916 Results
Level of archival description:
Project
Project
Title:
Two Tree Island
Two Tree Island
Reference number:
AP144.S2.D84
Description:
File documents an unexecuted project for Two Tree Island, the last uninhabited island in the Thames Estuary, in Essex, England. Cedric Price collaborated with Yorke Rosenberg Mardall Architects (YMR) on the project for client David Keddie, to develop a 178-hectare site on the island which encompassed both existing and reclaimed land, some of which was reserved under a trust for nature conservation. Early proposals showed residential areas, commercial, as well as, industrial zones, and facilities for recreation and leisure activities, including a marina. The final design proposed a much smaller residential area and harbour and included larger conservation and marshland areas in response to local concerns. The project was rejected and a portion of Two Tree Island was leased to the Nature Conservancy (NERC). An Appeal and Public Enquiry lodged by the client was subsequently indefinitely postponed. The architects produced several versions of a consultant's report, created a 'logbook' for the project, and published a brochure and promotional material for a public meeting. Existing conditions and reference material in the file includes maps of the area showing locations for a photo survey; Port of Authority of London plans showing water depths at various locations; a drawing of Marine Island, Essex; and a collage of photos of the area mounted on a board. Sketches by Cedric Price show development plans for the island and explore alternate "open" and "closed" configurations for the basin. Sketch sections show established maximum flood heights on the proposed schemes (see sketches in Works II, p. 86). A series of schematic drawings by YMR develop preliminary schemes exploring alternate layouts in relation to the primary basin configuration. A perspective drawing shows a view of the site from the main road to the island. Design development drawings include both original drawings and reprographic copies and include bird's-eye view perspective sketches; diagrams showing "domestic development" and projected "typical patterning"; and diagrammatic plans/charts showing existing and reclaimed areas, compatibility of activities, and degrees of accessibility (see typical diagram in Works II, p. 87). Other design development drawings include standard plans, sections and elevations, as well as site plans, land-use plans for the marina, plans showing alternate layouts for the marina dock, plans showing Thames tidal defences, site sections, and breakwater profiles. Working drawings for the marina by consulting engineers Sir Frederick Snow and Partners include survey plans, detailed sections illustrating the reinforcement and stabilization of the marine bed, and task sequencing diagrams and charts. Publication and presentation material includes photographs of rendered perspectives, over 18 watercolour renderings of Two Tree Island by Cedric Price, and a mock-up for a 13-page brochure or report summarizing the project. Many drawings are also included in the textual records, which also include Cedric Price's diary on the project. Some material in this file was published in 'Cedric Price-Works II' (London: Architectural Press, 1984), 72, 86-87. Material in this file was produced between 1963 and 1989, but predominantly between 1971 and 1974. Cedric Price's office lists the following firms as the main consultants for this project: Felix J. Samuely & Partners and Sir Frederick Snow & Partners, Consulting Engineers; Baker Wilkins & Smith, Quantity Surveyors; Prof. Peter Cowan, Director, Joint Unit for Planning Research; Prof. Peter Willmott, Director Institute of Community Studies; Prof. G. P. Wibberley, Professor of Countryside Planning, University of London; M. A. B. Boddington, Rural Planning Services. One drawing in DR1995:0255:011-021 is attributed to Costain Civil Engineering Ltd. File contains cartographic materials, conceptual drawings, design development drawings, presentation drawings, consultant drawings, model, and textual records.
AP144.S2.D84
Description:
File documents an unexecuted project for Two Tree Island, the last uninhabited island in the Thames Estuary, in Essex, England. Cedric Price collaborated with Yorke Rosenberg Mardall Architects (YMR) on the project for client David Keddie, to develop a 178-hectare site on the island which encompassed both existing and reclaimed land, some of which was reserved under a trust for nature conservation. Early proposals showed residential areas, commercial, as well as, industrial zones, and facilities for recreation and leisure activities, including a marina. The final design proposed a much smaller residential area and harbour and included larger conservation and marshland areas in response to local concerns. The project was rejected and a portion of Two Tree Island was leased to the Nature Conservancy (NERC). An Appeal and Public Enquiry lodged by the client was subsequently indefinitely postponed. The architects produced several versions of a consultant's report, created a 'logbook' for the project, and published a brochure and promotional material for a public meeting. Existing conditions and reference material in the file includes maps of the area showing locations for a photo survey; Port of Authority of London plans showing water depths at various locations; a drawing of Marine Island, Essex; and a collage of photos of the area mounted on a board. Sketches by Cedric Price show development plans for the island and explore alternate "open" and "closed" configurations for the basin. Sketch sections show established maximum flood heights on the proposed schemes (see sketches in Works II, p. 86). A series of schematic drawings by YMR develop preliminary schemes exploring alternate layouts in relation to the primary basin configuration. A perspective drawing shows a view of the site from the main road to the island. Design development drawings include both original drawings and reprographic copies and include bird's-eye view perspective sketches; diagrams showing "domestic development" and projected "typical patterning"; and diagrammatic plans/charts showing existing and reclaimed areas, compatibility of activities, and degrees of accessibility (see typical diagram in Works II, p. 87). Other design development drawings include standard plans, sections and elevations, as well as site plans, land-use plans for the marina, plans showing alternate layouts for the marina dock, plans showing Thames tidal defences, site sections, and breakwater profiles. Working drawings for the marina by consulting engineers Sir Frederick Snow and Partners include survey plans, detailed sections illustrating the reinforcement and stabilization of the marine bed, and task sequencing diagrams and charts. Publication and presentation material includes photographs of rendered perspectives, over 18 watercolour renderings of Two Tree Island by Cedric Price, and a mock-up for a 13-page brochure or report summarizing the project. Many drawings are also included in the textual records, which also include Cedric Price's diary on the project. Some material in this file was published in 'Cedric Price-Works II' (London: Architectural Press, 1984), 72, 86-87. Material in this file was produced between 1963 and 1989, but predominantly between 1971 and 1974. Cedric Price's office lists the following firms as the main consultants for this project: Felix J. Samuely & Partners and Sir Frederick Snow & Partners, Consulting Engineers; Baker Wilkins & Smith, Quantity Surveyors; Prof. Peter Cowan, Director, Joint Unit for Planning Research; Prof. Peter Willmott, Director Institute of Community Studies; Prof. G. P. Wibberley, Professor of Countryside Planning, University of London; M. A. B. Boddington, Rural Planning Services. One drawing in DR1995:0255:011-021 is attributed to Costain Civil Engineering Ltd. File contains cartographic materials, conceptual drawings, design development drawings, presentation drawings, consultant drawings, model, and textual records.
People:
Date:
1963-1989, predominant 1971-1974
1963-1989, predominant 1971-1974
Title:
Two Tree Island
Actions:
AP144.S2.D84
Description:
File documents an unexecuted project for Two Tree Island, the last uninhabited island in the Thames Estuary, in Essex, England. Cedric Price collaborated with Yorke Rosenberg Mardall Architects (YMR) on the project for client David Keddie, to develop a 178-hectare site on the island which encompassed both existing and reclaimed land, some of which was reserved under a trust for nature conservation. Early proposals showed residential areas, commercial, as well as, industrial zones, and facilities for recreation and leisure activities, including a marina. The final design proposed a much smaller residential area and harbour and included larger conservation and marshland areas in response to local concerns. The project was rejected and a portion of Two Tree Island was leased to the Nature Conservancy (NERC). An Appeal and Public Enquiry lodged by the client was subsequently indefinitely postponed. The architects produced several versions of a consultant's report, created a 'logbook' for the project, and published a brochure and promotional material for a public meeting. Existing conditions and reference material in the file includes maps of the area showing locations for a photo survey; Port of Authority of London plans showing water depths at various locations; a drawing of Marine Island, Essex; and a collage of photos of the area mounted on a board. Sketches by Cedric Price show development plans for the island and explore alternate "open" and "closed" configurations for the basin. Sketch sections show established maximum flood heights on the proposed schemes (see sketches in Works II, p. 86). A series of schematic drawings by YMR develop preliminary schemes exploring alternate layouts in relation to the primary basin configuration. A perspective drawing shows a view of the site from the main road to the island. Design development drawings include both original drawings and reprographic copies and include bird's-eye view perspective sketches; diagrams showing "domestic development" and projected "typical patterning"; and diagrammatic plans/charts showing existing and reclaimed areas, compatibility of activities, and degrees of accessibility (see typical diagram in Works II, p. 87). Other design development drawings include standard plans, sections and elevations, as well as site plans, land-use plans for the marina, plans showing alternate layouts for the marina dock, plans showing Thames tidal defences, site sections, and breakwater profiles. Working drawings for the marina by consulting engineers Sir Frederick Snow and Partners include survey plans, detailed sections illustrating the reinforcement and stabilization of the marine bed, and task sequencing diagrams and charts. Publication and presentation material includes photographs of rendered perspectives, over 18 watercolour renderings of Two Tree Island by Cedric Price, and a mock-up for a 13-page brochure or report summarizing the project. Many drawings are also included in the textual records, which also include Cedric Price's diary on the project. Some material in this file was published in 'Cedric Price-Works II' (London: Architectural Press, 1984), 72, 86-87. Material in this file was produced between 1963 and 1989, but predominantly between 1971 and 1974. Cedric Price's office lists the following firms as the main consultants for this project: Felix J. Samuely & Partners and Sir Frederick Snow & Partners, Consulting Engineers; Baker Wilkins & Smith, Quantity Surveyors; Prof. Peter Cowan, Director, Joint Unit for Planning Research; Prof. Peter Willmott, Director Institute of Community Studies; Prof. G. P. Wibberley, Professor of Countryside Planning, University of London; M. A. B. Boddington, Rural Planning Services. One drawing in DR1995:0255:011-021 is attributed to Costain Civil Engineering Ltd. File contains cartographic materials, conceptual drawings, design development drawings, presentation drawings, consultant drawings, model, and textual records.
Two Tree Island
Actions:
AP144.S2.D84
Description:
File documents an unexecuted project for Two Tree Island, the last uninhabited island in the Thames Estuary, in Essex, England. Cedric Price collaborated with Yorke Rosenberg Mardall Architects (YMR) on the project for client David Keddie, to develop a 178-hectare site on the island which encompassed both existing and reclaimed land, some of which was reserved under a trust for nature conservation. Early proposals showed residential areas, commercial, as well as, industrial zones, and facilities for recreation and leisure activities, including a marina. The final design proposed a much smaller residential area and harbour and included larger conservation and marshland areas in response to local concerns. The project was rejected and a portion of Two Tree Island was leased to the Nature Conservancy (NERC). An Appeal and Public Enquiry lodged by the client was subsequently indefinitely postponed. The architects produced several versions of a consultant's report, created a 'logbook' for the project, and published a brochure and promotional material for a public meeting. Existing conditions and reference material in the file includes maps of the area showing locations for a photo survey; Port of Authority of London plans showing water depths at various locations; a drawing of Marine Island, Essex; and a collage of photos of the area mounted on a board. Sketches by Cedric Price show development plans for the island and explore alternate "open" and "closed" configurations for the basin. Sketch sections show established maximum flood heights on the proposed schemes (see sketches in Works II, p. 86). A series of schematic drawings by YMR develop preliminary schemes exploring alternate layouts in relation to the primary basin configuration. A perspective drawing shows a view of the site from the main road to the island. Design development drawings include both original drawings and reprographic copies and include bird's-eye view perspective sketches; diagrams showing "domestic development" and projected "typical patterning"; and diagrammatic plans/charts showing existing and reclaimed areas, compatibility of activities, and degrees of accessibility (see typical diagram in Works II, p. 87). Other design development drawings include standard plans, sections and elevations, as well as site plans, land-use plans for the marina, plans showing alternate layouts for the marina dock, plans showing Thames tidal defences, site sections, and breakwater profiles. Working drawings for the marina by consulting engineers Sir Frederick Snow and Partners include survey plans, detailed sections illustrating the reinforcement and stabilization of the marine bed, and task sequencing diagrams and charts. Publication and presentation material includes photographs of rendered perspectives, over 18 watercolour renderings of Two Tree Island by Cedric Price, and a mock-up for a 13-page brochure or report summarizing the project. Many drawings are also included in the textual records, which also include Cedric Price's diary on the project. Some material in this file was published in 'Cedric Price-Works II' (London: Architectural Press, 1984), 72, 86-87. Material in this file was produced between 1963 and 1989, but predominantly between 1971 and 1974. Cedric Price's office lists the following firms as the main consultants for this project: Felix J. Samuely & Partners and Sir Frederick Snow & Partners, Consulting Engineers; Baker Wilkins & Smith, Quantity Surveyors; Prof. Peter Cowan, Director, Joint Unit for Planning Research; Prof. Peter Willmott, Director Institute of Community Studies; Prof. G. P. Wibberley, Professor of Countryside Planning, University of London; M. A. B. Boddington, Rural Planning Services. One drawing in DR1995:0255:011-021 is attributed to Costain Civil Engineering Ltd. File contains cartographic materials, conceptual drawings, design development drawings, presentation drawings, consultant drawings, model, and textual records.
Level of archival description:
File 84
File 84
Date:
1963-1989, predominant 1971-1974
1963-1989, predominant 1971-1974
People:
Level of archival description:
Sub-series
Sub-series
Title:
Opera Houses
Opera Houses
Reference number:
CI001.S2.D3
Description:
Charles Rohault de Fleury's sustained involvement with the design of opera houses began with his appointment in 1846 as official architect of the existing Salle Le Pelletier, home to the *Paris Opera, and continued until an open competition was called in 1860 (Charles Garnier won this competition). During this period Rohault de Fleury submitted numerous proposals to replace theprovisional Salle Le Pelletier with a structure more appropriate to the grandeur and importance of France's national opera company. The CCA collection contains four projects related to his work for the Paris opera: two early projects (1846 and 1847) and one later one (1859) for a newopera house, and a portfolio of lithographs and drawings related to alterations and repairs to Salle Le Pelletier (1850-1854). The collection also includes Charles' earliest theatre project, a comprehensive plan for an opera house and surrounding infrastructure for the Theatre Royal Italien opera company (1838-1840), and an album containing drawings and prints of antique and contemporary theatres (1839-1854?). Charles' first project was for the Theatre Royal Italien opera company whose previous home, the Salle Favart, had burned down on the night of January 14 1838. The CCA collection contains an album of presentation drawings for a new theatre located on rue de la Paix with boutiques in the adjacent 'passages' (DR1974:0002:019:001-023). A second album consists of site plans including proposed 'maisons à loyers' (apartment buildings) and documents relating to the cost estimates and rental income for the entire project (DR1974:0002:036:001-016). The architectural style and interior arrangement of the theatre is heavily indebted to Francois Debret's Salle Le Pelletier. Charles' originality lies more in his conception of the social and economic role of the theatre in relation and integration, to its surrounding urban fabric. An explanation of the entire Theatre Royal Italien project, and Charles' role as architect in it, is found in two proposal letters (located in the Avery Library, Columbia University, NY) written by the entrepreneur Eugene Lecomte to the Minister of the Interior, Comte Duchatel, on May 15 and October 31 1839 (1). Charles' album of drawings at the CCA for the theatre and some of the cost and rental estimates are probably presentation copies directly related to the first letter, and most likely submitted to the Minister of the Interior. Charles' project was never executed, and the Italian opera company eventualy found a permanent home in the existing Salle Ventadour (1841). However, the inclusive nature of the Théâtre Royal Italien proposal, with its stress on urban development and contextuality, continued to play a seminal role in his later Paris Opera projects. Upon replacing Francois Debret as architect of Salle Le Pelletier in 1846, Charles proposed nine possible locations (site plans) for a new opera house for the Paris Opera (*Academie Royale de Musique) and, in the following year (1847) prepared a portfolio of drawings for the actual structure with an accompanying seven-page manuscript describing the project. Although executed in successive years, the site plans and 1847 drawings are conceptually related. Both components were undertaken in response to offical interest in a public competition that was never implemented (2)(3). The CCA has two sets of the nine site plans proposed in 1846 (DR1974:0002:036:001-016), one containing transfer lithographed site plans with a written analysis and cost estimate for each of the proposed locations, and the other with only the site plans (similar sets are located in the 'Archives Nationales' in France). They indicate that Charles, (heavily influenced by his Théâtre Royal Italien project) preferred the Rue de la Paix location (siteplan #3) for the new opera house. Although site plan number six, Boulevard des Capucines, was not favoured at this date, it is highly prophetic as it was the location officially chosen in 1860 for the new opera house. Apparently unique to the CCA collection is the 1847 manuscript and portfolio of drawings for the proposed opera house (DR1974:0002:036:001-016). The manuscript is both an indepth review of the requirements for a national opera house and a guide to his portfolio of drawings. Charles' conception and design continued to be strongly influenced by Debret's Salle Lepelletier, as well as his own Théâtre Italien project, and various antique and contemporary opera houses and theatres. Many of the French and Italian sources mentioned in the manuscript are collected in an album (DR1974:0002:010:001-048) as references for his own designs (4). As official architect of Salle Le pelletier, Charles was also responsible for repairs, restorations, and alterations to the existing structure. The drawings and transfer lithographs in the CCA collection (DR1974:0002:036:001-016) are primarily dated 1854, and relate to documented repair and restoration projects undertaken during this period (5)(6). The CCA collection has the presentation drawings and lithographs for the later 1859 project (DR1974:0002:027:001-027) for the Paris opera (*Theatre Imperiale de l'opera) that were sent to Achille Fould, the Minister of State. This project is probably a counterpart to a similiar one that he submitted to the Prefect of the Seine, Baron Haussmann, in the same year (7). Site plans show the opera house on an irregular polygonal site facing Boulevard des Capucines. The placement of the 'maisons à loyers' on the rear of the site reflects Charles' continued emphasis on integrating his opera projects into the surrounding urban context. In 1859, it appeared that Charles was favoured to build the new opera house. But late in the following year, a public competition was called in which Charles Garnier emerged as the victor. Although Charles did not build the final structure, his numerous projects, as exemplified in the CCA collection, were of prime importance in determining the location, configuration, and plan of the Place de l'Opera (8). * The 'Paris Opera' was France's national opera, and thus its name changed numerous times throughout its history according to altering perceptions of its role in French culture and/or changes in political regimes. For reasons of clarity, the national opera will be referred to as the Paris Opera. The names indicated in brackets with a star refer to the proper name of the opera company at the date of the project. (1) Eugene Le Comte, "Projet de Salle rue de la Paix, pour le Théâtre Royal Italien: Lettres à Monsieur le Ministre de l'Intérieur, en date des 15 mai et 31octobre 1839" (Paris: P. Dupont, 1839). (2) Christopher Curtis Mead, "Charles Garnier's Paris Opera and the Renaissance of Classicism in Nineteenth century French Architecture", 3 vols. (PhD thesis; Philadelphia: University of Pennsylvania, 1986), p. 234 and p. 956, fn. 30. (3) Monika Steinhauser, "Die Architektur des Pariser Oper" (Munich: Prestel Verlag, 1969), p. 45, fns. 143 and 144. (4) Barry Bergdoll, "Charles Rohault de Fleury: Part Three: Theatres and the Opera house", 'CCA Research Report', n.d., p. 3. (5) Larousse XIXth Century, s.v. "Rohault de Fleury, Charles". (6) Mead, p. 238. (7) Oeuvres de C. Rohault de Fleury, architecte" (Paris: Librarie centrale d'architecture, 1884).. (8) Macmillan, s.v. "Rohault de Fleury Familly".
CI001.S2.D3
Description:
Charles Rohault de Fleury's sustained involvement with the design of opera houses began with his appointment in 1846 as official architect of the existing Salle Le Pelletier, home to the *Paris Opera, and continued until an open competition was called in 1860 (Charles Garnier won this competition). During this period Rohault de Fleury submitted numerous proposals to replace theprovisional Salle Le Pelletier with a structure more appropriate to the grandeur and importance of France's national opera company. The CCA collection contains four projects related to his work for the Paris opera: two early projects (1846 and 1847) and one later one (1859) for a newopera house, and a portfolio of lithographs and drawings related to alterations and repairs to Salle Le Pelletier (1850-1854). The collection also includes Charles' earliest theatre project, a comprehensive plan for an opera house and surrounding infrastructure for the Theatre Royal Italien opera company (1838-1840), and an album containing drawings and prints of antique and contemporary theatres (1839-1854?). Charles' first project was for the Theatre Royal Italien opera company whose previous home, the Salle Favart, had burned down on the night of January 14 1838. The CCA collection contains an album of presentation drawings for a new theatre located on rue de la Paix with boutiques in the adjacent 'passages' (DR1974:0002:019:001-023). A second album consists of site plans including proposed 'maisons à loyers' (apartment buildings) and documents relating to the cost estimates and rental income for the entire project (DR1974:0002:036:001-016). The architectural style and interior arrangement of the theatre is heavily indebted to Francois Debret's Salle Le Pelletier. Charles' originality lies more in his conception of the social and economic role of the theatre in relation and integration, to its surrounding urban fabric. An explanation of the entire Theatre Royal Italien project, and Charles' role as architect in it, is found in two proposal letters (located in the Avery Library, Columbia University, NY) written by the entrepreneur Eugene Lecomte to the Minister of the Interior, Comte Duchatel, on May 15 and October 31 1839 (1). Charles' album of drawings at the CCA for the theatre and some of the cost and rental estimates are probably presentation copies directly related to the first letter, and most likely submitted to the Minister of the Interior. Charles' project was never executed, and the Italian opera company eventualy found a permanent home in the existing Salle Ventadour (1841). However, the inclusive nature of the Théâtre Royal Italien proposal, with its stress on urban development and contextuality, continued to play a seminal role in his later Paris Opera projects. Upon replacing Francois Debret as architect of Salle Le Pelletier in 1846, Charles proposed nine possible locations (site plans) for a new opera house for the Paris Opera (*Academie Royale de Musique) and, in the following year (1847) prepared a portfolio of drawings for the actual structure with an accompanying seven-page manuscript describing the project. Although executed in successive years, the site plans and 1847 drawings are conceptually related. Both components were undertaken in response to offical interest in a public competition that was never implemented (2)(3). The CCA has two sets of the nine site plans proposed in 1846 (DR1974:0002:036:001-016), one containing transfer lithographed site plans with a written analysis and cost estimate for each of the proposed locations, and the other with only the site plans (similar sets are located in the 'Archives Nationales' in France). They indicate that Charles, (heavily influenced by his Théâtre Royal Italien project) preferred the Rue de la Paix location (siteplan #3) for the new opera house. Although site plan number six, Boulevard des Capucines, was not favoured at this date, it is highly prophetic as it was the location officially chosen in 1860 for the new opera house. Apparently unique to the CCA collection is the 1847 manuscript and portfolio of drawings for the proposed opera house (DR1974:0002:036:001-016). The manuscript is both an indepth review of the requirements for a national opera house and a guide to his portfolio of drawings. Charles' conception and design continued to be strongly influenced by Debret's Salle Lepelletier, as well as his own Théâtre Italien project, and various antique and contemporary opera houses and theatres. Many of the French and Italian sources mentioned in the manuscript are collected in an album (DR1974:0002:010:001-048) as references for his own designs (4). As official architect of Salle Le pelletier, Charles was also responsible for repairs, restorations, and alterations to the existing structure. The drawings and transfer lithographs in the CCA collection (DR1974:0002:036:001-016) are primarily dated 1854, and relate to documented repair and restoration projects undertaken during this period (5)(6). The CCA collection has the presentation drawings and lithographs for the later 1859 project (DR1974:0002:027:001-027) for the Paris opera (*Theatre Imperiale de l'opera) that were sent to Achille Fould, the Minister of State. This project is probably a counterpart to a similiar one that he submitted to the Prefect of the Seine, Baron Haussmann, in the same year (7). Site plans show the opera house on an irregular polygonal site facing Boulevard des Capucines. The placement of the 'maisons à loyers' on the rear of the site reflects Charles' continued emphasis on integrating his opera projects into the surrounding urban context. In 1859, it appeared that Charles was favoured to build the new opera house. But late in the following year, a public competition was called in which Charles Garnier emerged as the victor. Although Charles did not build the final structure, his numerous projects, as exemplified in the CCA collection, were of prime importance in determining the location, configuration, and plan of the Place de l'Opera (8). * The 'Paris Opera' was France's national opera, and thus its name changed numerous times throughout its history according to altering perceptions of its role in French culture and/or changes in political regimes. For reasons of clarity, the national opera will be referred to as the Paris Opera. The names indicated in brackets with a star refer to the proper name of the opera company at the date of the project. (1) Eugene Le Comte, "Projet de Salle rue de la Paix, pour le Théâtre Royal Italien: Lettres à Monsieur le Ministre de l'Intérieur, en date des 15 mai et 31octobre 1839" (Paris: P. Dupont, 1839). (2) Christopher Curtis Mead, "Charles Garnier's Paris Opera and the Renaissance of Classicism in Nineteenth century French Architecture", 3 vols. (PhD thesis; Philadelphia: University of Pennsylvania, 1986), p. 234 and p. 956, fn. 30. (3) Monika Steinhauser, "Die Architektur des Pariser Oper" (Munich: Prestel Verlag, 1969), p. 45, fns. 143 and 144. (4) Barry Bergdoll, "Charles Rohault de Fleury: Part Three: Theatres and the Opera house", 'CCA Research Report', n.d., p. 3. (5) Larousse XIXth Century, s.v. "Rohault de Fleury, Charles". (6) Mead, p. 238. (7) Oeuvres de C. Rohault de Fleury, architecte" (Paris: Librarie centrale d'architecture, 1884).. (8) Macmillan, s.v. "Rohault de Fleury Familly".
People:
Date:
1717-1868
1717-1868
Title:
Opera Houses
CI001.S2.D3
Description:
Charles Rohault de Fleury's sustained involvement with the design of opera houses began with his appointment in 1846 as official architect of the existing Salle Le Pelletier, home to the *Paris Opera, and continued until an open competition was called in 1860 (Charles Garnier won this competition). During this period Rohault de Fleury submitted numerous proposals to replace theprovisional Salle Le Pelletier with a structure more appropriate to the grandeur and importance of France's national opera company. The CCA collection contains four projects related to his work for the Paris opera: two early projects (1846 and 1847) and one later one (1859) for a newopera house, and a portfolio of lithographs and drawings related to alterations and repairs to Salle Le Pelletier (1850-1854). The collection also includes Charles' earliest theatre project, a comprehensive plan for an opera house and surrounding infrastructure for the Theatre Royal Italien opera company (1838-1840), and an album containing drawings and prints of antique and contemporary theatres (1839-1854?). Charles' first project was for the Theatre Royal Italien opera company whose previous home, the Salle Favart, had burned down on the night of January 14 1838. The CCA collection contains an album of presentation drawings for a new theatre located on rue de la Paix with boutiques in the adjacent 'passages' (DR1974:0002:019:001-023). A second album consists of site plans including proposed 'maisons à loyers' (apartment buildings) and documents relating to the cost estimates and rental income for the entire project (DR1974:0002:036:001-016). The architectural style and interior arrangement of the theatre is heavily indebted to Francois Debret's Salle Le Pelletier. Charles' originality lies more in his conception of the social and economic role of the theatre in relation and integration, to its surrounding urban fabric. An explanation of the entire Theatre Royal Italien project, and Charles' role as architect in it, is found in two proposal letters (located in the Avery Library, Columbia University, NY) written by the entrepreneur Eugene Lecomte to the Minister of the Interior, Comte Duchatel, on May 15 and October 31 1839 (1). Charles' album of drawings at the CCA for the theatre and some of the cost and rental estimates are probably presentation copies directly related to the first letter, and most likely submitted to the Minister of the Interior. Charles' project was never executed, and the Italian opera company eventualy found a permanent home in the existing Salle Ventadour (1841). However, the inclusive nature of the Théâtre Royal Italien proposal, with its stress on urban development and contextuality, continued to play a seminal role in his later Paris Opera projects. Upon replacing Francois Debret as architect of Salle Le Pelletier in 1846, Charles proposed nine possible locations (site plans) for a new opera house for the Paris Opera (*Academie Royale de Musique) and, in the following year (1847) prepared a portfolio of drawings for the actual structure with an accompanying seven-page manuscript describing the project. Although executed in successive years, the site plans and 1847 drawings are conceptually related. Both components were undertaken in response to offical interest in a public competition that was never implemented (2)(3). The CCA has two sets of the nine site plans proposed in 1846 (DR1974:0002:036:001-016), one containing transfer lithographed site plans with a written analysis and cost estimate for each of the proposed locations, and the other with only the site plans (similar sets are located in the 'Archives Nationales' in France). They indicate that Charles, (heavily influenced by his Théâtre Royal Italien project) preferred the Rue de la Paix location (siteplan #3) for the new opera house. Although site plan number six, Boulevard des Capucines, was not favoured at this date, it is highly prophetic as it was the location officially chosen in 1860 for the new opera house. Apparently unique to the CCA collection is the 1847 manuscript and portfolio of drawings for the proposed opera house (DR1974:0002:036:001-016). The manuscript is both an indepth review of the requirements for a national opera house and a guide to his portfolio of drawings. Charles' conception and design continued to be strongly influenced by Debret's Salle Lepelletier, as well as his own Théâtre Italien project, and various antique and contemporary opera houses and theatres. Many of the French and Italian sources mentioned in the manuscript are collected in an album (DR1974:0002:010:001-048) as references for his own designs (4). As official architect of Salle Le pelletier, Charles was also responsible for repairs, restorations, and alterations to the existing structure. The drawings and transfer lithographs in the CCA collection (DR1974:0002:036:001-016) are primarily dated 1854, and relate to documented repair and restoration projects undertaken during this period (5)(6). The CCA collection has the presentation drawings and lithographs for the later 1859 project (DR1974:0002:027:001-027) for the Paris opera (*Theatre Imperiale de l'opera) that were sent to Achille Fould, the Minister of State. This project is probably a counterpart to a similiar one that he submitted to the Prefect of the Seine, Baron Haussmann, in the same year (7). Site plans show the opera house on an irregular polygonal site facing Boulevard des Capucines. The placement of the 'maisons à loyers' on the rear of the site reflects Charles' continued emphasis on integrating his opera projects into the surrounding urban context. In 1859, it appeared that Charles was favoured to build the new opera house. But late in the following year, a public competition was called in which Charles Garnier emerged as the victor. Although Charles did not build the final structure, his numerous projects, as exemplified in the CCA collection, were of prime importance in determining the location, configuration, and plan of the Place de l'Opera (8). * The 'Paris Opera' was France's national opera, and thus its name changed numerous times throughout its history according to altering perceptions of its role in French culture and/or changes in political regimes. For reasons of clarity, the national opera will be referred to as the Paris Opera. The names indicated in brackets with a star refer to the proper name of the opera company at the date of the project. (1) Eugene Le Comte, "Projet de Salle rue de la Paix, pour le Théâtre Royal Italien: Lettres à Monsieur le Ministre de l'Intérieur, en date des 15 mai et 31octobre 1839" (Paris: P. Dupont, 1839). (2) Christopher Curtis Mead, "Charles Garnier's Paris Opera and the Renaissance of Classicism in Nineteenth century French Architecture", 3 vols. (PhD thesis; Philadelphia: University of Pennsylvania, 1986), p. 234 and p. 956, fn. 30. (3) Monika Steinhauser, "Die Architektur des Pariser Oper" (Munich: Prestel Verlag, 1969), p. 45, fns. 143 and 144. (4) Barry Bergdoll, "Charles Rohault de Fleury: Part Three: Theatres and the Opera house", 'CCA Research Report', n.d., p. 3. (5) Larousse XIXth Century, s.v. "Rohault de Fleury, Charles". (6) Mead, p. 238. (7) Oeuvres de C. Rohault de Fleury, architecte" (Paris: Librarie centrale d'architecture, 1884).. (8) Macmillan, s.v. "Rohault de Fleury Familly".
Opera Houses
CI001.S2.D3
Description:
Charles Rohault de Fleury's sustained involvement with the design of opera houses began with his appointment in 1846 as official architect of the existing Salle Le Pelletier, home to the *Paris Opera, and continued until an open competition was called in 1860 (Charles Garnier won this competition). During this period Rohault de Fleury submitted numerous proposals to replace theprovisional Salle Le Pelletier with a structure more appropriate to the grandeur and importance of France's national opera company. The CCA collection contains four projects related to his work for the Paris opera: two early projects (1846 and 1847) and one later one (1859) for a newopera house, and a portfolio of lithographs and drawings related to alterations and repairs to Salle Le Pelletier (1850-1854). The collection also includes Charles' earliest theatre project, a comprehensive plan for an opera house and surrounding infrastructure for the Theatre Royal Italien opera company (1838-1840), and an album containing drawings and prints of antique and contemporary theatres (1839-1854?). Charles' first project was for the Theatre Royal Italien opera company whose previous home, the Salle Favart, had burned down on the night of January 14 1838. The CCA collection contains an album of presentation drawings for a new theatre located on rue de la Paix with boutiques in the adjacent 'passages' (DR1974:0002:019:001-023). A second album consists of site plans including proposed 'maisons à loyers' (apartment buildings) and documents relating to the cost estimates and rental income for the entire project (DR1974:0002:036:001-016). The architectural style and interior arrangement of the theatre is heavily indebted to Francois Debret's Salle Le Pelletier. Charles' originality lies more in his conception of the social and economic role of the theatre in relation and integration, to its surrounding urban fabric. An explanation of the entire Theatre Royal Italien project, and Charles' role as architect in it, is found in two proposal letters (located in the Avery Library, Columbia University, NY) written by the entrepreneur Eugene Lecomte to the Minister of the Interior, Comte Duchatel, on May 15 and October 31 1839 (1). Charles' album of drawings at the CCA for the theatre and some of the cost and rental estimates are probably presentation copies directly related to the first letter, and most likely submitted to the Minister of the Interior. Charles' project was never executed, and the Italian opera company eventualy found a permanent home in the existing Salle Ventadour (1841). However, the inclusive nature of the Théâtre Royal Italien proposal, with its stress on urban development and contextuality, continued to play a seminal role in his later Paris Opera projects. Upon replacing Francois Debret as architect of Salle Le Pelletier in 1846, Charles proposed nine possible locations (site plans) for a new opera house for the Paris Opera (*Academie Royale de Musique) and, in the following year (1847) prepared a portfolio of drawings for the actual structure with an accompanying seven-page manuscript describing the project. Although executed in successive years, the site plans and 1847 drawings are conceptually related. Both components were undertaken in response to offical interest in a public competition that was never implemented (2)(3). The CCA has two sets of the nine site plans proposed in 1846 (DR1974:0002:036:001-016), one containing transfer lithographed site plans with a written analysis and cost estimate for each of the proposed locations, and the other with only the site plans (similar sets are located in the 'Archives Nationales' in France). They indicate that Charles, (heavily influenced by his Théâtre Royal Italien project) preferred the Rue de la Paix location (siteplan #3) for the new opera house. Although site plan number six, Boulevard des Capucines, was not favoured at this date, it is highly prophetic as it was the location officially chosen in 1860 for the new opera house. Apparently unique to the CCA collection is the 1847 manuscript and portfolio of drawings for the proposed opera house (DR1974:0002:036:001-016). The manuscript is both an indepth review of the requirements for a national opera house and a guide to his portfolio of drawings. Charles' conception and design continued to be strongly influenced by Debret's Salle Lepelletier, as well as his own Théâtre Italien project, and various antique and contemporary opera houses and theatres. Many of the French and Italian sources mentioned in the manuscript are collected in an album (DR1974:0002:010:001-048) as references for his own designs (4). As official architect of Salle Le pelletier, Charles was also responsible for repairs, restorations, and alterations to the existing structure. The drawings and transfer lithographs in the CCA collection (DR1974:0002:036:001-016) are primarily dated 1854, and relate to documented repair and restoration projects undertaken during this period (5)(6). The CCA collection has the presentation drawings and lithographs for the later 1859 project (DR1974:0002:027:001-027) for the Paris opera (*Theatre Imperiale de l'opera) that were sent to Achille Fould, the Minister of State. This project is probably a counterpart to a similiar one that he submitted to the Prefect of the Seine, Baron Haussmann, in the same year (7). Site plans show the opera house on an irregular polygonal site facing Boulevard des Capucines. The placement of the 'maisons à loyers' on the rear of the site reflects Charles' continued emphasis on integrating his opera projects into the surrounding urban context. In 1859, it appeared that Charles was favoured to build the new opera house. But late in the following year, a public competition was called in which Charles Garnier emerged as the victor. Although Charles did not build the final structure, his numerous projects, as exemplified in the CCA collection, were of prime importance in determining the location, configuration, and plan of the Place de l'Opera (8). * The 'Paris Opera' was France's national opera, and thus its name changed numerous times throughout its history according to altering perceptions of its role in French culture and/or changes in political regimes. For reasons of clarity, the national opera will be referred to as the Paris Opera. The names indicated in brackets with a star refer to the proper name of the opera company at the date of the project. (1) Eugene Le Comte, "Projet de Salle rue de la Paix, pour le Théâtre Royal Italien: Lettres à Monsieur le Ministre de l'Intérieur, en date des 15 mai et 31octobre 1839" (Paris: P. Dupont, 1839). (2) Christopher Curtis Mead, "Charles Garnier's Paris Opera and the Renaissance of Classicism in Nineteenth century French Architecture", 3 vols. (PhD thesis; Philadelphia: University of Pennsylvania, 1986), p. 234 and p. 956, fn. 30. (3) Monika Steinhauser, "Die Architektur des Pariser Oper" (Munich: Prestel Verlag, 1969), p. 45, fns. 143 and 144. (4) Barry Bergdoll, "Charles Rohault de Fleury: Part Three: Theatres and the Opera house", 'CCA Research Report', n.d., p. 3. (5) Larousse XIXth Century, s.v. "Rohault de Fleury, Charles". (6) Mead, p. 238. (7) Oeuvres de C. Rohault de Fleury, architecte" (Paris: Librarie centrale d'architecture, 1884).. (8) Macmillan, s.v. "Rohault de Fleury Familly".
Level of archival description:
File 3
File 3
Date:
1717-1868
1717-1868
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Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Title:
Anyone Corporation fonds
Anyone Corporation fonds
Reference number:
AP116
Synopsis:
The Anyone Corporation fonds is composed primarily of textual and photographic records which document the activities of the Anyone Corporation over the course of its planned ten year life span from 1990 to 2001. The non-profit, New York City based organization, was founded by Peter Eisenman, Cynthia Davidson, Arata Isozaki, and Ignasi de Solà-Morales Rubio in order to stimulate a fruitful dialogue between architecture and general culture at the dawn of the new millennium. To this end, ANY (acronym for Architecture New York) organised ten international conferences and numerous public seminars, as well as publishing conference journals, a series of architecture related books, and ANY, a theory driven bi-monthly magazine.
AP116
Synopsis:
The Anyone Corporation fonds is composed primarily of textual and photographic records which document the activities of the Anyone Corporation over the course of its planned ten year life span from 1990 to 2001. The non-profit, New York City based organization, was founded by Peter Eisenman, Cynthia Davidson, Arata Isozaki, and Ignasi de Solà-Morales Rubio in order to stimulate a fruitful dialogue between architecture and general culture at the dawn of the new millennium. To this end, ANY (acronym for Architecture New York) organised ten international conferences and numerous public seminars, as well as publishing conference journals, a series of architecture related books, and ANY, a theory driven bi-monthly magazine.
People:
Date:
1990-2001
1990-2001
Title:
Anyone Corporation fonds
Actions:
AP116
Synopsis:
The Anyone Corporation fonds is composed primarily of textual and photographic records which document the activities of the Anyone Corporation over the course of its planned ten year life span from 1990 to 2001. The non-profit, New York City based organization, was founded by Peter Eisenman, Cynthia Davidson, Arata Isozaki, and Ignasi de Solà-Morales Rubio in order to stimulate a fruitful dialogue between architecture and general culture at the dawn of the new millennium. To this end, ANY (acronym for Architecture New York) organised ten international conferences and numerous public seminars, as well as publishing conference journals, a series of architecture related books, and ANY, a theory driven bi-monthly magazine.
Anyone Corporation fonds
Actions:
AP116
Synopsis:
The Anyone Corporation fonds is composed primarily of textual and photographic records which document the activities of the Anyone Corporation over the course of its planned ten year life span from 1990 to 2001. The non-profit, New York City based organization, was founded by Peter Eisenman, Cynthia Davidson, Arata Isozaki, and Ignasi de Solà-Morales Rubio in order to stimulate a fruitful dialogue between architecture and general culture at the dawn of the new millennium. To this end, ANY (acronym for Architecture New York) organised ten international conferences and numerous public seminars, as well as publishing conference journals, a series of architecture related books, and ANY, a theory driven bi-monthly magazine.
Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Date:
1990-2001
1990-2001
People:
Form:
books
books
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Holdings:
Description:
xv, 298 pages, [2], 8 pages of plates (2 folded) : illustrations, coat of arms, portraits ; 24 cm
Description:
xv, 298 pages, [2], 8 pages of plates (2 folded) : illustrations, coat of arms, portraits ; 24 cm
Author:
Subject:
Publication:
Milton Keynes : Open University Press, 1976.
Milton Keynes : Open University Press, 1976.
Title:
Open University : a personal account / by Walter Perry.
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Description:
xv, 298 pages, [2], 8 pages of plates (2 folded) : illustrations, coat of arms, portraits ; 24 cm
Open University : a personal account / by Walter Perry.
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Holdings:
Description:
xv, 298 pages, [2], 8 pages of plates (2 folded) : illustrations, coat of arms, portraits ; 24 cm
Form:
books
books
Publication:
Milton Keynes : Open University Press, 1976.
Milton Keynes : Open University Press, 1976.
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books
books
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Description:
xx, 191 pages 20 cm
Description:
xx, 191 pages 20 cm
Author:
Subject:
Publication:
London, Routledge & K. Paul [1974, i.e. 1973]
London, Routledge & K. Paul [1974, i.e. 1973]
Title:
The Open University opens, edited by Jeremy Tunstall.
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Description:
xx, 191 pages 20 cm
The Open University opens, edited by Jeremy Tunstall.
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Description:
xx, 191 pages 20 cm
Form:
books
books
Publication:
London, Routledge & K. Paul [1974, i.e. 1973]
London, Routledge & K. Paul [1974, i.e. 1973]
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books
books
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Description:
xvii, 387 pages, 16 unnumbered pages of plates : illustrations (some color), maps (some color) ; 24 cm
Description:
xvii, 387 pages, 16 unnumbered pages of plates : illustrations (some color), maps (some color) ; 24 cm
Author:
Subject:
Publication:
Manchester, UK : Manchester University Press, in association with the Open University, 2015., ©2015
Manchester, UK : Manchester University Press, in association with the Open University, 2015., ©2015
Title:
The Open University : a history / Daniel Weinbren.
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Description:
xvii, 387 pages, 16 unnumbered pages of plates : illustrations (some color), maps (some color) ; 24 cm
The Open University : a history / Daniel Weinbren.
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Description:
xvii, 387 pages, 16 unnumbered pages of plates : illustrations (some color), maps (some color) ; 24 cm
Form:
books
books
Publication:
Manchester, UK : Manchester University Press, in association with the Open University, 2015., ©2015
Manchester, UK : Manchester University Press, in association with the Open University, 2015., ©2015
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Form:
video
video
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Description:
1 online resource (1 video file (24 min., 40 sec.)) : sound, black and white
Description:
1 online resource (1 video file (24 min., 40 sec.)) : sound, black and white
Author:
Subject:
Publication:
[Milton Keynes] : Open University ; [London] : BBC TV, [1975], ©1974
[Milton Keynes] : Open University ; [London] : BBC TV, [1975], ©1974
Title:
Open University, Architecture & design. A305/20, Moderne and modernistic / presented by Geoffrey Baker ; with the voice of Alexander John.
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Description:
1 online resource (1 video file (24 min., 40 sec.)) : sound, black and white
Open University, Architecture & design. A305/20, Moderne and modernistic / presented by Geoffrey Baker ; with the voice of Alexander John.
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Description:
1 online resource (1 video file (24 min., 40 sec.)) : sound, black and white
Form:
video
video
Publication:
[Milton Keynes] : Open University ; [London] : BBC TV, [1975], ©1974
[Milton Keynes] : Open University ; [London] : BBC TV, [1975], ©1974
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Form:
books
books
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31 pages : illustrations ; 24 cm
Description:
31 pages : illustrations ; 24 cm
Author:
Subject:
Publication:
Venezia : Edizioni de La Biennale di Venezia, ©1976.
Venezia : Edizioni de La Biennale di Venezia, ©1976.
Title:
La Open University alla Biennale 76 / a cura di Enzo Scotto Lavina.
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31 pages : illustrations ; 24 cm
La Open University alla Biennale 76 / a cura di Enzo Scotto Lavina.
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31 pages : illustrations ; 24 cm
Form:
books
books
Publication:
Venezia : Edizioni de La Biennale di Venezia, ©1976.
Venezia : Edizioni de La Biennale di Venezia, ©1976.
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Form:
video
video
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Description:
1 online resource (1 video file (24 min., 47 sec.)) : sound, black and white
Description:
1 online resource (1 video file (24 min., 47 sec.)) : sound, black and white
Author:
Subject:
Publication:
[Milton Keynes] : Open University ; [London] : [BBC TV], [1975], ©1974
[Milton Keynes] : Open University ; [London] : [BBC TV], [1975], ©1974
Title:
The Open University, Architecture & design. A305-7, The Einstein Tower / presented by Dennis Sharp ; the voice of Mendelsohn read by Gabriel Woolf.
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Description:
1 online resource (1 video file (24 min., 47 sec.)) : sound, black and white
The Open University, Architecture & design. A305-7, The Einstein Tower / presented by Dennis Sharp ; the voice of Mendelsohn read by Gabriel Woolf.
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Description:
1 online resource (1 video file (24 min., 47 sec.)) : sound, black and white
Form:
video
video
Publication:
[Milton Keynes] : Open University ; [London] : [BBC TV], [1975], ©1974
[Milton Keynes] : Open University ; [London] : [BBC TV], [1975], ©1974
Author:
Subject:
Form:
video
video
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Description:
1 online resource (1 video file (23 min., 50 sec.)) : sound, black and white
Description:
1 online resource (1 video file (23 min., 50 sec.)) : sound, black and white
Author:
Subject:
Publication:
[Milton Keynes] : Open University ; [London] : [BBC TV], [1975]
[Milton Keynes] : Open University ; [London] : [BBC TV], [1975]
Title:
Open University, Architecture & design. A305/1, An architect at work, Fletchers Well, Ponteland / presented by Dr. Geoffrey Baker.
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Description:
1 online resource (1 video file (23 min., 50 sec.)) : sound, black and white
Open University, Architecture & design. A305/1, An architect at work, Fletchers Well, Ponteland / presented by Dr. Geoffrey Baker.
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Holdings:
Description:
1 online resource (1 video file (23 min., 50 sec.)) : sound, black and white
Form:
video
video
Publication:
[Milton Keynes] : Open University ; [London] : [BBC TV], [1975]
[Milton Keynes] : Open University ; [London] : [BBC TV], [1975]
Author:
Subject:
