853 Results
Level of archival description:
Series
Series
Reference number:
AP179.S3
Description:
Series 3, Tongxian Art Center, Beijing, 2000 – 2007, documents the development of a multiphase project for a public arts complex thirty miles from Beijing. Phases are distinguished when possible. Phase I of the project is the gatehouse (realized), which consists of housing and studio space for artists-in-residence. It is conceived as a brick monolith that has been shrink-wrapped or vacuumed into its shape – a metaphor for the optimization of the building’s limited space. Regional materials are incorporated through the use of local brick and native chudumu wood on the exterior. The gatehouse was completed in 2003. Phase II of the project is the art center (unrealized), which consists of public spaces, sculpture courts, administrative spaces and infrastructural needs of the institution, connected through a series of alleyways. The layout is organized to maximize interaction between inhabitants while maintaining a level of privacy. In addition to phases I and II, records in the series document a design referred to as Tongxian Gatekeeper (unrealized). Drawings, circa 2006, illustrate a building to house animals and agriculture in the southwest corner of the Tongxian Art complex grounds. The series contains sketches, drawings and reprographic copies from pre-design to construction stages of the project, two models including a wood model of the art center and a cardboard model of the gatekeeper wall, and photographic materials. The series also contains textual documents including correspondence with on-site project coordinator Timothy Clark, as well as meeting agendas, project schedules, agreements and proposals, and other project documentation. Digital material includes photographs of construction, CAD drawings, renderings, e-mail, and a video featuring the project team. The majority of material in the series relates to phase I of the project, the gatehouse. Some files include documentation about the involvement of contemporary artist Ai Wei Wei in a supervisory role for the project.
AP179.S3
Description:
Series 3, Tongxian Art Center, Beijing, 2000 – 2007, documents the development of a multiphase project for a public arts complex thirty miles from Beijing. Phases are distinguished when possible. Phase I of the project is the gatehouse (realized), which consists of housing and studio space for artists-in-residence. It is conceived as a brick monolith that has been shrink-wrapped or vacuumed into its shape – a metaphor for the optimization of the building’s limited space. Regional materials are incorporated through the use of local brick and native chudumu wood on the exterior. The gatehouse was completed in 2003. Phase II of the project is the art center (unrealized), which consists of public spaces, sculpture courts, administrative spaces and infrastructural needs of the institution, connected through a series of alleyways. The layout is organized to maximize interaction between inhabitants while maintaining a level of privacy. In addition to phases I and II, records in the series document a design referred to as Tongxian Gatekeeper (unrealized). Drawings, circa 2006, illustrate a building to house animals and agriculture in the southwest corner of the Tongxian Art complex grounds. The series contains sketches, drawings and reprographic copies from pre-design to construction stages of the project, two models including a wood model of the art center and a cardboard model of the gatekeeper wall, and photographic materials. The series also contains textual documents including correspondence with on-site project coordinator Timothy Clark, as well as meeting agendas, project schedules, agreements and proposals, and other project documentation. Digital material includes photographs of construction, CAD drawings, renderings, e-mail, and a video featuring the project team. The majority of material in the series relates to phase I of the project, the gatehouse. Some files include documentation about the involvement of contemporary artist Ai Wei Wei in a supervisory role for the project.
People:
Date:
2000 - 2007
2000 - 2007
Title:
Tongxian Art Center, Beijing, China (2000 - 2007)
Actions:
AP179.S3
Description:
Series 3, Tongxian Art Center, Beijing, 2000 – 2007, documents the development of a multiphase project for a public arts complex thirty miles from Beijing. Phases are distinguished when possible. Phase I of the project is the gatehouse (realized), which consists of housing and studio space for artists-in-residence. It is conceived as a brick monolith that has been shrink-wrapped or vacuumed into its shape – a metaphor for the optimization of the building’s limited space. Regional materials are incorporated through the use of local brick and native chudumu wood on the exterior. The gatehouse was completed in 2003. Phase II of the project is the art center (unrealized), which consists of public spaces, sculpture courts, administrative spaces and infrastructural needs of the institution, connected through a series of alleyways. The layout is organized to maximize interaction between inhabitants while maintaining a level of privacy. In addition to phases I and II, records in the series document a design referred to as Tongxian Gatekeeper (unrealized). Drawings, circa 2006, illustrate a building to house animals and agriculture in the southwest corner of the Tongxian Art complex grounds. The series contains sketches, drawings and reprographic copies from pre-design to construction stages of the project, two models including a wood model of the art center and a cardboard model of the gatekeeper wall, and photographic materials. The series also contains textual documents including correspondence with on-site project coordinator Timothy Clark, as well as meeting agendas, project schedules, agreements and proposals, and other project documentation. Digital material includes photographs of construction, CAD drawings, renderings, e-mail, and a video featuring the project team. The majority of material in the series relates to phase I of the project, the gatehouse. Some files include documentation about the involvement of contemporary artist Ai Wei Wei in a supervisory role for the project.
Tongxian Art Center, Beijing, China (2000 - 2007)
Actions:
AP179.S3
Description:
Series 3, Tongxian Art Center, Beijing, 2000 – 2007, documents the development of a multiphase project for a public arts complex thirty miles from Beijing. Phases are distinguished when possible. Phase I of the project is the gatehouse (realized), which consists of housing and studio space for artists-in-residence. It is conceived as a brick monolith that has been shrink-wrapped or vacuumed into its shape – a metaphor for the optimization of the building’s limited space. Regional materials are incorporated through the use of local brick and native chudumu wood on the exterior. The gatehouse was completed in 2003. Phase II of the project is the art center (unrealized), which consists of public spaces, sculpture courts, administrative spaces and infrastructural needs of the institution, connected through a series of alleyways. The layout is organized to maximize interaction between inhabitants while maintaining a level of privacy. In addition to phases I and II, records in the series document a design referred to as Tongxian Gatekeeper (unrealized). Drawings, circa 2006, illustrate a building to house animals and agriculture in the southwest corner of the Tongxian Art complex grounds. The series contains sketches, drawings and reprographic copies from pre-design to construction stages of the project, two models including a wood model of the art center and a cardboard model of the gatekeeper wall, and photographic materials. The series also contains textual documents including correspondence with on-site project coordinator Timothy Clark, as well as meeting agendas, project schedules, agreements and proposals, and other project documentation. Digital material includes photographs of construction, CAD drawings, renderings, e-mail, and a video featuring the project team. The majority of material in the series relates to phase I of the project, the gatehouse. Some files include documentation about the involvement of contemporary artist Ai Wei Wei in a supervisory role for the project.
Level of archival description:
Series
Series
Date:
2000 - 2007
2000 - 2007
People:
Level of archival description:
Series
Series
Title:
Sketchbooks
Sketchbooks
Reference number:
AP178.S2
Description:
Series AP178.S2 consists of over 280 of Siza’s personal sketchbooks, beginning from the late 1970s to the beginning of the early 2000s. The sketchbooks mostly contain sketches with some notes and are numbered chronologically. Indicated on the front cover of each sketchbook are the sketchbook number and the architectural project(s) and/or the geographic site(s) documented by the sketches and notes. The sketchbooks are mostly black notebooks and measure 21 x 30 cm, with a few exceptions. Most sketchbooks contain notes in Portuguese while some also include French and English notes. The sketchbooks document Siza’s creative process and demonstrate his unique method to comprehend an architectural project. Siza mentions that in the early stages of a project he immediately begins to draw, regardless of if he has knowledge of all the details and problems. The sketchbooks document the evolution of Siza's projects and also serve as a type of log. Not only does each sketchbook contain various sketches and notes for projects Siza was working on but also schedules, contacts, and drafts of letters. Among the sketches for projects are also general sketches of his travels, people, animals, objects, furniture, and at times landscapes. Most sketchbooks primarily contain sketches for projects with intermingled sketches of people or faces, however there are a number of sketchbooks that mostly contain sketches of people. The Siza fonds is being processed in four phases. Up to date the sketchbooks that have been processed are ones that relate to architectural projects that were processed in the first and second phase of processing. This includes projects from 1950’s, 1960’s, and 1970’s; urban planning projects; Reconstrução do Chiado; Berlin projects submitted to the IBA competition; and the Plano de urbanização Deelgebied 5 Schilderswijk-West in The Hague. However, it is important to note that the sketchbooks usually contain sketches related to multiple projects and therefore the sketchbooks that were processed also contain sketches related to projects not included in this list.
AP178.S2
Description:
Series AP178.S2 consists of over 280 of Siza’s personal sketchbooks, beginning from the late 1970s to the beginning of the early 2000s. The sketchbooks mostly contain sketches with some notes and are numbered chronologically. Indicated on the front cover of each sketchbook are the sketchbook number and the architectural project(s) and/or the geographic site(s) documented by the sketches and notes. The sketchbooks are mostly black notebooks and measure 21 x 30 cm, with a few exceptions. Most sketchbooks contain notes in Portuguese while some also include French and English notes. The sketchbooks document Siza’s creative process and demonstrate his unique method to comprehend an architectural project. Siza mentions that in the early stages of a project he immediately begins to draw, regardless of if he has knowledge of all the details and problems. The sketchbooks document the evolution of Siza's projects and also serve as a type of log. Not only does each sketchbook contain various sketches and notes for projects Siza was working on but also schedules, contacts, and drafts of letters. Among the sketches for projects are also general sketches of his travels, people, animals, objects, furniture, and at times landscapes. Most sketchbooks primarily contain sketches for projects with intermingled sketches of people or faces, however there are a number of sketchbooks that mostly contain sketches of people. The Siza fonds is being processed in four phases. Up to date the sketchbooks that have been processed are ones that relate to architectural projects that were processed in the first and second phase of processing. This includes projects from 1950’s, 1960’s, and 1970’s; urban planning projects; Reconstrução do Chiado; Berlin projects submitted to the IBA competition; and the Plano de urbanização Deelgebied 5 Schilderswijk-West in The Hague. However, it is important to note that the sketchbooks usually contain sketches related to multiple projects and therefore the sketchbooks that were processed also contain sketches related to projects not included in this list.
People:
Date:
1978-1993
1978-1993
Title:
Sketchbooks
Actions:
AP178.S2
Description:
Series AP178.S2 consists of over 280 of Siza’s personal sketchbooks, beginning from the late 1970s to the beginning of the early 2000s. The sketchbooks mostly contain sketches with some notes and are numbered chronologically. Indicated on the front cover of each sketchbook are the sketchbook number and the architectural project(s) and/or the geographic site(s) documented by the sketches and notes. The sketchbooks are mostly black notebooks and measure 21 x 30 cm, with a few exceptions. Most sketchbooks contain notes in Portuguese while some also include French and English notes. The sketchbooks document Siza’s creative process and demonstrate his unique method to comprehend an architectural project. Siza mentions that in the early stages of a project he immediately begins to draw, regardless of if he has knowledge of all the details and problems. The sketchbooks document the evolution of Siza's projects and also serve as a type of log. Not only does each sketchbook contain various sketches and notes for projects Siza was working on but also schedules, contacts, and drafts of letters. Among the sketches for projects are also general sketches of his travels, people, animals, objects, furniture, and at times landscapes. Most sketchbooks primarily contain sketches for projects with intermingled sketches of people or faces, however there are a number of sketchbooks that mostly contain sketches of people. The Siza fonds is being processed in four phases. Up to date the sketchbooks that have been processed are ones that relate to architectural projects that were processed in the first and second phase of processing. This includes projects from 1950’s, 1960’s, and 1970’s; urban planning projects; Reconstrução do Chiado; Berlin projects submitted to the IBA competition; and the Plano de urbanização Deelgebied 5 Schilderswijk-West in The Hague. However, it is important to note that the sketchbooks usually contain sketches related to multiple projects and therefore the sketchbooks that were processed also contain sketches related to projects not included in this list.
Sketchbooks
Actions:
AP178.S2
Description:
Series AP178.S2 consists of over 280 of Siza’s personal sketchbooks, beginning from the late 1970s to the beginning of the early 2000s. The sketchbooks mostly contain sketches with some notes and are numbered chronologically. Indicated on the front cover of each sketchbook are the sketchbook number and the architectural project(s) and/or the geographic site(s) documented by the sketches and notes. The sketchbooks are mostly black notebooks and measure 21 x 30 cm, with a few exceptions. Most sketchbooks contain notes in Portuguese while some also include French and English notes. The sketchbooks document Siza’s creative process and demonstrate his unique method to comprehend an architectural project. Siza mentions that in the early stages of a project he immediately begins to draw, regardless of if he has knowledge of all the details and problems. The sketchbooks document the evolution of Siza's projects and also serve as a type of log. Not only does each sketchbook contain various sketches and notes for projects Siza was working on but also schedules, contacts, and drafts of letters. Among the sketches for projects are also general sketches of his travels, people, animals, objects, furniture, and at times landscapes. Most sketchbooks primarily contain sketches for projects with intermingled sketches of people or faces, however there are a number of sketchbooks that mostly contain sketches of people. The Siza fonds is being processed in four phases. Up to date the sketchbooks that have been processed are ones that relate to architectural projects that were processed in the first and second phase of processing. This includes projects from 1950’s, 1960’s, and 1970’s; urban planning projects; Reconstrução do Chiado; Berlin projects submitted to the IBA competition; and the Plano de urbanização Deelgebied 5 Schilderswijk-West in The Hague. However, it is important to note that the sketchbooks usually contain sketches related to multiple projects and therefore the sketchbooks that were processed also contain sketches related to projects not included in this list.
Level of archival description:
Series
Series
Date:
1978-1993
1978-1993
People:
Level of archival description:
Project
Project
Reference number:
AP206.S1.1975.PR01
Description:
This project series documents Aditya Prakash's proposal for an alternative plan for Chandigarh, India, which came to be known as the Linear City. Prakash began developing and advocating for this idea around the early 1970s. The Linear City had two fundamental ideas at its core. The first was to raise the roadways in Chandigarh (or any future city) 10-12 feet from ground level. This, he proposed, would separate vehicular traffic from pedestrians, eliminating all the hazardous impacts of traffic on daily life. The large part of the drawings for this project show sector plans and city blocks with evenly dispersed roundabout roadways as major transit hubs, wrapping around but high above centres of pedestrian activity that included shops, markets and green spaces. The sale of the land below the roadways would pay for the upheaval. He also recommended building this city only a few sectors deep, but endlessly expanding it length-wise, with a raised canal along one side to provide an additional transpiration network and irrigation. The second fundamental idea of this city was the creation of self-sustaining sectors in the city plan, advocating that each neighbourhood should have the infrastructure to provide food and recycling for its residents. He fervently argued for the reimagination of modernist Chandigarh by incorporating sustainable, local traditions - the rural should exist in harmony with the urban. In opposition to Le Corbusier and Pierre Jeanneret, he believed areas for recycling, animal husbandry, and growing food should be incorporated into the fabric of the city.[1] This project is recorded largely through original drawings of city plans, perspectives and axonometric views detailing Prakash's new vision for the city. It seems that many of the perspectives were drawn by family friend Sandeep Virmani, after listening to Prakash's ideas.[2] The project is also recorded through photographs, negatives and slides showing plans and the project model. A small amount of notes and an article on the project are also included. [1]Vikramaditya Prakash, One Continuous Line: Art, Architecture and Urbanism of Aditya Prakash (Ahmedabad, India: Mapin Publishing Pvt. Ltd., 2019), 164-181. [2]Prakash, One Continuous Line, 169.
AP206.S1.1975.PR01
Description:
This project series documents Aditya Prakash's proposal for an alternative plan for Chandigarh, India, which came to be known as the Linear City. Prakash began developing and advocating for this idea around the early 1970s. The Linear City had two fundamental ideas at its core. The first was to raise the roadways in Chandigarh (or any future city) 10-12 feet from ground level. This, he proposed, would separate vehicular traffic from pedestrians, eliminating all the hazardous impacts of traffic on daily life. The large part of the drawings for this project show sector plans and city blocks with evenly dispersed roundabout roadways as major transit hubs, wrapping around but high above centres of pedestrian activity that included shops, markets and green spaces. The sale of the land below the roadways would pay for the upheaval. He also recommended building this city only a few sectors deep, but endlessly expanding it length-wise, with a raised canal along one side to provide an additional transpiration network and irrigation. The second fundamental idea of this city was the creation of self-sustaining sectors in the city plan, advocating that each neighbourhood should have the infrastructure to provide food and recycling for its residents. He fervently argued for the reimagination of modernist Chandigarh by incorporating sustainable, local traditions - the rural should exist in harmony with the urban. In opposition to Le Corbusier and Pierre Jeanneret, he believed areas for recycling, animal husbandry, and growing food should be incorporated into the fabric of the city.[1] This project is recorded largely through original drawings of city plans, perspectives and axonometric views detailing Prakash's new vision for the city. It seems that many of the perspectives were drawn by family friend Sandeep Virmani, after listening to Prakash's ideas.[2] The project is also recorded through photographs, negatives and slides showing plans and the project model. A small amount of notes and an article on the project are also included. [1]Vikramaditya Prakash, One Continuous Line: Art, Architecture and Urbanism of Aditya Prakash (Ahmedabad, India: Mapin Publishing Pvt. Ltd., 2019), 164-181. [2]Prakash, One Continuous Line, 169.
People:
Date:
circa 1975-2003
circa 1975-2003
Title:
Linear city, Chandigarh, India (circa 1975-1987)
Actions:
AP206.S1.1975.PR01
Description:
This project series documents Aditya Prakash's proposal for an alternative plan for Chandigarh, India, which came to be known as the Linear City. Prakash began developing and advocating for this idea around the early 1970s. The Linear City had two fundamental ideas at its core. The first was to raise the roadways in Chandigarh (or any future city) 10-12 feet from ground level. This, he proposed, would separate vehicular traffic from pedestrians, eliminating all the hazardous impacts of traffic on daily life. The large part of the drawings for this project show sector plans and city blocks with evenly dispersed roundabout roadways as major transit hubs, wrapping around but high above centres of pedestrian activity that included shops, markets and green spaces. The sale of the land below the roadways would pay for the upheaval. He also recommended building this city only a few sectors deep, but endlessly expanding it length-wise, with a raised canal along one side to provide an additional transpiration network and irrigation. The second fundamental idea of this city was the creation of self-sustaining sectors in the city plan, advocating that each neighbourhood should have the infrastructure to provide food and recycling for its residents. He fervently argued for the reimagination of modernist Chandigarh by incorporating sustainable, local traditions - the rural should exist in harmony with the urban. In opposition to Le Corbusier and Pierre Jeanneret, he believed areas for recycling, animal husbandry, and growing food should be incorporated into the fabric of the city.[1] This project is recorded largely through original drawings of city plans, perspectives and axonometric views detailing Prakash's new vision for the city. It seems that many of the perspectives were drawn by family friend Sandeep Virmani, after listening to Prakash's ideas.[2] The project is also recorded through photographs, negatives and slides showing plans and the project model. A small amount of notes and an article on the project are also included. [1]Vikramaditya Prakash, One Continuous Line: Art, Architecture and Urbanism of Aditya Prakash (Ahmedabad, India: Mapin Publishing Pvt. Ltd., 2019), 164-181. [2]Prakash, One Continuous Line, 169.
Linear city, Chandigarh, India (circa 1975-1987)
Actions:
AP206.S1.1975.PR01
Description:
This project series documents Aditya Prakash's proposal for an alternative plan for Chandigarh, India, which came to be known as the Linear City. Prakash began developing and advocating for this idea around the early 1970s. The Linear City had two fundamental ideas at its core. The first was to raise the roadways in Chandigarh (or any future city) 10-12 feet from ground level. This, he proposed, would separate vehicular traffic from pedestrians, eliminating all the hazardous impacts of traffic on daily life. The large part of the drawings for this project show sector plans and city blocks with evenly dispersed roundabout roadways as major transit hubs, wrapping around but high above centres of pedestrian activity that included shops, markets and green spaces. The sale of the land below the roadways would pay for the upheaval. He also recommended building this city only a few sectors deep, but endlessly expanding it length-wise, with a raised canal along one side to provide an additional transpiration network and irrigation. The second fundamental idea of this city was the creation of self-sustaining sectors in the city plan, advocating that each neighbourhood should have the infrastructure to provide food and recycling for its residents. He fervently argued for the reimagination of modernist Chandigarh by incorporating sustainable, local traditions - the rural should exist in harmony with the urban. In opposition to Le Corbusier and Pierre Jeanneret, he believed areas for recycling, animal husbandry, and growing food should be incorporated into the fabric of the city.[1] This project is recorded largely through original drawings of city plans, perspectives and axonometric views detailing Prakash's new vision for the city. It seems that many of the perspectives were drawn by family friend Sandeep Virmani, after listening to Prakash's ideas.[2] The project is also recorded through photographs, negatives and slides showing plans and the project model. A small amount of notes and an article on the project are also included. [1]Vikramaditya Prakash, One Continuous Line: Art, Architecture and Urbanism of Aditya Prakash (Ahmedabad, India: Mapin Publishing Pvt. Ltd., 2019), 164-181. [2]Prakash, One Continuous Line, 169.
Level of archival description:
Project
Project
Date:
circa 1975-2003
circa 1975-2003
People:
Form:
drawings
drawings
Actions:
Reference number:
DR1986:0704
Description:
- DR1986:0704X represents a bird's-eye view of an imagined zoological garden. In the foreground, immediately behind an iron and stone fence, appear a series of small, whimsical structures in a Chinese or mixed Chinese-Indian style. These structures, together with their adjoining enclosures, house a variety of animals and are scattered among a number of fountains, ponds and clustered shrubs. - In the middle ground, on the central axis of the garden, rises a long, two-storey structure with a large, projecting pavilion in the centre and a tower at either end. Both levels of this structure are encased in verandas and the end towers and central pavilion are capped with pointed domes in an Indian style. The oval area before this structure is enclosed by two curved colonnades open on both sides and supporting a peaked, tile roof. This construction is obviously an orientalized version of St. Peter's Colonnade in Rome. - Further back and behind the long structure occur additional pavilions in a Chinese style, most notably a three-storey pagoda. On axis, and still further back, rises a second long, palace-like structure, sketched in a vaguely Mogul style. The entire ensemble is set in a nondescript, generalized landscape.
DR1986:0704
Description:
- DR1986:0704X represents a bird's-eye view of an imagined zoological garden. In the foreground, immediately behind an iron and stone fence, appear a series of small, whimsical structures in a Chinese or mixed Chinese-Indian style. These structures, together with their adjoining enclosures, house a variety of animals and are scattered among a number of fountains, ponds and clustered shrubs. - In the middle ground, on the central axis of the garden, rises a long, two-storey structure with a large, projecting pavilion in the centre and a tower at either end. Both levels of this structure are encased in verandas and the end towers and central pavilion are capped with pointed domes in an Indian style. The oval area before this structure is enclosed by two curved colonnades open on both sides and supporting a peaked, tile roof. This construction is obviously an orientalized version of St. Peter's Colonnade in Rome. - Further back and behind the long structure occur additional pavilions in a Chinese style, most notably a three-storey pagoda. On axis, and still further back, rises a second long, palace-like structure, sketched in a vaguely Mogul style. The entire ensemble is set in a nondescript, generalized landscape.
People:
Subject:
architecture, landscape architecture
architecture, landscape architecture
Date:
ca. 1830-1840
ca. 1830-1840
Title:
Design for a zoological garden in an oriental style
Actions:
DR1986:0704
Description:
- DR1986:0704X represents a bird's-eye view of an imagined zoological garden. In the foreground, immediately behind an iron and stone fence, appear a series of small, whimsical structures in a Chinese or mixed Chinese-Indian style. These structures, together with their adjoining enclosures, house a variety of animals and are scattered among a number of fountains, ponds and clustered shrubs. - In the middle ground, on the central axis of the garden, rises a long, two-storey structure with a large, projecting pavilion in the centre and a tower at either end. Both levels of this structure are encased in verandas and the end towers and central pavilion are capped with pointed domes in an Indian style. The oval area before this structure is enclosed by two curved colonnades open on both sides and supporting a peaked, tile roof. This construction is obviously an orientalized version of St. Peter's Colonnade in Rome. - Further back and behind the long structure occur additional pavilions in a Chinese style, most notably a three-storey pagoda. On axis, and still further back, rises a second long, palace-like structure, sketched in a vaguely Mogul style. The entire ensemble is set in a nondescript, generalized landscape.
Design for a zoological garden in an oriental style
Actions:
DR1986:0704
Description:
- DR1986:0704X represents a bird's-eye view of an imagined zoological garden. In the foreground, immediately behind an iron and stone fence, appear a series of small, whimsical structures in a Chinese or mixed Chinese-Indian style. These structures, together with their adjoining enclosures, house a variety of animals and are scattered among a number of fountains, ponds and clustered shrubs. - In the middle ground, on the central axis of the garden, rises a long, two-storey structure with a large, projecting pavilion in the centre and a tower at either end. Both levels of this structure are encased in verandas and the end towers and central pavilion are capped with pointed domes in an Indian style. The oval area before this structure is enclosed by two curved colonnades open on both sides and supporting a peaked, tile roof. This construction is obviously an orientalized version of St. Peter's Colonnade in Rome. - Further back and behind the long structure occur additional pavilions in a Chinese style, most notably a three-storey pagoda. On axis, and still further back, rises a second long, palace-like structure, sketched in a vaguely Mogul style. The entire ensemble is set in a nondescript, generalized landscape.
Form:
drawings
drawings
Date:
ca. 1830-1840
ca. 1830-1840
People:
Subject:
architecture, landscape architecture
architecture, landscape architecture
Form:
textual records
textual records
Reference number:
ARCH267991
Description:
Documents concern the following buildings in Chandigarh: the animal house and workshop at the Institute for Medical Research, the Institute for Medical Research (Sector 12), Saroop Krishan's house (Sector 8), various schools (nursery, primary and secondary), the Chandigarh Club, low-cost homes, and small office buildings. Texts also consider Pierre Jeanneret's furniture designs. Also includes: - "Social Sciences Research Journal," volume 4, number 2 (July 1979) concerning Chandigarh, India. - "An architect's plea to resolve the problems / of human settlement in South Asia / A design of composite organisation to prepare typical plans of hierarchy of human settlements in India and other parts of Suth [sic] Asia" by Jeet Malhotra, prepared for a symposium on human settlements with special reference to rural settlements in South Asia (March 18-21, 1976). - "A brief note on the conceptual man-made / environmental grid plan for Punjab / to avoid pollution of air, land, water / etc. - a preventative strategy" by Jeet Malhotra (n.d.). - "Architecture 2000 A.D. - Indian Context" by Jeet Malhotra, possibly prepared for the national convention of the Council of Architecture, New Delhi, which took place February 22-23, 1985.
ARCH267991
Description:
Documents concern the following buildings in Chandigarh: the animal house and workshop at the Institute for Medical Research, the Institute for Medical Research (Sector 12), Saroop Krishan's house (Sector 8), various schools (nursery, primary and secondary), the Chandigarh Club, low-cost homes, and small office buildings. Texts also consider Pierre Jeanneret's furniture designs. Also includes: - "Social Sciences Research Journal," volume 4, number 2 (July 1979) concerning Chandigarh, India. - "An architect's plea to resolve the problems / of human settlement in South Asia / A design of composite organisation to prepare typical plans of hierarchy of human settlements in India and other parts of Suth [sic] Asia" by Jeet Malhotra, prepared for a symposium on human settlements with special reference to rural settlements in South Asia (March 18-21, 1976). - "A brief note on the conceptual man-made / environmental grid plan for Punjab / to avoid pollution of air, land, water / etc. - a preventative strategy" by Jeet Malhotra (n.d.). - "Architecture 2000 A.D. - Indian Context" by Jeet Malhotra, possibly prepared for the national convention of the Council of Architecture, New Delhi, which took place February 22-23, 1985.
People:
Title:
Writings by Jeet Malhotra, predominantly pertaining to Chandigarh, with some concerning Talwara and Punjab, India
Actions:
ARCH267991
Description:
Documents concern the following buildings in Chandigarh: the animal house and workshop at the Institute for Medical Research, the Institute for Medical Research (Sector 12), Saroop Krishan's house (Sector 8), various schools (nursery, primary and secondary), the Chandigarh Club, low-cost homes, and small office buildings. Texts also consider Pierre Jeanneret's furniture designs. Also includes: - "Social Sciences Research Journal," volume 4, number 2 (July 1979) concerning Chandigarh, India. - "An architect's plea to resolve the problems / of human settlement in South Asia / A design of composite organisation to prepare typical plans of hierarchy of human settlements in India and other parts of Suth [sic] Asia" by Jeet Malhotra, prepared for a symposium on human settlements with special reference to rural settlements in South Asia (March 18-21, 1976). - "A brief note on the conceptual man-made / environmental grid plan for Punjab / to avoid pollution of air, land, water / etc. - a preventative strategy" by Jeet Malhotra (n.d.). - "Architecture 2000 A.D. - Indian Context" by Jeet Malhotra, possibly prepared for the national convention of the Council of Architecture, New Delhi, which took place February 22-23, 1985.
Writings by Jeet Malhotra, predominantly pertaining to Chandigarh, with some concerning Talwara and Punjab, India
Actions:
ARCH267991
Description:
Documents concern the following buildings in Chandigarh: the animal house and workshop at the Institute for Medical Research, the Institute for Medical Research (Sector 12), Saroop Krishan's house (Sector 8), various schools (nursery, primary and secondary), the Chandigarh Club, low-cost homes, and small office buildings. Texts also consider Pierre Jeanneret's furniture designs. Also includes: - "Social Sciences Research Journal," volume 4, number 2 (July 1979) concerning Chandigarh, India. - "An architect's plea to resolve the problems / of human settlement in South Asia / A design of composite organisation to prepare typical plans of hierarchy of human settlements in India and other parts of Suth [sic] Asia" by Jeet Malhotra, prepared for a symposium on human settlements with special reference to rural settlements in South Asia (March 18-21, 1976). - "A brief note on the conceptual man-made / environmental grid plan for Punjab / to avoid pollution of air, land, water / etc. - a preventative strategy" by Jeet Malhotra (n.d.). - "Architecture 2000 A.D. - Indian Context" by Jeet Malhotra, possibly prepared for the national convention of the Council of Architecture, New Delhi, which took place February 22-23, 1985.
Form:
textual records
textual records
People:
Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Title:
Myron Goldsmith fonds
Myron Goldsmith fonds
Reference number:
AP032
Synopsis:
The Myron Goldsmith fonds consists primarily of 30.4 metres of textual documents, including notebooks, research and reading notes, travel journals, documentation files, correspondence, sketchbooks and personal and office papers. There are also 2,800 original drawings and prints, 10,000 photographs and slides, and 5 architectural models. The material ranges in date from c.1933 to 1996. In shedding light on Goldsmith's student years and working career, the fonds' rich collection of documents also provides material on activities in the architectural profession, architectural education, and architectural and engineering theory and building techniques through the 1940s to the 1990s.
AP032
Synopsis:
The Myron Goldsmith fonds consists primarily of 30.4 metres of textual documents, including notebooks, research and reading notes, travel journals, documentation files, correspondence, sketchbooks and personal and office papers. There are also 2,800 original drawings and prints, 10,000 photographs and slides, and 5 architectural models. The material ranges in date from c.1933 to 1996. In shedding light on Goldsmith's student years and working career, the fonds' rich collection of documents also provides material on activities in the architectural profession, architectural education, and architectural and engineering theory and building techniques through the 1940s to the 1990s.
People:
Date:
1933-1996
1933-1996
Title:
Myron Goldsmith fonds
Actions:
AP032
Synopsis:
The Myron Goldsmith fonds consists primarily of 30.4 metres of textual documents, including notebooks, research and reading notes, travel journals, documentation files, correspondence, sketchbooks and personal and office papers. There are also 2,800 original drawings and prints, 10,000 photographs and slides, and 5 architectural models. The material ranges in date from c.1933 to 1996. In shedding light on Goldsmith's student years and working career, the fonds' rich collection of documents also provides material on activities in the architectural profession, architectural education, and architectural and engineering theory and building techniques through the 1940s to the 1990s.
Myron Goldsmith fonds
Actions:
AP032
Synopsis:
The Myron Goldsmith fonds consists primarily of 30.4 metres of textual documents, including notebooks, research and reading notes, travel journals, documentation files, correspondence, sketchbooks and personal and office papers. There are also 2,800 original drawings and prints, 10,000 photographs and slides, and 5 architectural models. The material ranges in date from c.1933 to 1996. In shedding light on Goldsmith's student years and working career, the fonds' rich collection of documents also provides material on activities in the architectural profession, architectural education, and architectural and engineering theory and building techniques through the 1940s to the 1990s.
Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Date:
1933-1996
1933-1996
People:
Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Reference number:
AP196
Synopsis:
Studio Gang Ford Calumet Environmental Center project records, 2003-2012, documents the design process for the Ford Calumet Environmental Center in Chicago, United-States. The records represent both phases during the competition and the full-term design, after the firm won the project. The records consist of born-digital material, sketches and drawings, textual records, photographs and seven models.
AP196
Synopsis:
Studio Gang Ford Calumet Environmental Center project records, 2003-2012, documents the design process for the Ford Calumet Environmental Center in Chicago, United-States. The records represent both phases during the competition and the full-term design, after the firm won the project. The records consist of born-digital material, sketches and drawings, textual records, photographs and seven models.
People:
Date:
2003-2011
2003-2011
Title:
Studio Gang Ford Calumet Environmental Center project records
Actions:
AP196
Synopsis:
Studio Gang Ford Calumet Environmental Center project records, 2003-2012, documents the design process for the Ford Calumet Environmental Center in Chicago, United-States. The records represent both phases during the competition and the full-term design, after the firm won the project. The records consist of born-digital material, sketches and drawings, textual records, photographs and seven models.
Studio Gang Ford Calumet Environmental Center project records
Actions:
AP196
Synopsis:
Studio Gang Ford Calumet Environmental Center project records, 2003-2012, documents the design process for the Ford Calumet Environmental Center in Chicago, United-States. The records represent both phases during the competition and the full-term design, after the firm won the project. The records consist of born-digital material, sketches and drawings, textual records, photographs and seven models.
Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Date:
2003-2011
2003-2011
People:
Form:
drawings
drawings
Title:
Album of competition drawings for a municipal slaughterhouse, route Royale, Saint-Germain-en-Laye
Album of competition drawings for a municipal slaughterhouse, route Royale, Saint-Germain-en-Laye
Actions:
Reference number:
DR1974:0002:023:001-012
Description:
- This album contains the complete set of ten presentation drawings that Charles Rohault de Fleury submitted to the competition for a municipal slaughterhouse sponsored by the Conseil Municipal de la Ville de Saint-Germain-en-Laye. The album also includes a pamphlet which describes the official programmes for the slaughterhouse competition as well as a competition for the restoration of the parish church (DR1974:0002:023:001). Rohault de Fleury submitted the following drawings according to programme guidelines: a general site plan at a scale of 2 mm to the meter (DR1974:0002:023:003); sections and elevations showing the project as a whole on all the main façades and axes, at a scale of 5 mm to the meter (DR1974:0002:023:004 - DR1974:0002:023:006); plans, elevations, and sections of the main buildings, at a scale of 1 cm to the meter (DR1974:0002:023:007 - DR1974:0002:023:011); and details for the buildings, machinery, and decoration, at a scale of 2 cm to the meter (DR1974:0002:023:012). The major components of the slaughterhouse - "les étaux des bouchers", "les bouveries", "les porcheries", and the administrative buildings - are composed of two buildings, identical on the exterior, but which vary according to function on the interior. The drawings indicate the proposed construction materials including a facing of rough stone for the walls, squared stone for the quoins, wood for the doors, metal for the gabled roofs, brick for the chimneys, and paved floors for areas coming into contact with the slaughtered animals ("les étaux des bouchers" and parts of the "porcherie").
DR1974:0002:023:001-012
Description:
- This album contains the complete set of ten presentation drawings that Charles Rohault de Fleury submitted to the competition for a municipal slaughterhouse sponsored by the Conseil Municipal de la Ville de Saint-Germain-en-Laye. The album also includes a pamphlet which describes the official programmes for the slaughterhouse competition as well as a competition for the restoration of the parish church (DR1974:0002:023:001). Rohault de Fleury submitted the following drawings according to programme guidelines: a general site plan at a scale of 2 mm to the meter (DR1974:0002:023:003); sections and elevations showing the project as a whole on all the main façades and axes, at a scale of 5 mm to the meter (DR1974:0002:023:004 - DR1974:0002:023:006); plans, elevations, and sections of the main buildings, at a scale of 1 cm to the meter (DR1974:0002:023:007 - DR1974:0002:023:011); and details for the buildings, machinery, and decoration, at a scale of 2 cm to the meter (DR1974:0002:023:012). The major components of the slaughterhouse - "les étaux des bouchers", "les bouveries", "les porcheries", and the administrative buildings - are composed of two buildings, identical on the exterior, but which vary according to function on the interior. The drawings indicate the proposed construction materials including a facing of rough stone for the walls, squared stone for the quoins, wood for the doors, metal for the gabled roofs, brick for the chimneys, and paved floors for areas coming into contact with the slaughtered animals ("les étaux des bouchers" and parts of the "porcherie").
People:
Subject:
architecture
architecture
Date:
drawings executed 20 January or 31 January 1847
drawings executed 20 January or 31 January 1847
Title:
Album of competition drawings for a municipal slaughterhouse, route Royale, Saint-Germain-en-Laye
Actions:
DR1974:0002:023:001-012
Description:
- This album contains the complete set of ten presentation drawings that Charles Rohault de Fleury submitted to the competition for a municipal slaughterhouse sponsored by the Conseil Municipal de la Ville de Saint-Germain-en-Laye. The album also includes a pamphlet which describes the official programmes for the slaughterhouse competition as well as a competition for the restoration of the parish church (DR1974:0002:023:001). Rohault de Fleury submitted the following drawings according to programme guidelines: a general site plan at a scale of 2 mm to the meter (DR1974:0002:023:003); sections and elevations showing the project as a whole on all the main façades and axes, at a scale of 5 mm to the meter (DR1974:0002:023:004 - DR1974:0002:023:006); plans, elevations, and sections of the main buildings, at a scale of 1 cm to the meter (DR1974:0002:023:007 - DR1974:0002:023:011); and details for the buildings, machinery, and decoration, at a scale of 2 cm to the meter (DR1974:0002:023:012). The major components of the slaughterhouse - "les étaux des bouchers", "les bouveries", "les porcheries", and the administrative buildings - are composed of two buildings, identical on the exterior, but which vary according to function on the interior. The drawings indicate the proposed construction materials including a facing of rough stone for the walls, squared stone for the quoins, wood for the doors, metal for the gabled roofs, brick for the chimneys, and paved floors for areas coming into contact with the slaughtered animals ("les étaux des bouchers" and parts of the "porcherie").
Album of competition drawings for a municipal slaughterhouse, route Royale, Saint-Germain-en-Laye
Actions:
DR1974:0002:023:001-012
Description:
- This album contains the complete set of ten presentation drawings that Charles Rohault de Fleury submitted to the competition for a municipal slaughterhouse sponsored by the Conseil Municipal de la Ville de Saint-Germain-en-Laye. The album also includes a pamphlet which describes the official programmes for the slaughterhouse competition as well as a competition for the restoration of the parish church (DR1974:0002:023:001). Rohault de Fleury submitted the following drawings according to programme guidelines: a general site plan at a scale of 2 mm to the meter (DR1974:0002:023:003); sections and elevations showing the project as a whole on all the main façades and axes, at a scale of 5 mm to the meter (DR1974:0002:023:004 - DR1974:0002:023:006); plans, elevations, and sections of the main buildings, at a scale of 1 cm to the meter (DR1974:0002:023:007 - DR1974:0002:023:011); and details for the buildings, machinery, and decoration, at a scale of 2 cm to the meter (DR1974:0002:023:012). The major components of the slaughterhouse - "les étaux des bouchers", "les bouveries", "les porcheries", and the administrative buildings - are composed of two buildings, identical on the exterior, but which vary according to function on the interior. The drawings indicate the proposed construction materials including a facing of rough stone for the walls, squared stone for the quoins, wood for the doors, metal for the gabled roofs, brick for the chimneys, and paved floors for areas coming into contact with the slaughtered animals ("les étaux des bouchers" and parts of the "porcherie").
Form:
drawings
drawings
Date:
drawings executed 20 January or 31 January 1847
drawings executed 20 January or 31 January 1847
People:
Subject:
architecture
architecture
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.
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File 5
File 5
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[1837-ca. 1862]
[1837-ca. 1862]
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books
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5 v. : all ill. ; 33 cm.
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5 v. : all ill. ; 33 cm.
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Paris : C. Moreau, [1929]
Paris : C. Moreau, [1929]
Title:
Les animaux, vus par les meilleurs animaliers : realisations, dessins, études, etc.
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Description:
5 v. : all ill. ; 33 cm.
Les animaux, vus par les meilleurs animaliers : realisations, dessins, études, etc.
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Holdings:
Description:
5 v. : all ill. ; 33 cm.
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books
books
Publication:
Paris : C. Moreau, [1929]
Paris : C. Moreau, [1929]
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