26590 Results
Level of archival description:
Sub-series
Sub-series
Reference number:
CI001.S2.D5
Description:
Charles Rohault de Fleury was architect for the Muséum national d'histoire naturelle from 1833 to 1862. His work for the Muséum is represented in the CCA collection by a diverse group of prints and drawings. In addition to documenting his built and unbuilt projects, the inclusion of prints and drawings of museum and zoo buildings by other architects record, if only partially, the resources available to Charles in designing his buildings. This reference material provides insight into the influences on Charles' work as well as the nature of the design process itself. His built works, with the exception of the 1854 addition to the greenhouses, are illustrated in a book of prints with a brief accompanying text - "Muséum d'histoire naturelle: serres chaudes, galeries de minéralogie, etc. etc." (published 1837) (DR1974:0002:004:001; a second copy is held by the CCA library) (1). While prints are included for the Galerie de minéralogie et de géologie, the monkey house and the reservoirs, the majority of the prints are of the greenhouses (serres chaudes) begun 1833 (2). Known for their technological innovations in iron construction, these greenhouses utilized the first multi-storey load-bearing cast-iron façades for the central pavilions as well as space frame roof structures and prefabricated parts. This structural system is well documented in the prints in the CCA collection. The design was apparently inspired by the English greenhouses - a plate of which are included in the book - that Charles saw on a tour of England. The use of prestressed beams and curved roofs in the lateral wings attest to this influence. Charles' greenhouses, in turn, influenced the design of other greenhouses in Europe especially those at the Jardins Botanique in Liège and Ghent, Belgium (3). Although Joseph Paxton saw the greenhouses in 1833, it is unclear if they had an impact on the design of the Crystal Palace constructed 1850-1851 (4). The innovations of Charles' greenhouses continued to be acknowledged into the 20th century. Giedion in "Space, Time and Architecture", while erroneously attributing them to Rouhault (5)(6), refers to the greenhouses as "the prototype of all large iron-framed conservatories" (7). In addition to the greenhouses for the Muséum, the CCA collection includes three proposals (dated 1841) for a private greenhouse designed by Charles Rohault de Fleury (DR1974:0002:002:008 - DR1974:0002:002:013). The designs utilize the same curved roofs as the wings of the greenhouses at the Muséum combined with classically detailed stonework. An different aspect of Charles' work for the Muséum national d'histoire naturelle is represented in the album of unexecuted proposals -the only design drawings for the Muséum in the collection - for a Galerie de zoologie (DR1974:0002:024:001-079). Building on the typology of his earlier classical Galerie de minéralogie et de géologie (constructed 1833 -1841), the proposals, which date from between 1838 and 1862, illustrate a gradual enrichment of Charles' classical architectural vocabulary (8). They vary in their spatial configurations and façade treatments ranging from austere colonnaded designs with little ornament to more elaborate ones with richly encrusted facades, complex rooflines and more dramatic interior spaces characteristic of the Second Empire. The majority of the proposals consist of preliminary drawings illustrating the essential formal, spatial and ornamental aspects of the building. One proposal, dated January 1846, is substantially more developed than the others; in addition to general plans, sections and elevations, more detailed drawings are included for the layout of spaces, the elaboration of the facades, the configuration of the structure and even the designs for the specimen display cases. It is also worth noting that this album includes several plans outlining Rohault de Fleury's ideas for the overall development of the Muséum national d'histoire naturelle. In 1846, an album of prints of the Museo di fiscia e storia naturelle in Florence (DR1974:0002:005:001-018) was presented to Charles by the Grand Duke of Tuscany in response to his request for tracings of that building. These prints were probably used as reference material for the design of the new Galerie de zoologie described above. The portfolio of record drawings (ca. 1862) of the zoos in Antwerp, Brussels, Marseille and Amsterdam (DR1974:0002:018:001-027) is probably a dummy for a publication on zoological gardens as well as background documentation for the renovation and expansion of the zoo at the Muséum national d'histoire naturelle in Paris. Both drawings of the facilities for the animals and visitors and general plans of the zoological gardens are included. The Paris zoo project was apparently never undertaken. (1) These prints were reused in the "Oeuvre de C. Rohault de Fleury, architecte" (published 1884) (DR1974:0002:029:001-044). (2) Rohault de Fleury's greenhouses were destroyed in the Prussian bombardments of 1870. The greenhouses, which now stand in their place, are similar in layout and appearance to the original design, but their structural system is different. (3) John Hix, 'The Glass House' (Cambridge, Mass.: The MIT Press, 1981), p. 115. (4) Ibid., p. 115. (5) This error has been repeated by other authors including Henry-Russell Hitchcock, 'Architecture: Nineteenth and Twentieth Centuries' (Baltimore, Maryland: Penguin Books, 1968), p. 120. (6) Leonardo Benevolo, 'History of Modern Architecture' Volume 1: The tradition of modern architecture (Cambridge, Mass.: The M.I.T. Press, 1971), p. 22. (7) Sigfried Giedion, 'Space, Time and Architecture; the growth of a new tradition' (Cambridge: Harvard University Press, 1941), p. 181. (8) Barry Bergdoll, "Charles Rohault de Fleury: Part two: Muséum d'Histoire Naturelle and Studies on analogous Constructions in Europe", 'CCA Research Report", n.d., p. 1.
CI001.S2.D5
Description:
Charles Rohault de Fleury was architect for the Muséum national d'histoire naturelle from 1833 to 1862. His work for the Muséum is represented in the CCA collection by a diverse group of prints and drawings. In addition to documenting his built and unbuilt projects, the inclusion of prints and drawings of museum and zoo buildings by other architects record, if only partially, the resources available to Charles in designing his buildings. This reference material provides insight into the influences on Charles' work as well as the nature of the design process itself. His built works, with the exception of the 1854 addition to the greenhouses, are illustrated in a book of prints with a brief accompanying text - "Muséum d'histoire naturelle: serres chaudes, galeries de minéralogie, etc. etc." (published 1837) (DR1974:0002:004:001; a second copy is held by the CCA library) (1). While prints are included for the Galerie de minéralogie et de géologie, the monkey house and the reservoirs, the majority of the prints are of the greenhouses (serres chaudes) begun 1833 (2). Known for their technological innovations in iron construction, these greenhouses utilized the first multi-storey load-bearing cast-iron façades for the central pavilions as well as space frame roof structures and prefabricated parts. This structural system is well documented in the prints in the CCA collection. The design was apparently inspired by the English greenhouses - a plate of which are included in the book - that Charles saw on a tour of England. The use of prestressed beams and curved roofs in the lateral wings attest to this influence. Charles' greenhouses, in turn, influenced the design of other greenhouses in Europe especially those at the Jardins Botanique in Liège and Ghent, Belgium (3). Although Joseph Paxton saw the greenhouses in 1833, it is unclear if they had an impact on the design of the Crystal Palace constructed 1850-1851 (4). The innovations of Charles' greenhouses continued to be acknowledged into the 20th century. Giedion in "Space, Time and Architecture", while erroneously attributing them to Rouhault (5)(6), refers to the greenhouses as "the prototype of all large iron-framed conservatories" (7). In addition to the greenhouses for the Muséum, the CCA collection includes three proposals (dated 1841) for a private greenhouse designed by Charles Rohault de Fleury (DR1974:0002:002:008 - DR1974:0002:002:013). The designs utilize the same curved roofs as the wings of the greenhouses at the Muséum combined with classically detailed stonework. An different aspect of Charles' work for the Muséum national d'histoire naturelle is represented in the album of unexecuted proposals -the only design drawings for the Muséum in the collection - for a Galerie de zoologie (DR1974:0002:024:001-079). Building on the typology of his earlier classical Galerie de minéralogie et de géologie (constructed 1833 -1841), the proposals, which date from between 1838 and 1862, illustrate a gradual enrichment of Charles' classical architectural vocabulary (8). They vary in their spatial configurations and façade treatments ranging from austere colonnaded designs with little ornament to more elaborate ones with richly encrusted facades, complex rooflines and more dramatic interior spaces characteristic of the Second Empire. The majority of the proposals consist of preliminary drawings illustrating the essential formal, spatial and ornamental aspects of the building. One proposal, dated January 1846, is substantially more developed than the others; in addition to general plans, sections and elevations, more detailed drawings are included for the layout of spaces, the elaboration of the facades, the configuration of the structure and even the designs for the specimen display cases. It is also worth noting that this album includes several plans outlining Rohault de Fleury's ideas for the overall development of the Muséum national d'histoire naturelle. In 1846, an album of prints of the Museo di fiscia e storia naturelle in Florence (DR1974:0002:005:001-018) was presented to Charles by the Grand Duke of Tuscany in response to his request for tracings of that building. These prints were probably used as reference material for the design of the new Galerie de zoologie described above. The portfolio of record drawings (ca. 1862) of the zoos in Antwerp, Brussels, Marseille and Amsterdam (DR1974:0002:018:001-027) is probably a dummy for a publication on zoological gardens as well as background documentation for the renovation and expansion of the zoo at the Muséum national d'histoire naturelle in Paris. Both drawings of the facilities for the animals and visitors and general plans of the zoological gardens are included. The Paris zoo project was apparently never undertaken. (1) These prints were reused in the "Oeuvre de C. Rohault de Fleury, architecte" (published 1884) (DR1974:0002:029:001-044). (2) Rohault de Fleury's greenhouses were destroyed in the Prussian bombardments of 1870. The greenhouses, which now stand in their place, are similar in layout and appearance to the original design, but their structural system is different. (3) John Hix, 'The Glass House' (Cambridge, Mass.: The MIT Press, 1981), p. 115. (4) Ibid., p. 115. (5) This error has been repeated by other authors including Henry-Russell Hitchcock, 'Architecture: Nineteenth and Twentieth Centuries' (Baltimore, Maryland: Penguin Books, 1968), p. 120. (6) Leonardo Benevolo, 'History of Modern Architecture' Volume 1: The tradition of modern architecture (Cambridge, Mass.: The M.I.T. Press, 1971), p. 22. (7) Sigfried Giedion, 'Space, Time and Architecture; the growth of a new tradition' (Cambridge: Harvard University Press, 1941), p. 181. (8) Barry Bergdoll, "Charles Rohault de Fleury: Part two: Muséum d'Histoire Naturelle and Studies on analogous Constructions in Europe", 'CCA Research Report", n.d., p. 1.
People:
Date:
[1837-ca. 1862]
[1837-ca. 1862]
Title:
Muséum nationale d'histoire naturelle
CI001.S2.D5
Description:
Charles Rohault de Fleury was architect for the Muséum national d'histoire naturelle from 1833 to 1862. His work for the Muséum is represented in the CCA collection by a diverse group of prints and drawings. In addition to documenting his built and unbuilt projects, the inclusion of prints and drawings of museum and zoo buildings by other architects record, if only partially, the resources available to Charles in designing his buildings. This reference material provides insight into the influences on Charles' work as well as the nature of the design process itself. His built works, with the exception of the 1854 addition to the greenhouses, are illustrated in a book of prints with a brief accompanying text - "Muséum d'histoire naturelle: serres chaudes, galeries de minéralogie, etc. etc." (published 1837) (DR1974:0002:004:001; a second copy is held by the CCA library) (1). While prints are included for the Galerie de minéralogie et de géologie, the monkey house and the reservoirs, the majority of the prints are of the greenhouses (serres chaudes) begun 1833 (2). Known for their technological innovations in iron construction, these greenhouses utilized the first multi-storey load-bearing cast-iron façades for the central pavilions as well as space frame roof structures and prefabricated parts. This structural system is well documented in the prints in the CCA collection. The design was apparently inspired by the English greenhouses - a plate of which are included in the book - that Charles saw on a tour of England. The use of prestressed beams and curved roofs in the lateral wings attest to this influence. Charles' greenhouses, in turn, influenced the design of other greenhouses in Europe especially those at the Jardins Botanique in Liège and Ghent, Belgium (3). Although Joseph Paxton saw the greenhouses in 1833, it is unclear if they had an impact on the design of the Crystal Palace constructed 1850-1851 (4). The innovations of Charles' greenhouses continued to be acknowledged into the 20th century. Giedion in "Space, Time and Architecture", while erroneously attributing them to Rouhault (5)(6), refers to the greenhouses as "the prototype of all large iron-framed conservatories" (7). In addition to the greenhouses for the Muséum, the CCA collection includes three proposals (dated 1841) for a private greenhouse designed by Charles Rohault de Fleury (DR1974:0002:002:008 - DR1974:0002:002:013). The designs utilize the same curved roofs as the wings of the greenhouses at the Muséum combined with classically detailed stonework. An different aspect of Charles' work for the Muséum national d'histoire naturelle is represented in the album of unexecuted proposals -the only design drawings for the Muséum in the collection - for a Galerie de zoologie (DR1974:0002:024:001-079). Building on the typology of his earlier classical Galerie de minéralogie et de géologie (constructed 1833 -1841), the proposals, which date from between 1838 and 1862, illustrate a gradual enrichment of Charles' classical architectural vocabulary (8). They vary in their spatial configurations and façade treatments ranging from austere colonnaded designs with little ornament to more elaborate ones with richly encrusted facades, complex rooflines and more dramatic interior spaces characteristic of the Second Empire. The majority of the proposals consist of preliminary drawings illustrating the essential formal, spatial and ornamental aspects of the building. One proposal, dated January 1846, is substantially more developed than the others; in addition to general plans, sections and elevations, more detailed drawings are included for the layout of spaces, the elaboration of the facades, the configuration of the structure and even the designs for the specimen display cases. It is also worth noting that this album includes several plans outlining Rohault de Fleury's ideas for the overall development of the Muséum national d'histoire naturelle. In 1846, an album of prints of the Museo di fiscia e storia naturelle in Florence (DR1974:0002:005:001-018) was presented to Charles by the Grand Duke of Tuscany in response to his request for tracings of that building. These prints were probably used as reference material for the design of the new Galerie de zoologie described above. The portfolio of record drawings (ca. 1862) of the zoos in Antwerp, Brussels, Marseille and Amsterdam (DR1974:0002:018:001-027) is probably a dummy for a publication on zoological gardens as well as background documentation for the renovation and expansion of the zoo at the Muséum national d'histoire naturelle in Paris. Both drawings of the facilities for the animals and visitors and general plans of the zoological gardens are included. The Paris zoo project was apparently never undertaken. (1) These prints were reused in the "Oeuvre de C. Rohault de Fleury, architecte" (published 1884) (DR1974:0002:029:001-044). (2) Rohault de Fleury's greenhouses were destroyed in the Prussian bombardments of 1870. The greenhouses, which now stand in their place, are similar in layout and appearance to the original design, but their structural system is different. (3) John Hix, 'The Glass House' (Cambridge, Mass.: The MIT Press, 1981), p. 115. (4) Ibid., p. 115. (5) This error has been repeated by other authors including Henry-Russell Hitchcock, 'Architecture: Nineteenth and Twentieth Centuries' (Baltimore, Maryland: Penguin Books, 1968), p. 120. (6) Leonardo Benevolo, 'History of Modern Architecture' Volume 1: The tradition of modern architecture (Cambridge, Mass.: The M.I.T. Press, 1971), p. 22. (7) Sigfried Giedion, 'Space, Time and Architecture; the growth of a new tradition' (Cambridge: Harvard University Press, 1941), p. 181. (8) Barry Bergdoll, "Charles Rohault de Fleury: Part two: Muséum d'Histoire Naturelle and Studies on analogous Constructions in Europe", 'CCA Research Report", n.d., p. 1.
Muséum nationale d'histoire naturelle
CI001.S2.D5
Description:
Charles Rohault de Fleury was architect for the Muséum national d'histoire naturelle from 1833 to 1862. His work for the Muséum is represented in the CCA collection by a diverse group of prints and drawings. In addition to documenting his built and unbuilt projects, the inclusion of prints and drawings of museum and zoo buildings by other architects record, if only partially, the resources available to Charles in designing his buildings. This reference material provides insight into the influences on Charles' work as well as the nature of the design process itself. His built works, with the exception of the 1854 addition to the greenhouses, are illustrated in a book of prints with a brief accompanying text - "Muséum d'histoire naturelle: serres chaudes, galeries de minéralogie, etc. etc." (published 1837) (DR1974:0002:004:001; a second copy is held by the CCA library) (1). While prints are included for the Galerie de minéralogie et de géologie, the monkey house and the reservoirs, the majority of the prints are of the greenhouses (serres chaudes) begun 1833 (2). Known for their technological innovations in iron construction, these greenhouses utilized the first multi-storey load-bearing cast-iron façades for the central pavilions as well as space frame roof structures and prefabricated parts. This structural system is well documented in the prints in the CCA collection. The design was apparently inspired by the English greenhouses - a plate of which are included in the book - that Charles saw on a tour of England. The use of prestressed beams and curved roofs in the lateral wings attest to this influence. Charles' greenhouses, in turn, influenced the design of other greenhouses in Europe especially those at the Jardins Botanique in Liège and Ghent, Belgium (3). Although Joseph Paxton saw the greenhouses in 1833, it is unclear if they had an impact on the design of the Crystal Palace constructed 1850-1851 (4). The innovations of Charles' greenhouses continued to be acknowledged into the 20th century. Giedion in "Space, Time and Architecture", while erroneously attributing them to Rouhault (5)(6), refers to the greenhouses as "the prototype of all large iron-framed conservatories" (7). In addition to the greenhouses for the Muséum, the CCA collection includes three proposals (dated 1841) for a private greenhouse designed by Charles Rohault de Fleury (DR1974:0002:002:008 - DR1974:0002:002:013). The designs utilize the same curved roofs as the wings of the greenhouses at the Muséum combined with classically detailed stonework. An different aspect of Charles' work for the Muséum national d'histoire naturelle is represented in the album of unexecuted proposals -the only design drawings for the Muséum in the collection - for a Galerie de zoologie (DR1974:0002:024:001-079). Building on the typology of his earlier classical Galerie de minéralogie et de géologie (constructed 1833 -1841), the proposals, which date from between 1838 and 1862, illustrate a gradual enrichment of Charles' classical architectural vocabulary (8). They vary in their spatial configurations and façade treatments ranging from austere colonnaded designs with little ornament to more elaborate ones with richly encrusted facades, complex rooflines and more dramatic interior spaces characteristic of the Second Empire. The majority of the proposals consist of preliminary drawings illustrating the essential formal, spatial and ornamental aspects of the building. One proposal, dated January 1846, is substantially more developed than the others; in addition to general plans, sections and elevations, more detailed drawings are included for the layout of spaces, the elaboration of the facades, the configuration of the structure and even the designs for the specimen display cases. It is also worth noting that this album includes several plans outlining Rohault de Fleury's ideas for the overall development of the Muséum national d'histoire naturelle. In 1846, an album of prints of the Museo di fiscia e storia naturelle in Florence (DR1974:0002:005:001-018) was presented to Charles by the Grand Duke of Tuscany in response to his request for tracings of that building. These prints were probably used as reference material for the design of the new Galerie de zoologie described above. The portfolio of record drawings (ca. 1862) of the zoos in Antwerp, Brussels, Marseille and Amsterdam (DR1974:0002:018:001-027) is probably a dummy for a publication on zoological gardens as well as background documentation for the renovation and expansion of the zoo at the Muséum national d'histoire naturelle in Paris. Both drawings of the facilities for the animals and visitors and general plans of the zoological gardens are included. The Paris zoo project was apparently never undertaken. (1) These prints were reused in the "Oeuvre de C. Rohault de Fleury, architecte" (published 1884) (DR1974:0002:029:001-044). (2) Rohault de Fleury's greenhouses were destroyed in the Prussian bombardments of 1870. The greenhouses, which now stand in their place, are similar in layout and appearance to the original design, but their structural system is different. (3) John Hix, 'The Glass House' (Cambridge, Mass.: The MIT Press, 1981), p. 115. (4) Ibid., p. 115. (5) This error has been repeated by other authors including Henry-Russell Hitchcock, 'Architecture: Nineteenth and Twentieth Centuries' (Baltimore, Maryland: Penguin Books, 1968), p. 120. (6) Leonardo Benevolo, 'History of Modern Architecture' Volume 1: The tradition of modern architecture (Cambridge, Mass.: The M.I.T. Press, 1971), p. 22. (7) Sigfried Giedion, 'Space, Time and Architecture; the growth of a new tradition' (Cambridge: Harvard University Press, 1941), p. 181. (8) Barry Bergdoll, "Charles Rohault de Fleury: Part two: Muséum d'Histoire Naturelle and Studies on analogous Constructions in Europe", 'CCA Research Report", n.d., p. 1.
Level of archival description:
File 5
File 5
Date:
[1837-ca. 1862]
[1837-ca. 1862]
People:
Form:
photographs
photographs
Actions:
Reference number:
ARCH269121
Description:
Group consists of photographs of everyday life in Chandigarh, India, predominantly of streets markets. There is a photograph of the shopping area Shop-Cum-Flats II and a photograph of a street market in sector 23. There is also a photograph of inhabitants in front on the Cinema in sector 17 (designed by Pierre Jeanneret) and a photograph of another street market in sector 22. The group also includes a photograph of children playing on a playground with Houses Type 13-J in background.
ARCH269121
Description:
Group consists of photographs of everyday life in Chandigarh, India, predominantly of streets markets. There is a photograph of the shopping area Shop-Cum-Flats II and a photograph of a street market in sector 23. There is also a photograph of inhabitants in front on the Cinema in sector 17 (designed by Pierre Jeanneret) and a photograph of another street market in sector 22. The group also includes a photograph of children playing on a playground with Houses Type 13-J in background.
People:
Date:
ca. 1967-1979
ca. 1967-1979
Title:
Photographs of street markets in Chandigarh, India
Actions:
ARCH269121
Description:
Group consists of photographs of everyday life in Chandigarh, India, predominantly of streets markets. There is a photograph of the shopping area Shop-Cum-Flats II and a photograph of a street market in sector 23. There is also a photograph of inhabitants in front on the Cinema in sector 17 (designed by Pierre Jeanneret) and a photograph of another street market in sector 22. The group also includes a photograph of children playing on a playground with Houses Type 13-J in background.
Photographs of street markets in Chandigarh, India
Actions:
ARCH269121
Description:
Group consists of photographs of everyday life in Chandigarh, India, predominantly of streets markets. There is a photograph of the shopping area Shop-Cum-Flats II and a photograph of a street market in sector 23. There is also a photograph of inhabitants in front on the Cinema in sector 17 (designed by Pierre Jeanneret) and a photograph of another street market in sector 22. The group also includes a photograph of children playing on a playground with Houses Type 13-J in background.
Form:
photographs
photographs
Date:
ca. 1967-1979
ca. 1967-1979
People:
Form:
exhibitions
exhibitions
Title:
Starting From... Travel
Starting From... Travel
Actions:
Description:
Interpreting the subject of travel to distant places, the exhibition charts an expanded notion of travel that spans imaginary journeys, strange sites, vanishing points, floating and portable houses, endless caves, swirling diamond domes, tombs, crypts and catacombs, tunnel adventures, formal studies, technical innovation, cultural imagination, and experimental(...)
Interpreting the subject of travel to distant places, the exhibition charts an expanded notion of travel that spans imaginary journeys, strange sites, vanishing points, floating and portable houses, endless caves, swirling diamond domes, tombs, crypts and catacombs, tunnel adventures, formal studies, technical innovation, cultural imagination, and experimental(...)
Location:
Hall cases
Hall cases
Date:
3 December 2008 to 1 May 2009
3 December 2008 to 1 May 2009
Title:
Starting From... Travel
Actions:
Description:
Interpreting the subject of travel to distant places, the exhibition charts an expanded notion of travel that spans imaginary journeys, strange sites, vanishing points, floating and portable houses, endless caves, swirling diamond domes, tombs, crypts and catacombs, tunnel adventures, formal studies, technical innovation, cultural imagination, and experimental(...)
Starting From... Travel
Actions:
Description:
Interpreting the subject of travel to distant places, the exhibition charts an expanded notion of travel that spans imaginary journeys, strange sites, vanishing points, floating and portable houses, endless caves, swirling diamond domes, tombs, crypts and catacombs, tunnel adventures, formal studies, technical innovation, cultural imagination, and experimental(...)
Form:
exhibitions
exhibitions
Date:
3 December 2008 to
1 May 2009
3 December 2008 to
1 May 2009
Location:
Hall cases
Hall cases
Form:
photographs
photographs
Actions:
Reference number:
PH1980:0048.06:001-051
Description:
Album PH1980:0048.06:001-051 comprises 22 views of Seville, 16 views of Granada, four views of Madrid and three views of El Escorial, three views of Cadiz, two views of Aranjuez, and one view of Málaga. The 22 views of Seville include: 12 views of palaces, nine of the Royal Alcazar, two of the Palace of San Talmo, and one of the Archbishop's palace; three views of Seville Cathedral; three views of Pontius Pilate's House; and one view each of the Triana Bridge, the Real Maestranza bullfighting arena, the Law Courts on Constitution Square, and the Golden Tower. The 16 views of Granada include: 11 views of the Alhambra; four views of the city; and one view of Granada Cathedral. The four views of Madrid and three views of El Escorial include: three views of the Monastery of San Lorenzo del Escorial; and one view each of the Royal Palace, the Alcala Gate, the Prado Museum, and a bullfighting arena. The three views of Cadiz include: one view of Saint Anthony's Church; one view of the Calle Ancah [Main Street]; and one view of the city. The two views of Aranjuez include: one view of the Royal Palace and one view of the Casa del Labrador. There is one panorama of Málaga.
PH1980:0048.06:001-051
Description:
Album PH1980:0048.06:001-051 comprises 22 views of Seville, 16 views of Granada, four views of Madrid and three views of El Escorial, three views of Cadiz, two views of Aranjuez, and one view of Málaga. The 22 views of Seville include: 12 views of palaces, nine of the Royal Alcazar, two of the Palace of San Talmo, and one of the Archbishop's palace; three views of Seville Cathedral; three views of Pontius Pilate's House; and one view each of the Triana Bridge, the Real Maestranza bullfighting arena, the Law Courts on Constitution Square, and the Golden Tower. The 16 views of Granada include: 11 views of the Alhambra; four views of the city; and one view of Granada Cathedral. The four views of Madrid and three views of El Escorial include: three views of the Monastery of San Lorenzo del Escorial; and one view each of the Royal Palace, the Alcala Gate, the Prado Museum, and a bullfighting arena. The three views of Cadiz include: one view of Saint Anthony's Church; one view of the Calle Ancah [Main Street]; and one view of the city. The two views of Aranjuez include: one view of the Royal Palace and one view of the Casa del Labrador. There is one panorama of Málaga.
People:
Subject:
architecture, engineering, military
architecture, engineering, military
Date:
published 1859-1860
published 1859-1860
Title:
Album of views of cities showing royal palaces and religious and public architecture, Spain
Actions:
PH1980:0048.06:001-051
Description:
Album PH1980:0048.06:001-051 comprises 22 views of Seville, 16 views of Granada, four views of Madrid and three views of El Escorial, three views of Cadiz, two views of Aranjuez, and one view of Málaga. The 22 views of Seville include: 12 views of palaces, nine of the Royal Alcazar, two of the Palace of San Talmo, and one of the Archbishop's palace; three views of Seville Cathedral; three views of Pontius Pilate's House; and one view each of the Triana Bridge, the Real Maestranza bullfighting arena, the Law Courts on Constitution Square, and the Golden Tower. The 16 views of Granada include: 11 views of the Alhambra; four views of the city; and one view of Granada Cathedral. The four views of Madrid and three views of El Escorial include: three views of the Monastery of San Lorenzo del Escorial; and one view each of the Royal Palace, the Alcala Gate, the Prado Museum, and a bullfighting arena. The three views of Cadiz include: one view of Saint Anthony's Church; one view of the Calle Ancah [Main Street]; and one view of the city. The two views of Aranjuez include: one view of the Royal Palace and one view of the Casa del Labrador. There is one panorama of Málaga.
Album of views of cities showing royal palaces and religious and public architecture, Spain
Actions:
PH1980:0048.06:001-051
Description:
Album PH1980:0048.06:001-051 comprises 22 views of Seville, 16 views of Granada, four views of Madrid and three views of El Escorial, three views of Cadiz, two views of Aranjuez, and one view of Málaga. The 22 views of Seville include: 12 views of palaces, nine of the Royal Alcazar, two of the Palace of San Talmo, and one of the Archbishop's palace; three views of Seville Cathedral; three views of Pontius Pilate's House; and one view each of the Triana Bridge, the Real Maestranza bullfighting arena, the Law Courts on Constitution Square, and the Golden Tower. The 16 views of Granada include: 11 views of the Alhambra; four views of the city; and one view of Granada Cathedral. The four views of Madrid and three views of El Escorial include: three views of the Monastery of San Lorenzo del Escorial; and one view each of the Royal Palace, the Alcala Gate, the Prado Museum, and a bullfighting arena. The three views of Cadiz include: one view of Saint Anthony's Church; one view of the Calle Ancah [Main Street]; and one view of the city. The two views of Aranjuez include: one view of the Royal Palace and one view of the Casa del Labrador. There is one panorama of Málaga.
Form:
photographs
photographs
Date:
published 1859-1860
published 1859-1860
People:
Subject:
architecture, engineering, military
architecture, engineering, military
Form:
drawings
Quantity:
26 design development drawing(s)
drawings
Quantity:
26 design development drawing(s)
Actions:
Reference number:
ARCH253336
Description:
Six drawings that were originally arranged with these drawings were housed seperately in the file ARCH280922 for preservation purposes.
ARCH253336
Description:
Six drawings that were originally arranged with these drawings were housed seperately in the file ARCH280922 for preservation purposes.
People:
Title:
Site plan, plans, elevations, sections
Actions:
ARCH253336
Description:
Six drawings that were originally arranged with these drawings were housed seperately in the file ARCH280922 for preservation purposes.
Site plan, plans, elevations, sections
Actions:
ARCH253336
Description:
Six drawings that were originally arranged with these drawings were housed seperately in the file ARCH280922 for preservation purposes.
Form:
drawings
Quantity:
26 design development drawing(s)
drawings
Quantity:
26 design development drawing(s)
People:
Actions:
Reference number:
AP148.S1.1970.PR02.001.7
Description:
Original folder made by Alessandro Poli which housed materials found in AP148.S1.1970.PR02.001-006.
AP148.S1.1970.PR02.001.7
Description:
Original folder made by Alessandro Poli which housed materials found in AP148.S1.1970.PR02.001-006.
People:
Date:
ca. 1970-1971
ca. 1970-1971
Title:
"Storyboard" original folder, Interplanetary Architecture (Folder 7 of 7)
Actions:
AP148.S1.1970.PR02.001.7
Description:
Original folder made by Alessandro Poli which housed materials found in AP148.S1.1970.PR02.001-006.
"Storyboard" original folder, Interplanetary Architecture (Folder 7 of 7)
Actions:
AP148.S1.1970.PR02.001.7
Description:
Original folder made by Alessandro Poli which housed materials found in AP148.S1.1970.PR02.001-006.
Date:
ca. 1970-1971
ca. 1970-1971
People:
Form:
textual records, photographs
textual records, photographs
Actions:
Reference number:
AP206.S3.072
Description:
Materials in this file were originally housed in a folder along with materials arranged in AP206.S3.073 and AP206.S3.074.
AP206.S3.072
Description:
Materials in this file were originally housed in a folder along with materials arranged in AP206.S3.073 and AP206.S3.074.
People:
Date:
1986-1999
1986-1999
Title:
Our Get Together papers, member lists, correspondence and photographs (folder 1 of 3)
Actions:
AP206.S3.072
Description:
Materials in this file were originally housed in a folder along with materials arranged in AP206.S3.073 and AP206.S3.074.
Our Get Together papers, member lists, correspondence and photographs (folder 1 of 3)
Actions:
AP206.S3.072
Description:
Materials in this file were originally housed in a folder along with materials arranged in AP206.S3.073 and AP206.S3.074.
Form:
textual records, photographs
textual records, photographs
Date:
1986-1999
1986-1999
People:
Form:
textual records
textual records
Actions:
Reference number:
AP206.S3.073
Description:
Materials in this file were originally housed in a folder along with materials arranged in AP206.S3.072 and AP206.S3.074.
AP206.S3.073
Description:
Materials in this file were originally housed in a folder along with materials arranged in AP206.S3.072 and AP206.S3.074.
People:
Date:
1986-1999
1986-1999
Title:
Our Get Together papers, member lists, correspondence and photographs (folder 2 of 3)
Actions:
AP206.S3.073
Description:
Materials in this file were originally housed in a folder along with materials arranged in AP206.S3.072 and AP206.S3.074.
Our Get Together papers, member lists, correspondence and photographs (folder 2 of 3)
Actions:
AP206.S3.073
Description:
Materials in this file were originally housed in a folder along with materials arranged in AP206.S3.072 and AP206.S3.074.
Form:
textual records
textual records
Date:
1986-1999
1986-1999
People:
Form:
textual records
textual records
Actions:
Reference number:
AP206.S3.074
Description:
Materials in this file were originally housed in a folder along with materials arranged in AP206.S3.072 and AP206.S3.073.
AP206.S3.074
Description:
Materials in this file were originally housed in a folder along with materials arranged in AP206.S3.072 and AP206.S3.073.
People:
Date:
1986-1999
1986-1999
Title:
Our Get Together papers, member lists, correspondence and photographs (folder 3 of 3)
Actions:
AP206.S3.074
Description:
Materials in this file were originally housed in a folder along with materials arranged in AP206.S3.072 and AP206.S3.073.
Our Get Together papers, member lists, correspondence and photographs (folder 3 of 3)
Actions:
AP206.S3.074
Description:
Materials in this file were originally housed in a folder along with materials arranged in AP206.S3.072 and AP206.S3.073.
Form:
textual records
textual records
Date:
1986-1999
1986-1999
People:
Form:
textual records
textual records
Reference number:
AP206.S3.097
Description:
Materials in this file were originally housed in a folder along with materials arranged in AP206.S3.098 and AP206.S3.099.
AP206.S3.097
Description:
Materials in this file were originally housed in a folder along with materials arranged in AP206.S3.098 and AP206.S3.099.
People:
Date:
1992-1998
1992-1998
Title:
Professional correspondence, press clippings on Aditya Prakash's artwork and exhibition guestbooks (folder 1 of 3)
Actions:
AP206.S3.097
Description:
Materials in this file were originally housed in a folder along with materials arranged in AP206.S3.098 and AP206.S3.099.
Professional correspondence, press clippings on Aditya Prakash's artwork and exhibition guestbooks (folder 1 of 3)
Actions:
AP206.S3.097
Description:
Materials in this file were originally housed in a folder along with materials arranged in AP206.S3.098 and AP206.S3.099.
Form:
textual records
textual records
Date:
1992-1998
1992-1998
People:
