planets, including an earth moon highway. In his storyboard, Poli also makes reference to his earlier Piper project, and some imagery features wheels and an amusement park. The Interplanetary Architecture project was exhibited by Superstudio in Rome in 1972 and featured in "Casabella" magazine in April 1972 (no. 364). The project was also featured in the 2010 CCA exhibition "Other Space Odysseys". In the accompanying CCA publication, Poli describes this project as "a voyage off earthbound routes in quest of architecture unfettered by the urban nightmare, by induced needs or by planning as the only tool for regulating and solving the world's problems" (Poli quoted in Borasi and Zardini, 2010, 110). Poli's work on this project is deeply tied to the Zeno project, which was also featured in this exhibition and is included in this fonds (see AP148.S1.1972.PR01). For the Zeno project, Poli envisioned a dialogue between astronaut Buzz Aldrin and an Italian peasant, Zeno of Riparbella. Poli felt that these two shared a similarity in that both their homes were isolated capsules, one that provided a lens from which to see the rest of the world and understand their place in it. The material in the series includes numerous photomontages and collages of astronauts in space, as well as drawings of plantery shapes and structures. There are also texts, some of which include calculations of distances and diameters of planets, as well as notebooks and sketchbooks, many of which Poli included in a folder he entitled "Storyboard." The series also includes an unsent letter from Poli to Adolfo Natalini which describes how, after the moon landing, everything - the planet, the moon, the stars - is architecture, and that this will necessitate the need for new design tools, such as the movie camera. Some works are signed Alessandro Poli-Superstudio. Source cited: Giovanna Borasi and Mirko Zardini, eds., Other Space Odysseys, Montreal and Baden: Canadian Centre for Architecture/Lars Müller Publishers, 2010.
AP148.S1.1970.PR02
Description:
The project series documents Poli's work on the Interplanetary Architecture project, which was also made into a film by Superstudio directed by Alessandro Poli (the film is not included in the fonds). The project reflects Poli's deep fascination with the moon landing in 1969. Poli uses this major media event as a catalyst for thinking about a new approach to architecture and tools for design, including the idea that film and the movie camera should become part of the toolset. The project also seems to be in some way a response to Epoch magazine's challenge for a "Primo concorso di architettura nello spazio" (the first architectural competition in space), and includes much imagery and textual references to a new road or architectural links between the earth and other planets, including an earth moon highway. In his storyboard, Poli also makes reference to his earlier Piper project, and some imagery features wheels and an amusement park. The Interplanetary Architecture project was exhibited by Superstudio in Rome in 1972 and featured in "Casabella" magazine in April 1972 (no. 364). The project was also featured in the 2010 CCA exhibition "Other Space Odysseys". In the accompanying CCA publication, Poli describes this project as "a voyage off earthbound routes in quest of architecture unfettered by the urban nightmare, by induced needs or by planning as the only tool for regulating and solving the world's problems" (Poli quoted in Borasi and Zardini, 2010, 110). Poli's work on this project is deeply tied to the Zeno project, which was also featured in this exhibition and is included in this fonds (see AP148.S1.1972.PR01). For the Zeno project, Poli envisioned a dialogue between astronaut Buzz Aldrin and an Italian peasant, Zeno of Riparbella. Poli felt that these two shared a similarity in that both their homes were isolated capsules, one that provided a lens from which to see the rest of the world and understand their place in it. The material in the series includes numerous photomontages and collages of astronauts in space, as well as drawings of plantery shapes and structures. There are also texts, some of which include calculations of distances and diameters of planets, as well as notebooks and sketchbooks, many of which Poli included in a folder he entitled "Storyboard." The series also includes an unsent letter from Poli to Adolfo Natalini which describes how, after the moon landing, everything - the planet, the moon, the stars - is architecture, and that this will necessitate the need for new design tools, such as the movie camera. Some works are signed Alessandro Poli-Superstudio. Source cited: Giovanna Borasi and Mirko Zardini, eds., Other Space Odysseys, Montreal and Baden: Canadian Centre for Architecture/Lars Müller Publishers, 2010.
People:
Date:
1969-1971
1969-1971
Title:
Architettura Interplanetaria [Interplanetary Architecture] (1970-1971)
Actions:
AP148.S1.1970.PR02
Description:
The project series documents Poli's work on the Interplanetary Architecture project, which was also made into a film by Superstudio directed by Alessandro Poli (the film is not included in the fonds). The project reflects Poli's deep fascination with the moon landing in 1969. Poli uses this major media event as a catalyst for thinking about a new approach to architecture and tools for design, including the idea that film and the movie camera should become part of the toolset. The project also seems to be in some way a response to Epoch magazine's challenge for a "Primo concorso di architettura nello spazio" (the first architectural competition in space), and includes much imagery and textual references to a new road or architectural links between the earth and other planets, including an earth moon highway. In his storyboard, Poli also makes reference to his earlier Piper project, and some imagery features wheels and an amusement park. The Interplanetary Architecture project was exhibited by Superstudio in Rome in 1972 and featured in "Casabella" magazine in April 1972 (no. 364). The project was also featured in the 2010 CCA exhibition "Other Space Odysseys". In the accompanying CCA publication, Poli describes this project as "a voyage off earthbound routes in quest of architecture unfettered by the urban nightmare, by induced needs or by planning as the only tool for regulating and solving the world's problems" (Poli quoted in Borasi and Zardini, 2010, 110). Poli's work on this project is deeply tied to the Zeno project, which was also featured in this exhibition and is included in this fonds (see AP148.S1.1972.PR01). For the Zeno project, Poli envisioned a dialogue between astronaut Buzz Aldrin and an Italian peasant, Zeno of Riparbella. Poli felt that these two shared a similarity in that both their homes were isolated capsules, one that provided a lens from which to see the rest of the world and understand their place in it. The material in the series includes numerous photomontages and collages of astronauts in space, as well as drawings of plantery shapes and structures. There are also texts, some of which include calculations of distances and diameters of planets, as well as notebooks and sketchbooks, many of which Poli included in a folder he entitled "Storyboard." The series also includes an unsent letter from Poli to Adolfo Natalini which describes how, after the moon landing, everything - the planet, the moon, the stars - is architecture, and that this will necessitate the need for new design tools, such as the movie camera. Some works are signed Alessandro Poli-Superstudio. Source cited: Giovanna Borasi and Mirko Zardini, eds., Other Space Odysseys, Montreal and Baden: Canadian Centre for Architecture/Lars Müller Publishers, 2010.
Architettura Interplanetaria [Interplanetary Architecture] (1970-1971)
Actions:
AP148.S1.1970.PR02
Description:
The project series documents Poli's work on the Interplanetary Architecture project, which was also made into a film by Superstudio directed by Alessandro Poli (the film is not included in the fonds). The project reflects Poli's deep fascination with the moon landing in 1969. Poli uses this major media event as a catalyst for thinking about a new approach to architecture and tools for design, including the idea that film and the movie camera should become part of the toolset. The project also seems to be in some way a response to Epoch magazine's challenge for a "Primo concorso di architettura nello spazio" (the first architectural competition in space), and includes much imagery and textual references to a new road or architectural links between the earth and other planets, including an earth moon highway. In his storyboard, Poli also makes reference to his earlier Piper project, and some imagery features wheels and an amusement park. The Interplanetary Architecture project was exhibited by Superstudio in Rome in 1972 and featured in "Casabella" magazine in April 1972 (no. 364). The project was also featured in the 2010 CCA exhibition "Other Space Odysseys". In the accompanying CCA publication, Poli describes this project as "a voyage off earthbound routes in quest of architecture unfettered by the urban nightmare, by induced needs or by planning as the only tool for regulating and solving the world's problems" (Poli quoted in Borasi and Zardini, 2010, 110). Poli's work on this project is deeply tied to the Zeno project, which was also featured in this exhibition and is included in this fonds (see AP148.S1.1972.PR01). For the Zeno project, Poli envisioned a dialogue between astronaut Buzz Aldrin and an Italian peasant, Zeno of Riparbella. Poli felt that these two shared a similarity in that both their homes were isolated capsules, one that provided a lens from which to see the rest of the world and understand their place in it. The material in the series includes numerous photomontages and collages of astronauts in space, as well as drawings of plantery shapes and structures. There are also texts, some of which include calculations of distances and diameters of planets, as well as notebooks and sketchbooks, many of which Poli included in a folder he entitled "Storyboard." The series also includes an unsent letter from Poli to Adolfo Natalini which describes how, after the moon landing, everything - the planet, the moon, the stars - is architecture, and that this will necessitate the need for new design tools, such as the movie camera. Some works are signed Alessandro Poli-Superstudio. Source cited: Giovanna Borasi and Mirko Zardini, eds., Other Space Odysseys, Montreal and Baden: Canadian Centre for Architecture/Lars Müller Publishers, 2010.
Level of archival description:
Project
Project
Date:
1969-1971
1969-1971
People:
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:
Level of archival description:
Project
Project
Title:
Secrétaire
Secrétaire
Actions:
Reference number:
AP066.S2.D11
Description:
Le dossier documente la conception d'un secrétaire pour un couple de Montréal, Québec. Le secrétaire résulte d'un travail sur une complexité formelle alliée à une simplicité d'assemblage. Les circonstances ont fait que Rousseau a conservé le meuble avec lui. Les matériaux employés sont le contreplaqué et l'acajou monté sur un cadre d'acier sur roulettes. Le dossier contient une maquette.
AP066.S2.D11
Description:
Le dossier documente la conception d'un secrétaire pour un couple de Montréal, Québec. Le secrétaire résulte d'un travail sur une complexité formelle alliée à une simplicité d'assemblage. Les circonstances ont fait que Rousseau a conservé le meuble avec lui. Les matériaux employés sont le contreplaqué et l'acajou monté sur un cadre d'acier sur roulettes. Le dossier contient une maquette.
People:
Date:
1984
1984
Title:
Secrétaire
Actions:
AP066.S2.D11
Description:
Le dossier documente la conception d'un secrétaire pour un couple de Montréal, Québec. Le secrétaire résulte d'un travail sur une complexité formelle alliée à une simplicité d'assemblage. Les circonstances ont fait que Rousseau a conservé le meuble avec lui. Les matériaux employés sont le contreplaqué et l'acajou monté sur un cadre d'acier sur roulettes. Le dossier contient une maquette.
Secrétaire
Actions:
AP066.S2.D11
Description:
Le dossier documente la conception d'un secrétaire pour un couple de Montréal, Québec. Le secrétaire résulte d'un travail sur une complexité formelle alliée à une simplicité d'assemblage. Les circonstances ont fait que Rousseau a conservé le meuble avec lui. Les matériaux employés sont le contreplaqué et l'acajou monté sur un cadre d'acier sur roulettes. Le dossier contient une maquette.
Level of archival description:
Projet
Projet
Date:
1984
1984
People:
Level of archival description:
Sub-series
Sub-series
Title:
Miscellanea
Miscellanea
Reference number:
CI001.S1.D4
Description:
The three portfolios of "Croquis", originally attributed to Hubert Rohault de Fleury, but probably also including work by Charles, are particularly informative of the range of artistic and architectural interests of these architects. While some of the drawings in these portfolios may be travel sketches or based on travel sketches (Charles is known to have visited some of the locations depicted (1)), the majority are probably copied or adapted from books and prints. In some cases, these sources have been identified. The stylistic range of the drawings is eclectic; in addition to the expected Classical material, Gothic, Romanesque, Islamic, Exotic Revival (namely Etruscan and Egyptian), Renaissance and Baroque periods and styles as well as contemporary 19th century architecture are all represented. The subject matter is equally varied. DR1974:0002:032:001-066, two portfolios, includes arabesque ornament (some from Palazzo del Te and Palazzo Ducal in Mantua (2)), Islamic ornament motifs, tile patterns, Sicilian architectural subjects - mainly church interiors, and stonework and woodwork from Romanesque and Gothic structures . DR1974:0002:031:001-055, three portfolios, contains drawings of classical figures, Christian imagery and architectural sculpture from antique, medieval [?] and 19th century sources, sculpture from the 16th century sepulchral monument of Maximillian I, Italian Classical structures and contemporary classically-inspired subject matter including a number of Parisian fountains and monuments, and several English townhouses. DR1974:0002:030:001-065, four portfolios, includes drawings of Classical, Gothic and Exotic Revival buildings and interiors as well as a number of drawings of non-architectural subject matter including military subjects - fortification, armaments, soldiers, and revolutionary battle scenes - and topographic views. A folder of Italian views and buildings in this portfolio may have been intended for publication. The designs for interiors, Empire furniture, garden structures and several of the buildings are probably original designs by Hubert. (1) A description of Charles' travels based on his sketchbooks held by the Académie d'architecture is found in Académie d'architecture, 'Catalogue des collection' (Paris: Académie d'architecture, 1988) 35-36 and 230-241. (2) These drawings were copied from Wilhelm Zahn, 'Gemalte Ornamente von Julio Romano' (s.l., s.n, ca. 1833)., The three portfolios of "Croquis" were originally attributed to Hubert Rohault de Fleury, but probably also including work by Charles. The source and purpose of many of these drawings is unclear; some may be record drawings and travel sketches or based on travel sketches, but the majority are probably copied or adapted from books and prints. The stylistic range and subject matter of the drawings is broad and eclectic: arabesques, Islamic ornament, stonework and woodwork from Romanesque and Gothic structures (DR1974:0002:032:001-066); classical and Christian imagery, architectural sculpture from antique, medieval [?] and 19th century sources, Italian Classical structures, nineteenth century classically-inspired subject matter (DR1974:0002:031:001-055); non-architectural subject matter including military subjects, topographic views, and Italian views and buildings, possibly intended for publication (DR1974:0002:030:001-065). Portfolio, DR1974:0002:030:001-065 also includes interiors, Empire furniture, garden structures and Classical, Gothic and Exotic Revival buildings, some of which are probably original designs by Hubert Rohault de Fleury. Bibliography: - Bergdoll, Barry. "Hubert Rohault de Fleury: Cinquième Partie: Équisses et Dessins d'Ornament." 'CCA Research Report.' n.d. - Académie d'architecture (France). 'Catalogue des collections' (Paris: L'Academie, 1988), 35-37 and 230-241.
CI001.S1.D4
Description:
The three portfolios of "Croquis", originally attributed to Hubert Rohault de Fleury, but probably also including work by Charles, are particularly informative of the range of artistic and architectural interests of these architects. While some of the drawings in these portfolios may be travel sketches or based on travel sketches (Charles is known to have visited some of the locations depicted (1)), the majority are probably copied or adapted from books and prints. In some cases, these sources have been identified. The stylistic range of the drawings is eclectic; in addition to the expected Classical material, Gothic, Romanesque, Islamic, Exotic Revival (namely Etruscan and Egyptian), Renaissance and Baroque periods and styles as well as contemporary 19th century architecture are all represented. The subject matter is equally varied. DR1974:0002:032:001-066, two portfolios, includes arabesque ornament (some from Palazzo del Te and Palazzo Ducal in Mantua (2)), Islamic ornament motifs, tile patterns, Sicilian architectural subjects - mainly church interiors, and stonework and woodwork from Romanesque and Gothic structures . DR1974:0002:031:001-055, three portfolios, contains drawings of classical figures, Christian imagery and architectural sculpture from antique, medieval [?] and 19th century sources, sculpture from the 16th century sepulchral monument of Maximillian I, Italian Classical structures and contemporary classically-inspired subject matter including a number of Parisian fountains and monuments, and several English townhouses. DR1974:0002:030:001-065, four portfolios, includes drawings of Classical, Gothic and Exotic Revival buildings and interiors as well as a number of drawings of non-architectural subject matter including military subjects - fortification, armaments, soldiers, and revolutionary battle scenes - and topographic views. A folder of Italian views and buildings in this portfolio may have been intended for publication. The designs for interiors, Empire furniture, garden structures and several of the buildings are probably original designs by Hubert. (1) A description of Charles' travels based on his sketchbooks held by the Académie d'architecture is found in Académie d'architecture, 'Catalogue des collection' (Paris: Académie d'architecture, 1988) 35-36 and 230-241. (2) These drawings were copied from Wilhelm Zahn, 'Gemalte Ornamente von Julio Romano' (s.l., s.n, ca. 1833)., The three portfolios of "Croquis" were originally attributed to Hubert Rohault de Fleury, but probably also including work by Charles. The source and purpose of many of these drawings is unclear; some may be record drawings and travel sketches or based on travel sketches, but the majority are probably copied or adapted from books and prints. The stylistic range and subject matter of the drawings is broad and eclectic: arabesques, Islamic ornament, stonework and woodwork from Romanesque and Gothic structures (DR1974:0002:032:001-066); classical and Christian imagery, architectural sculpture from antique, medieval [?] and 19th century sources, Italian Classical structures, nineteenth century classically-inspired subject matter (DR1974:0002:031:001-055); non-architectural subject matter including military subjects, topographic views, and Italian views and buildings, possibly intended for publication (DR1974:0002:030:001-065). Portfolio, DR1974:0002:030:001-065 also includes interiors, Empire furniture, garden structures and Classical, Gothic and Exotic Revival buildings, some of which are probably original designs by Hubert Rohault de Fleury. Bibliography: - Bergdoll, Barry. "Hubert Rohault de Fleury: Cinquième Partie: Équisses et Dessins d'Ornament." 'CCA Research Report.' n.d. - Académie d'architecture (France). 'Catalogue des collections' (Paris: L'Academie, 1988), 35-37 and 230-241.
People:
Date:
[1800-1868]
[1800-1868]
Title:
Miscellanea
CI001.S1.D4
Description:
The three portfolios of "Croquis", originally attributed to Hubert Rohault de Fleury, but probably also including work by Charles, are particularly informative of the range of artistic and architectural interests of these architects. While some of the drawings in these portfolios may be travel sketches or based on travel sketches (Charles is known to have visited some of the locations depicted (1)), the majority are probably copied or adapted from books and prints. In some cases, these sources have been identified. The stylistic range of the drawings is eclectic; in addition to the expected Classical material, Gothic, Romanesque, Islamic, Exotic Revival (namely Etruscan and Egyptian), Renaissance and Baroque periods and styles as well as contemporary 19th century architecture are all represented. The subject matter is equally varied. DR1974:0002:032:001-066, two portfolios, includes arabesque ornament (some from Palazzo del Te and Palazzo Ducal in Mantua (2)), Islamic ornament motifs, tile patterns, Sicilian architectural subjects - mainly church interiors, and stonework and woodwork from Romanesque and Gothic structures . DR1974:0002:031:001-055, three portfolios, contains drawings of classical figures, Christian imagery and architectural sculpture from antique, medieval [?] and 19th century sources, sculpture from the 16th century sepulchral monument of Maximillian I, Italian Classical structures and contemporary classically-inspired subject matter including a number of Parisian fountains and monuments, and several English townhouses. DR1974:0002:030:001-065, four portfolios, includes drawings of Classical, Gothic and Exotic Revival buildings and interiors as well as a number of drawings of non-architectural subject matter including military subjects - fortification, armaments, soldiers, and revolutionary battle scenes - and topographic views. A folder of Italian views and buildings in this portfolio may have been intended for publication. The designs for interiors, Empire furniture, garden structures and several of the buildings are probably original designs by Hubert. (1) A description of Charles' travels based on his sketchbooks held by the Académie d'architecture is found in Académie d'architecture, 'Catalogue des collection' (Paris: Académie d'architecture, 1988) 35-36 and 230-241. (2) These drawings were copied from Wilhelm Zahn, 'Gemalte Ornamente von Julio Romano' (s.l., s.n, ca. 1833)., The three portfolios of "Croquis" were originally attributed to Hubert Rohault de Fleury, but probably also including work by Charles. The source and purpose of many of these drawings is unclear; some may be record drawings and travel sketches or based on travel sketches, but the majority are probably copied or adapted from books and prints. The stylistic range and subject matter of the drawings is broad and eclectic: arabesques, Islamic ornament, stonework and woodwork from Romanesque and Gothic structures (DR1974:0002:032:001-066); classical and Christian imagery, architectural sculpture from antique, medieval [?] and 19th century sources, Italian Classical structures, nineteenth century classically-inspired subject matter (DR1974:0002:031:001-055); non-architectural subject matter including military subjects, topographic views, and Italian views and buildings, possibly intended for publication (DR1974:0002:030:001-065). Portfolio, DR1974:0002:030:001-065 also includes interiors, Empire furniture, garden structures and Classical, Gothic and Exotic Revival buildings, some of which are probably original designs by Hubert Rohault de Fleury. Bibliography: - Bergdoll, Barry. "Hubert Rohault de Fleury: Cinquième Partie: Équisses et Dessins d'Ornament." 'CCA Research Report.' n.d. - Académie d'architecture (France). 'Catalogue des collections' (Paris: L'Academie, 1988), 35-37 and 230-241.
Miscellanea
CI001.S1.D4
Description:
The three portfolios of "Croquis", originally attributed to Hubert Rohault de Fleury, but probably also including work by Charles, are particularly informative of the range of artistic and architectural interests of these architects. While some of the drawings in these portfolios may be travel sketches or based on travel sketches (Charles is known to have visited some of the locations depicted (1)), the majority are probably copied or adapted from books and prints. In some cases, these sources have been identified. The stylistic range of the drawings is eclectic; in addition to the expected Classical material, Gothic, Romanesque, Islamic, Exotic Revival (namely Etruscan and Egyptian), Renaissance and Baroque periods and styles as well as contemporary 19th century architecture are all represented. The subject matter is equally varied. DR1974:0002:032:001-066, two portfolios, includes arabesque ornament (some from Palazzo del Te and Palazzo Ducal in Mantua (2)), Islamic ornament motifs, tile patterns, Sicilian architectural subjects - mainly church interiors, and stonework and woodwork from Romanesque and Gothic structures . DR1974:0002:031:001-055, three portfolios, contains drawings of classical figures, Christian imagery and architectural sculpture from antique, medieval [?] and 19th century sources, sculpture from the 16th century sepulchral monument of Maximillian I, Italian Classical structures and contemporary classically-inspired subject matter including a number of Parisian fountains and monuments, and several English townhouses. DR1974:0002:030:001-065, four portfolios, includes drawings of Classical, Gothic and Exotic Revival buildings and interiors as well as a number of drawings of non-architectural subject matter including military subjects - fortification, armaments, soldiers, and revolutionary battle scenes - and topographic views. A folder of Italian views and buildings in this portfolio may have been intended for publication. The designs for interiors, Empire furniture, garden structures and several of the buildings are probably original designs by Hubert. (1) A description of Charles' travels based on his sketchbooks held by the Académie d'architecture is found in Académie d'architecture, 'Catalogue des collection' (Paris: Académie d'architecture, 1988) 35-36 and 230-241. (2) These drawings were copied from Wilhelm Zahn, 'Gemalte Ornamente von Julio Romano' (s.l., s.n, ca. 1833)., The three portfolios of "Croquis" were originally attributed to Hubert Rohault de Fleury, but probably also including work by Charles. The source and purpose of many of these drawings is unclear; some may be record drawings and travel sketches or based on travel sketches, but the majority are probably copied or adapted from books and prints. The stylistic range and subject matter of the drawings is broad and eclectic: arabesques, Islamic ornament, stonework and woodwork from Romanesque and Gothic structures (DR1974:0002:032:001-066); classical and Christian imagery, architectural sculpture from antique, medieval [?] and 19th century sources, Italian Classical structures, nineteenth century classically-inspired subject matter (DR1974:0002:031:001-055); non-architectural subject matter including military subjects, topographic views, and Italian views and buildings, possibly intended for publication (DR1974:0002:030:001-065). Portfolio, DR1974:0002:030:001-065 also includes interiors, Empire furniture, garden structures and Classical, Gothic and Exotic Revival buildings, some of which are probably original designs by Hubert Rohault de Fleury. Bibliography: - Bergdoll, Barry. "Hubert Rohault de Fleury: Cinquième Partie: Équisses et Dessins d'Ornament." 'CCA Research Report.' n.d. - Académie d'architecture (France). 'Catalogue des collections' (Paris: L'Academie, 1988), 35-37 and 230-241.
Level of archival description:
File 4
File 4
Date:
[1800-1868]
[1800-1868]
People:
