846 Résultats
Classification:
documents textuels
documents textuels
Numéro de référence:
ARCH252234
Description:
-Thank you letter to Phyllis Lambert from Van Berkel & Bos -Photocopy of letter from Phyllis Lambert and David Culver to Peter Eisenman congratualting him on his winning proposal and enclosing IFCCA Prize cheque. -Photocopies of documents submitted by 5 competitors for final jury deliberations -Competitor's meeting 5 March 1999: schedule, invitations to dinner and related correspondence -Biographical notes for 5 competitors -Correspondence with Cedric Price -List of nominees -Memoranda to competitors from Ralph Lerner, Competitor Q&A
ARCH252234
Description:
-Thank you letter to Phyllis Lambert from Van Berkel & Bos -Photocopy of letter from Phyllis Lambert and David Culver to Peter Eisenman congratualting him on his winning proposal and enclosing IFCCA Prize cheque. -Photocopies of documents submitted by 5 competitors for final jury deliberations -Competitor's meeting 5 March 1999: schedule, invitations to dinner and related correspondence -Biographical notes for 5 competitors -Correspondence with Cedric Price -List of nominees -Memoranda to competitors from Ralph Lerner, Competitor Q&A
Personnes et institutions:
Titre:
Competitors: Final Five
Actions:
ARCH252234
Description:
-Thank you letter to Phyllis Lambert from Van Berkel & Bos -Photocopy of letter from Phyllis Lambert and David Culver to Peter Eisenman congratualting him on his winning proposal and enclosing IFCCA Prize cheque. -Photocopies of documents submitted by 5 competitors for final jury deliberations -Competitor's meeting 5 March 1999: schedule, invitations to dinner and related correspondence -Biographical notes for 5 competitors -Correspondence with Cedric Price -List of nominees -Memoranda to competitors from Ralph Lerner, Competitor Q&A
Competitors: Final Five
Actions:
ARCH252234
Description:
-Thank you letter to Phyllis Lambert from Van Berkel & Bos -Photocopy of letter from Phyllis Lambert and David Culver to Peter Eisenman congratualting him on his winning proposal and enclosing IFCCA Prize cheque. -Photocopies of documents submitted by 5 competitors for final jury deliberations -Competitor's meeting 5 March 1999: schedule, invitations to dinner and related correspondence -Biographical notes for 5 competitors -Correspondence with Cedric Price -List of nominees -Memoranda to competitors from Ralph Lerner, Competitor Q&A
Classification:
documents textuels
documents textuels
Personnes et institutions:
Niveau de description archivistique:
Sous-série
Sous-série
Titre:
Education
Education
Numéro de référence:
CI001.S2.D1
Description:
Like his father Hubert, Charles Rohault de Fleury also studied at the École polytechnique with Jean-Nicolas-Louis Durand (1820-1821), and at the École des Beaux-Arts (1823-1825), Charles studied under his father and Louis Hippolyte Lebas. The CCA collection contains his printed exercise book from the École polytechnique and an album of drawings of the orders executed at both schools. The printed exercise book (DR1974:0002:001:001-105), primarily dated to 1821, provides an overview of the first year curriculum at the École polytechnique reflecting the emphasis placed on the course in descriptive geometry. The exercises proceed from the simple to the complex; from the analysis of simple shapes to the interpretation of basic architectural elements. Many of the problems have been solved by Charles, and carry the approval seal of his professor. A large engraving included in the album provides a succinct table recording the career paths of graduating students in the various Écoles d'application, a description of the core curriculum, and a historical and chronological outline of the École polytechnique from its inception to 1828. Charles' studies of the architectural orders (DR1974:0002:019:001-033), many of which are copied directly from Charles Normand's 'Nouveau parallele des ordres d'architecture...,' demonstrate the continued application of Durand's methodology applied to typical Beaux-Arts studies. The orders executed at the École polytechnique are pared down to their essential form and porticos are abstracted and grouped according to their tetrastyle, hexastyle, or octastyle configurations, whereas the orders completed at the École des beaux-arts are simplified, but still reflect the traditional mimetic interpretation of classical antiquity, with its fidelity to mouldings and details. The conspicous abscence of the composite order and the addition of the 'Dorique Romain and Moderne', attest to the continued influence of Durand's ''Precis'. The information regarding George's architectural career is limited to twelve drawings for architectural ornament and sculpture (1858-1859) submitted to a newly introduced, and obligatory, 'dessin' Concours d'emulation at the École des beaux-arts (1). (1) R. Chaffe, "The teaching of architecture at the École des Beaux-Arts" in Arthur Drexler ed., 'The Architecture of the École des Beaux-Arts' (New York: MOMA, 1975), p.84 and fn. 120.)
CI001.S2.D1
Description:
Like his father Hubert, Charles Rohault de Fleury also studied at the École polytechnique with Jean-Nicolas-Louis Durand (1820-1821), and at the École des Beaux-Arts (1823-1825), Charles studied under his father and Louis Hippolyte Lebas. The CCA collection contains his printed exercise book from the École polytechnique and an album of drawings of the orders executed at both schools. The printed exercise book (DR1974:0002:001:001-105), primarily dated to 1821, provides an overview of the first year curriculum at the École polytechnique reflecting the emphasis placed on the course in descriptive geometry. The exercises proceed from the simple to the complex; from the analysis of simple shapes to the interpretation of basic architectural elements. Many of the problems have been solved by Charles, and carry the approval seal of his professor. A large engraving included in the album provides a succinct table recording the career paths of graduating students in the various Écoles d'application, a description of the core curriculum, and a historical and chronological outline of the École polytechnique from its inception to 1828. Charles' studies of the architectural orders (DR1974:0002:019:001-033), many of which are copied directly from Charles Normand's 'Nouveau parallele des ordres d'architecture...,' demonstrate the continued application of Durand's methodology applied to typical Beaux-Arts studies. The orders executed at the École polytechnique are pared down to their essential form and porticos are abstracted and grouped according to their tetrastyle, hexastyle, or octastyle configurations, whereas the orders completed at the École des beaux-arts are simplified, but still reflect the traditional mimetic interpretation of classical antiquity, with its fidelity to mouldings and details. The conspicous abscence of the composite order and the addition of the 'Dorique Romain and Moderne', attest to the continued influence of Durand's ''Precis'. The information regarding George's architectural career is limited to twelve drawings for architectural ornament and sculpture (1858-1859) submitted to a newly introduced, and obligatory, 'dessin' Concours d'emulation at the École des beaux-arts (1). (1) R. Chaffe, "The teaching of architecture at the École des Beaux-Arts" in Arthur Drexler ed., 'The Architecture of the École des Beaux-Arts' (New York: MOMA, 1975), p.84 and fn. 120.)
Personnes et institutions:
Date:
[1776?]-1868
[1776?]-1868
Titre:
Education
CI001.S2.D1
Description:
Like his father Hubert, Charles Rohault de Fleury also studied at the École polytechnique with Jean-Nicolas-Louis Durand (1820-1821), and at the École des Beaux-Arts (1823-1825), Charles studied under his father and Louis Hippolyte Lebas. The CCA collection contains his printed exercise book from the École polytechnique and an album of drawings of the orders executed at both schools. The printed exercise book (DR1974:0002:001:001-105), primarily dated to 1821, provides an overview of the first year curriculum at the École polytechnique reflecting the emphasis placed on the course in descriptive geometry. The exercises proceed from the simple to the complex; from the analysis of simple shapes to the interpretation of basic architectural elements. Many of the problems have been solved by Charles, and carry the approval seal of his professor. A large engraving included in the album provides a succinct table recording the career paths of graduating students in the various Écoles d'application, a description of the core curriculum, and a historical and chronological outline of the École polytechnique from its inception to 1828. Charles' studies of the architectural orders (DR1974:0002:019:001-033), many of which are copied directly from Charles Normand's 'Nouveau parallele des ordres d'architecture...,' demonstrate the continued application of Durand's methodology applied to typical Beaux-Arts studies. The orders executed at the École polytechnique are pared down to their essential form and porticos are abstracted and grouped according to their tetrastyle, hexastyle, or octastyle configurations, whereas the orders completed at the École des beaux-arts are simplified, but still reflect the traditional mimetic interpretation of classical antiquity, with its fidelity to mouldings and details. The conspicous abscence of the composite order and the addition of the 'Dorique Romain and Moderne', attest to the continued influence of Durand's ''Precis'. The information regarding George's architectural career is limited to twelve drawings for architectural ornament and sculpture (1858-1859) submitted to a newly introduced, and obligatory, 'dessin' Concours d'emulation at the École des beaux-arts (1). (1) R. Chaffe, "The teaching of architecture at the École des Beaux-Arts" in Arthur Drexler ed., 'The Architecture of the École des Beaux-Arts' (New York: MOMA, 1975), p.84 and fn. 120.)
Education
CI001.S2.D1
Description:
Like his father Hubert, Charles Rohault de Fleury also studied at the École polytechnique with Jean-Nicolas-Louis Durand (1820-1821), and at the École des Beaux-Arts (1823-1825), Charles studied under his father and Louis Hippolyte Lebas. The CCA collection contains his printed exercise book from the École polytechnique and an album of drawings of the orders executed at both schools. The printed exercise book (DR1974:0002:001:001-105), primarily dated to 1821, provides an overview of the first year curriculum at the École polytechnique reflecting the emphasis placed on the course in descriptive geometry. The exercises proceed from the simple to the complex; from the analysis of simple shapes to the interpretation of basic architectural elements. Many of the problems have been solved by Charles, and carry the approval seal of his professor. A large engraving included in the album provides a succinct table recording the career paths of graduating students in the various Écoles d'application, a description of the core curriculum, and a historical and chronological outline of the École polytechnique from its inception to 1828. Charles' studies of the architectural orders (DR1974:0002:019:001-033), many of which are copied directly from Charles Normand's 'Nouveau parallele des ordres d'architecture...,' demonstrate the continued application of Durand's methodology applied to typical Beaux-Arts studies. The orders executed at the École polytechnique are pared down to their essential form and porticos are abstracted and grouped according to their tetrastyle, hexastyle, or octastyle configurations, whereas the orders completed at the École des beaux-arts are simplified, but still reflect the traditional mimetic interpretation of classical antiquity, with its fidelity to mouldings and details. The conspicous abscence of the composite order and the addition of the 'Dorique Romain and Moderne', attest to the continued influence of Durand's ''Precis'. The information regarding George's architectural career is limited to twelve drawings for architectural ornament and sculpture (1858-1859) submitted to a newly introduced, and obligatory, 'dessin' Concours d'emulation at the École des beaux-arts (1). (1) R. Chaffe, "The teaching of architecture at the École des Beaux-Arts" in Arthur Drexler ed., 'The Architecture of the École des Beaux-Arts' (New York: MOMA, 1975), p.84 and fn. 120.)
Niveau de description archivistique:
File 1
File 1
Date:
[1776?]-1868
[1776?]-1868
Personnes et institutions:
Classification:
archives
Niveau de description archivistique:
Fonds
archives
Niveau de description archivistique:
Fonds
Numéro de référence:
AP074
Résumé:
The Catherine Chard Wisnicki fonds contains photographs dating from about 1947, of a house project in West Vancouver which Chard Wisnicki, the first female graduate of the McGill School of Architecture, was assistant architect. The fonds also contains a videocassette recording of an interview with Chard Wisnicki from 1995, and one textual document from 1997.
AP074
Résumé:
The Catherine Chard Wisnicki fonds contains photographs dating from about 1947, of a house project in West Vancouver which Chard Wisnicki, the first female graduate of the McGill School of Architecture, was assistant architect. The fonds also contains a videocassette recording of an interview with Chard Wisnicki from 1995, and one textual document from 1997.
Personnes et institutions:
Date:
[ca. 1947], 1995, 1997
[ca. 1947], 1995, 1997
Titre:
Fonds Catherine Chard Wisnicki
Actions:
AP074
Résumé:
The Catherine Chard Wisnicki fonds contains photographs dating from about 1947, of a house project in West Vancouver which Chard Wisnicki, the first female graduate of the McGill School of Architecture, was assistant architect. The fonds also contains a videocassette recording of an interview with Chard Wisnicki from 1995, and one textual document from 1997.
Fonds Catherine Chard Wisnicki
Actions:
AP074
Résumé:
The Catherine Chard Wisnicki fonds contains photographs dating from about 1947, of a house project in West Vancouver which Chard Wisnicki, the first female graduate of the McGill School of Architecture, was assistant architect. The fonds also contains a videocassette recording of an interview with Chard Wisnicki from 1995, and one textual document from 1997.
Classification:
archives
Niveau de description archivistique:
Fonds
archives
Niveau de description archivistique:
Fonds
Date:
[ca. 1947], 1995, 1997
[ca. 1947], 1995, 1997
Personnes et institutions:
Niveau de description archivistique:
Sous-série
Sous-série
Numéro de référence:
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.
Personnes et institutions:
Date:
[1837-ca. 1862]
[1837-ca. 1862]
Titre:
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.
Niveau de description archivistique:
File 5
File 5
Date:
[1837-ca. 1862]
[1837-ca. 1862]
Personnes et institutions:
Classification:
événements
événements
Actions:
Description:
Cette première conférence L’architecture comme sujet d’intérêt public marque le lancement du Réseau de recherche du CCA, une entité qui réunit d’anciens participants aux programmes de recherche menés depuis près de quarante ans au CCA. Cette conférence annuelle prolonge l’exploration du thème de la bourse L’architecture comme sujet d’intérêt public, lequel est, en 2023, «(...)
Cette première conférence L’architecture comme sujet d’intérêt public marque le lancement du Réseau de recherche du CCA, une entité qui réunit d’anciens participants aux programmes de recherche menés depuis près de quarante ans au CCA. Cette conférence annuelle prolonge l’exploration du thème de la bourse L’architecture comme sujet d’intérêt public, lequel est, en 2023, «(...)
Localisation:
En ligne Mot(s)-clé(s):
Samia Henni, Jay Pather, Réseau de recherche du CCA, L'architecture comme sujet d'intérêt public, communautés
En ligne Mot(s)-clé(s):
Samia Henni, Jay Pather, Réseau de recherche du CCA, L'architecture comme sujet d'intérêt public, communautés
Date:
26 septembre 2023, 14 h à 16 h
26 septembre 2023, 14 h à 16 h
Titre:
Conférence L’architecture comme sujet d’intérêt public 2023 : À qui s’adresse ce travail?
Actions:
Description:
Cette première conférence L’architecture comme sujet d’intérêt public marque le lancement du Réseau de recherche du CCA, une entité qui réunit d’anciens participants aux programmes de recherche menés depuis près de quarante ans au CCA. Cette conférence annuelle prolonge l’exploration du thème de la bourse L’architecture comme sujet d’intérêt public, lequel est, en 2023, «(...)
Conférence L’architecture comme sujet d’intérêt public 2023 : À qui s’adresse ce travail?
Actions:
Description:
Cette première conférence L’architecture comme sujet d’intérêt public marque le lancement du Réseau de recherche du CCA, une entité qui réunit d’anciens participants aux programmes de recherche menés depuis près de quarante ans au CCA. Cette conférence annuelle prolonge l’exploration du thème de la bourse L’architecture comme sujet d’intérêt public, lequel est, en 2023, «(...)
Classification:
événements
événements
Date:
26 septembre 2023
14 h à 16 h
26 septembre 2023
14 h à 16 h
Localisation:
En ligne Mot(s)-clé(s):
Samia Henni, Jay Pather, Réseau de recherche du CCA, L'architecture comme sujet d'intérêt public, communautés
En ligne Mot(s)-clé(s):
Samia Henni, Jay Pather, Réseau de recherche du CCA, L'architecture comme sujet d'intérêt public, communautés
Niveau de description archivistique:
Sous-série
Sous-série
Titre:
Domestic Commissions
Domestic Commissions
Numéro de référence:
CI001.S1.D2
Description:
Hubert and Charles Rohault de Fleury received domestic commissions for both urban housing -hôtel particuliers and apartment houses- and rural dwellings -châteaux, country houses and estates. Hubert also executed designs for furniture and garden pavilions. Hubert' work is characterized by restrained classical exteriors and luxurious Empire style interiors; both Charles' exteriors and interiors, especially those for Hôtels Sauvage and Soltykoff, reflect the exuberance of the Second Empire. The CCA albums include drawings from all stages of the design process but with an emphasis on design development drawings. Hubert's albums contain cost calculations and estimates, notes and letters. In general, the drawings by Charles are from a more developed phase of design than Hubert's; Hubert's commissions are more varied than Charles'. The austere classicism of Hubert's domestic work reflects the prevailing taste of the day and reveals the strong influence of his teacher, Jean Nicholas Louis Durand. The compostional effect of the houses' façades relies on the shape and rhythm of the fenestration and the geometric division by string courses and occasionally, pilasters. Columns are used infrequently as is decorative stonework. The plans are symmetrical and modular. This approach to design is especially evident in the series of proposals for a country house for comte Treilhard (DR1974:0002:034:001-082) and in a group of unidentified designs for houses (DR1974:0002:035:001-034), all of which illustrate an emphasis on plan in the design process and a distinct approach to the composition of the elevations, both derived from Durand. Hubert's domestic work was also influenced by Palladio (see especially DR1974:0002:038:001-029). The interiors and furniture designed by Hubert are typical of the Empire style (1). The drawings in the CCA collection illustrate the materials, palette and ornamental motifs of the period. The garden structures in Hubert's albums are more fanciful than his houses and are either Rustic, Chinoiserie or classical in style (2). His garden designs follow the contemporary French trend for "jardins anglais" with winding paths and naturalistic placement of the vegetation, sometimes in combination with more formal French gardens (3). One of the most comprehensively documented domestic project by Hubert is the Rohault de Fleury House (12-14 rue d'Aguesseau; 1824). The CCA collection contains an interesting series of preliminary drawings for alternate proposals for this house, a number of highly finished wash drawings (including the interior decorative scheme) for the final scheme (DR1974:0002:011:001-08) and several earlier (ca. 1806) proposals (DR1974:0002:035:001-034). The Domaine de la Vallée album (DR1974:0002:025:001-059) is notable for the range of subject matter included as well as for the insights into the character of a working country estate in the nineteenth century. The proposed modifications encompassed both functional (a bridge, a levee, granaries and stables) and aesthetic improvements, such as ornamental garden temples. The renovation of the house also exhibits both functional and aesthetic improvements. (1) Examples of Hubert's interiors and furniture can be found in albums, DR1974:0002:007:001-068, DR1974:0002:011:001-089, DR1974:0002:025:001-059, DR1974:0002:030:001-065 and DR1974:0002:035:001-034. (2) The best examples of his pavilions are found in album, DR1974:0002:038:001-029 with other examples in albums, DR1974:0002:025:001-059, DR1974:0002:030:001-065 and DR1974:0002:035:001-034. (3) Examples are found in albums, DR1974:0002:035:001-034 and DR1974:0002 :025:001-059. Also of note are drawings, DR1974:0002:007:007 and DR1974:0002:007:068.
CI001.S1.D2
Description:
Hubert and Charles Rohault de Fleury received domestic commissions for both urban housing -hôtel particuliers and apartment houses- and rural dwellings -châteaux, country houses and estates. Hubert also executed designs for furniture and garden pavilions. Hubert' work is characterized by restrained classical exteriors and luxurious Empire style interiors; both Charles' exteriors and interiors, especially those for Hôtels Sauvage and Soltykoff, reflect the exuberance of the Second Empire. The CCA albums include drawings from all stages of the design process but with an emphasis on design development drawings. Hubert's albums contain cost calculations and estimates, notes and letters. In general, the drawings by Charles are from a more developed phase of design than Hubert's; Hubert's commissions are more varied than Charles'. The austere classicism of Hubert's domestic work reflects the prevailing taste of the day and reveals the strong influence of his teacher, Jean Nicholas Louis Durand. The compostional effect of the houses' façades relies on the shape and rhythm of the fenestration and the geometric division by string courses and occasionally, pilasters. Columns are used infrequently as is decorative stonework. The plans are symmetrical and modular. This approach to design is especially evident in the series of proposals for a country house for comte Treilhard (DR1974:0002:034:001-082) and in a group of unidentified designs for houses (DR1974:0002:035:001-034), all of which illustrate an emphasis on plan in the design process and a distinct approach to the composition of the elevations, both derived from Durand. Hubert's domestic work was also influenced by Palladio (see especially DR1974:0002:038:001-029). The interiors and furniture designed by Hubert are typical of the Empire style (1). The drawings in the CCA collection illustrate the materials, palette and ornamental motifs of the period. The garden structures in Hubert's albums are more fanciful than his houses and are either Rustic, Chinoiserie or classical in style (2). His garden designs follow the contemporary French trend for "jardins anglais" with winding paths and naturalistic placement of the vegetation, sometimes in combination with more formal French gardens (3). One of the most comprehensively documented domestic project by Hubert is the Rohault de Fleury House (12-14 rue d'Aguesseau; 1824). The CCA collection contains an interesting series of preliminary drawings for alternate proposals for this house, a number of highly finished wash drawings (including the interior decorative scheme) for the final scheme (DR1974:0002:011:001-08) and several earlier (ca. 1806) proposals (DR1974:0002:035:001-034). The Domaine de la Vallée album (DR1974:0002:025:001-059) is notable for the range of subject matter included as well as for the insights into the character of a working country estate in the nineteenth century. The proposed modifications encompassed both functional (a bridge, a levee, granaries and stables) and aesthetic improvements, such as ornamental garden temples. The renovation of the house also exhibits both functional and aesthetic improvements. (1) Examples of Hubert's interiors and furniture can be found in albums, DR1974:0002:007:001-068, DR1974:0002:011:001-089, DR1974:0002:025:001-059, DR1974:0002:030:001-065 and DR1974:0002:035:001-034. (2) The best examples of his pavilions are found in album, DR1974:0002:038:001-029 with other examples in albums, DR1974:0002:025:001-059, DR1974:0002:030:001-065 and DR1974:0002:035:001-034. (3) Examples are found in albums, DR1974:0002:035:001-034 and DR1974:0002 :025:001-059. Also of note are drawings, DR1974:0002:007:007 and DR1974:0002:007:068.
Personnes et institutions:
Date:
1802-[1840]
1802-[1840]
Titre:
Domestic Commissions
CI001.S1.D2
Description:
Hubert and Charles Rohault de Fleury received domestic commissions for both urban housing -hôtel particuliers and apartment houses- and rural dwellings -châteaux, country houses and estates. Hubert also executed designs for furniture and garden pavilions. Hubert' work is characterized by restrained classical exteriors and luxurious Empire style interiors; both Charles' exteriors and interiors, especially those for Hôtels Sauvage and Soltykoff, reflect the exuberance of the Second Empire. The CCA albums include drawings from all stages of the design process but with an emphasis on design development drawings. Hubert's albums contain cost calculations and estimates, notes and letters. In general, the drawings by Charles are from a more developed phase of design than Hubert's; Hubert's commissions are more varied than Charles'. The austere classicism of Hubert's domestic work reflects the prevailing taste of the day and reveals the strong influence of his teacher, Jean Nicholas Louis Durand. The compostional effect of the houses' façades relies on the shape and rhythm of the fenestration and the geometric division by string courses and occasionally, pilasters. Columns are used infrequently as is decorative stonework. The plans are symmetrical and modular. This approach to design is especially evident in the series of proposals for a country house for comte Treilhard (DR1974:0002:034:001-082) and in a group of unidentified designs for houses (DR1974:0002:035:001-034), all of which illustrate an emphasis on plan in the design process and a distinct approach to the composition of the elevations, both derived from Durand. Hubert's domestic work was also influenced by Palladio (see especially DR1974:0002:038:001-029). The interiors and furniture designed by Hubert are typical of the Empire style (1). The drawings in the CCA collection illustrate the materials, palette and ornamental motifs of the period. The garden structures in Hubert's albums are more fanciful than his houses and are either Rustic, Chinoiserie or classical in style (2). His garden designs follow the contemporary French trend for "jardins anglais" with winding paths and naturalistic placement of the vegetation, sometimes in combination with more formal French gardens (3). One of the most comprehensively documented domestic project by Hubert is the Rohault de Fleury House (12-14 rue d'Aguesseau; 1824). The CCA collection contains an interesting series of preliminary drawings for alternate proposals for this house, a number of highly finished wash drawings (including the interior decorative scheme) for the final scheme (DR1974:0002:011:001-08) and several earlier (ca. 1806) proposals (DR1974:0002:035:001-034). The Domaine de la Vallée album (DR1974:0002:025:001-059) is notable for the range of subject matter included as well as for the insights into the character of a working country estate in the nineteenth century. The proposed modifications encompassed both functional (a bridge, a levee, granaries and stables) and aesthetic improvements, such as ornamental garden temples. The renovation of the house also exhibits both functional and aesthetic improvements. (1) Examples of Hubert's interiors and furniture can be found in albums, DR1974:0002:007:001-068, DR1974:0002:011:001-089, DR1974:0002:025:001-059, DR1974:0002:030:001-065 and DR1974:0002:035:001-034. (2) The best examples of his pavilions are found in album, DR1974:0002:038:001-029 with other examples in albums, DR1974:0002:025:001-059, DR1974:0002:030:001-065 and DR1974:0002:035:001-034. (3) Examples are found in albums, DR1974:0002:035:001-034 and DR1974:0002 :025:001-059. Also of note are drawings, DR1974:0002:007:007 and DR1974:0002:007:068.
Domestic Commissions
CI001.S1.D2
Description:
Hubert and Charles Rohault de Fleury received domestic commissions for both urban housing -hôtel particuliers and apartment houses- and rural dwellings -châteaux, country houses and estates. Hubert also executed designs for furniture and garden pavilions. Hubert' work is characterized by restrained classical exteriors and luxurious Empire style interiors; both Charles' exteriors and interiors, especially those for Hôtels Sauvage and Soltykoff, reflect the exuberance of the Second Empire. The CCA albums include drawings from all stages of the design process but with an emphasis on design development drawings. Hubert's albums contain cost calculations and estimates, notes and letters. In general, the drawings by Charles are from a more developed phase of design than Hubert's; Hubert's commissions are more varied than Charles'. The austere classicism of Hubert's domestic work reflects the prevailing taste of the day and reveals the strong influence of his teacher, Jean Nicholas Louis Durand. The compostional effect of the houses' façades relies on the shape and rhythm of the fenestration and the geometric division by string courses and occasionally, pilasters. Columns are used infrequently as is decorative stonework. The plans are symmetrical and modular. This approach to design is especially evident in the series of proposals for a country house for comte Treilhard (DR1974:0002:034:001-082) and in a group of unidentified designs for houses (DR1974:0002:035:001-034), all of which illustrate an emphasis on plan in the design process and a distinct approach to the composition of the elevations, both derived from Durand. Hubert's domestic work was also influenced by Palladio (see especially DR1974:0002:038:001-029). The interiors and furniture designed by Hubert are typical of the Empire style (1). The drawings in the CCA collection illustrate the materials, palette and ornamental motifs of the period. The garden structures in Hubert's albums are more fanciful than his houses and are either Rustic, Chinoiserie or classical in style (2). His garden designs follow the contemporary French trend for "jardins anglais" with winding paths and naturalistic placement of the vegetation, sometimes in combination with more formal French gardens (3). One of the most comprehensively documented domestic project by Hubert is the Rohault de Fleury House (12-14 rue d'Aguesseau; 1824). The CCA collection contains an interesting series of preliminary drawings for alternate proposals for this house, a number of highly finished wash drawings (including the interior decorative scheme) for the final scheme (DR1974:0002:011:001-08) and several earlier (ca. 1806) proposals (DR1974:0002:035:001-034). The Domaine de la Vallée album (DR1974:0002:025:001-059) is notable for the range of subject matter included as well as for the insights into the character of a working country estate in the nineteenth century. The proposed modifications encompassed both functional (a bridge, a levee, granaries and stables) and aesthetic improvements, such as ornamental garden temples. The renovation of the house also exhibits both functional and aesthetic improvements. (1) Examples of Hubert's interiors and furniture can be found in albums, DR1974:0002:007:001-068, DR1974:0002:011:001-089, DR1974:0002:025:001-059, DR1974:0002:030:001-065 and DR1974:0002:035:001-034. (2) The best examples of his pavilions are found in album, DR1974:0002:038:001-029 with other examples in albums, DR1974:0002:025:001-059, DR1974:0002:030:001-065 and DR1974:0002:035:001-034. (3) Examples are found in albums, DR1974:0002:035:001-034 and DR1974:0002 :025:001-059. Also of note are drawings, DR1974:0002:007:007 and DR1974:0002:007:068.
Niveau de description archivistique:
File 2
File 2
Date:
1802-[1840]
1802-[1840]
Personnes et institutions:
Classification:
archives
Niveau de description archivistique:
Fonds
archives
Niveau de description archivistique:
Fonds
Titre:
Fonds Álvaro Siza
Fonds Álvaro Siza
Numéro de référence:
AP178
Description:
The Álvaro Siza fonds documents the architectural work of Portuguese architect Álvaro Siza. Records in this fonds document Siza’s projects from 1958-2012, including built and unbuilt designs. A collaborative project was established between the Canadian Centre for Architecture (CCA), Fundação de Serralves, and Fundação Calouste Gulbenkian to allow for international research and access to the archive. The archive is shared by the three institutions with each institution holding different projects while collaborating on the descriptive work and increasing the visibility of the archive. The holdings at both the Fundação de Serralves and Fundação Calouste Gulbenkian focus on Siza’s Portuguese projects, while the portion of the archive held by the CCA mainly includes Siza’s projects abroad. All three institutions are committed to describing the archive and making it accessible for scholarly research. The processing of the Siza archive held by the CCA has been divided into four phases to allow for access to parts of the archive while still in process. For the first, second, and third phases, the processing archivist has described the projects from the fifties, sixties, and seventies, as well as projects for the IBA competition in Berlin, urban renewal projects in The Hague from the eighties, urban plans, museums, and individual houses between 1980 and 2000. The processing archivist has also described approximately 203 sketchbooks. Many of these sketchbooks include sketches related to architectural projects which were processed. The complete list of projects processed by the CCA to date can be found in series AP178.S1. The bulk of the Álvaro Siza fonds is arranged in Series AP178.S1, which contains documentation for over 200 of Siza’s architectural projects. Records in this archive are predominantly from 1970 to 2000. Series AP178.S1 mainly contains conceptual, design development, presentation, and working drawings. Also included are photographic materials, models, born digital records, and textual documentation, which include correspondence, project proposals, and notes. The architect’s creative process is captured in 282 sketchbooks arranged in Series AP178.S2. In all there are approximately 60 000 drawings, 3000 folders of textual documentation, 9.46 linear meters of photographs and negatives, 6,545 slides, 250 CD-ROMS, 101 floppy disks, and 371 models that document the architectural activities of Siza and his office. Among the drawings are sketches by Siza on various items, such as napkins, receipts, envelopes, or on the back of working drawings. The fonds contains several types of architectural projects including residential buildings, museums, universities, urban plans, offices, and city restorations. Of particular significance are the sketchbooks, comprised of sketches for architectural projects, Siza’s travels, people, and animals as well as notes and draft letters. The sketchbooks are organized in chronological order, starting in the late 1970’s to the beginning of the 2000’s. Locations, notes, and dates have also been identified on the front of each sketchbook along with the sketchbook number. The sketchbooks provide a unique perspective of Siza’s use of drawing as part of his work process.
AP178
Description:
The Álvaro Siza fonds documents the architectural work of Portuguese architect Álvaro Siza. Records in this fonds document Siza’s projects from 1958-2012, including built and unbuilt designs. A collaborative project was established between the Canadian Centre for Architecture (CCA), Fundação de Serralves, and Fundação Calouste Gulbenkian to allow for international research and access to the archive. The archive is shared by the three institutions with each institution holding different projects while collaborating on the descriptive work and increasing the visibility of the archive. The holdings at both the Fundação de Serralves and Fundação Calouste Gulbenkian focus on Siza’s Portuguese projects, while the portion of the archive held by the CCA mainly includes Siza’s projects abroad. All three institutions are committed to describing the archive and making it accessible for scholarly research. The processing of the Siza archive held by the CCA has been divided into four phases to allow for access to parts of the archive while still in process. For the first, second, and third phases, the processing archivist has described the projects from the fifties, sixties, and seventies, as well as projects for the IBA competition in Berlin, urban renewal projects in The Hague from the eighties, urban plans, museums, and individual houses between 1980 and 2000. The processing archivist has also described approximately 203 sketchbooks. Many of these sketchbooks include sketches related to architectural projects which were processed. The complete list of projects processed by the CCA to date can be found in series AP178.S1. The bulk of the Álvaro Siza fonds is arranged in Series AP178.S1, which contains documentation for over 200 of Siza’s architectural projects. Records in this archive are predominantly from 1970 to 2000. Series AP178.S1 mainly contains conceptual, design development, presentation, and working drawings. Also included are photographic materials, models, born digital records, and textual documentation, which include correspondence, project proposals, and notes. The architect’s creative process is captured in 282 sketchbooks arranged in Series AP178.S2. In all there are approximately 60 000 drawings, 3000 folders of textual documentation, 9.46 linear meters of photographs and negatives, 6,545 slides, 250 CD-ROMS, 101 floppy disks, and 371 models that document the architectural activities of Siza and his office. Among the drawings are sketches by Siza on various items, such as napkins, receipts, envelopes, or on the back of working drawings. The fonds contains several types of architectural projects including residential buildings, museums, universities, urban plans, offices, and city restorations. Of particular significance are the sketchbooks, comprised of sketches for architectural projects, Siza’s travels, people, and animals as well as notes and draft letters. The sketchbooks are organized in chronological order, starting in the late 1970’s to the beginning of the 2000’s. Locations, notes, and dates have also been identified on the front of each sketchbook along with the sketchbook number. The sketchbooks provide a unique perspective of Siza’s use of drawing as part of his work process.
Personnes et institutions:
Date:
1958-2002
1958-2002
Titre:
Fonds Álvaro Siza
Actions:
AP178
Description:
The Álvaro Siza fonds documents the architectural work of Portuguese architect Álvaro Siza. Records in this fonds document Siza’s projects from 1958-2012, including built and unbuilt designs. A collaborative project was established between the Canadian Centre for Architecture (CCA), Fundação de Serralves, and Fundação Calouste Gulbenkian to allow for international research and access to the archive. The archive is shared by the three institutions with each institution holding different projects while collaborating on the descriptive work and increasing the visibility of the archive. The holdings at both the Fundação de Serralves and Fundação Calouste Gulbenkian focus on Siza’s Portuguese projects, while the portion of the archive held by the CCA mainly includes Siza’s projects abroad. All three institutions are committed to describing the archive and making it accessible for scholarly research. The processing of the Siza archive held by the CCA has been divided into four phases to allow for access to parts of the archive while still in process. For the first, second, and third phases, the processing archivist has described the projects from the fifties, sixties, and seventies, as well as projects for the IBA competition in Berlin, urban renewal projects in The Hague from the eighties, urban plans, museums, and individual houses between 1980 and 2000. The processing archivist has also described approximately 203 sketchbooks. Many of these sketchbooks include sketches related to architectural projects which were processed. The complete list of projects processed by the CCA to date can be found in series AP178.S1. The bulk of the Álvaro Siza fonds is arranged in Series AP178.S1, which contains documentation for over 200 of Siza’s architectural projects. Records in this archive are predominantly from 1970 to 2000. Series AP178.S1 mainly contains conceptual, design development, presentation, and working drawings. Also included are photographic materials, models, born digital records, and textual documentation, which include correspondence, project proposals, and notes. The architect’s creative process is captured in 282 sketchbooks arranged in Series AP178.S2. In all there are approximately 60 000 drawings, 3000 folders of textual documentation, 9.46 linear meters of photographs and negatives, 6,545 slides, 250 CD-ROMS, 101 floppy disks, and 371 models that document the architectural activities of Siza and his office. Among the drawings are sketches by Siza on various items, such as napkins, receipts, envelopes, or on the back of working drawings. The fonds contains several types of architectural projects including residential buildings, museums, universities, urban plans, offices, and city restorations. Of particular significance are the sketchbooks, comprised of sketches for architectural projects, Siza’s travels, people, and animals as well as notes and draft letters. The sketchbooks are organized in chronological order, starting in the late 1970’s to the beginning of the 2000’s. Locations, notes, and dates have also been identified on the front of each sketchbook along with the sketchbook number. The sketchbooks provide a unique perspective of Siza’s use of drawing as part of his work process.
Fonds Álvaro Siza
Actions:
AP178
Description:
The Álvaro Siza fonds documents the architectural work of Portuguese architect Álvaro Siza. Records in this fonds document Siza’s projects from 1958-2012, including built and unbuilt designs. A collaborative project was established between the Canadian Centre for Architecture (CCA), Fundação de Serralves, and Fundação Calouste Gulbenkian to allow for international research and access to the archive. The archive is shared by the three institutions with each institution holding different projects while collaborating on the descriptive work and increasing the visibility of the archive. The holdings at both the Fundação de Serralves and Fundação Calouste Gulbenkian focus on Siza’s Portuguese projects, while the portion of the archive held by the CCA mainly includes Siza’s projects abroad. All three institutions are committed to describing the archive and making it accessible for scholarly research. The processing of the Siza archive held by the CCA has been divided into four phases to allow for access to parts of the archive while still in process. For the first, second, and third phases, the processing archivist has described the projects from the fifties, sixties, and seventies, as well as projects for the IBA competition in Berlin, urban renewal projects in The Hague from the eighties, urban plans, museums, and individual houses between 1980 and 2000. The processing archivist has also described approximately 203 sketchbooks. Many of these sketchbooks include sketches related to architectural projects which were processed. The complete list of projects processed by the CCA to date can be found in series AP178.S1. The bulk of the Álvaro Siza fonds is arranged in Series AP178.S1, which contains documentation for over 200 of Siza’s architectural projects. Records in this archive are predominantly from 1970 to 2000. Series AP178.S1 mainly contains conceptual, design development, presentation, and working drawings. Also included are photographic materials, models, born digital records, and textual documentation, which include correspondence, project proposals, and notes. The architect’s creative process is captured in 282 sketchbooks arranged in Series AP178.S2. In all there are approximately 60 000 drawings, 3000 folders of textual documentation, 9.46 linear meters of photographs and negatives, 6,545 slides, 250 CD-ROMS, 101 floppy disks, and 371 models that document the architectural activities of Siza and his office. Among the drawings are sketches by Siza on various items, such as napkins, receipts, envelopes, or on the back of working drawings. The fonds contains several types of architectural projects including residential buildings, museums, universities, urban plans, offices, and city restorations. Of particular significance are the sketchbooks, comprised of sketches for architectural projects, Siza’s travels, people, and animals as well as notes and draft letters. The sketchbooks are organized in chronological order, starting in the late 1970’s to the beginning of the 2000’s. Locations, notes, and dates have also been identified on the front of each sketchbook along with the sketchbook number. The sketchbooks provide a unique perspective of Siza’s use of drawing as part of his work process.
Classification:
archives
Niveau de description archivistique:
Fonds
archives
Niveau de description archivistique:
Fonds
Date:
1958-2002
1958-2002
Personnes et institutions:
Niveau de description archivistique:
Sous-série
Sous-série
Numéro de référence:
CI001.S1.D3
Description:
The urban and public architecture of Hubert Rohault de Fleury is insightful concerning both the stylistic directions of utilitarian architecture in France and the structure and role of the government architectural services (1) in the Empire and the Restoration. The drawings in the CCA collection depict built and unbuilt projects undertaken in the context of Hubert's positions in the government architectural services as well as private commissions. Hubert's principal official positions related to three branches of the French government: the Préfecture de la police, the Conseil général des hospices and the Conseil des Bâtiments Civils, a "division" of the Ministère de l'interieur. Hubert's work for the Préfecture de la police (which was also responsible for the gendarmerie and the sapeurs-pompiers barracks) is represented in the CCA collection by projects for four gendarmerie barracks (1821-1830) and alterations to the Préfecture de la Police (1833 ?) and nearby prison in Paris (1819)(DR1974:0002:016:001-070 / DR1974:0002:011:001-089 and DR1974:0002: 015:001-070). The drawings in these albums emphasize the planning (or re-arrangement) of the interior spaces. The album for the Préfecture de la police also includes record drawings for prisons in England and France as background material for Hubert's work and/or related to reports for the Conseil des Bâtiments Civils, which had an active role in the design of prisons throughout France during the early years of the nineteenth century (2). Although the CCA collection has no drawings directly related to Hubert's position as the architecte des hospices (3), drawings and prints are included for his earlier ideal hospitals (ca. 1810) (DR1974:0002:008:001-077). These projects continue the late 17th and 18th century tradition of monumental geometrically laid-out ideal hospitals. This album also contains prints and drawings of medical buildings by other architects (probably reference material), and drawings of Hubert's unexecuted proposal for the re-development of the École de médecine (Paris) and the surrounding buildings and urban spaces. Hubert was the architecte de l'École de medicine (4); a position that probably related to his work for the Ministère d'Interieur, which would have been responsible for this building. In general, Hubert's role and responsibilities within the Ministère de l'interieur and the associated Conseil de Bâtiment Civils (especially prior to his appointment to the position of inspecteur gènèral in 1830) are the least clear of his government positions. In addition to the École de medicine album, two other albums contain projects relating to the Ministère de l'Interieur: two proposals for Place Louis XV commissioned by the Ministre de l'interieur, Duc Decazes in 1821 (DR1974:0002:037:001-031), and drawings for the conversion or renovation of several Parisian hôtel particuliers (probably between 1810 and ca. 1820) including those used by the Ministère de l'interieur, Ministère de la Guerre and the Ministère des affaires étrangères (DR1974:0002;011:001-089). On other government commission of significance is represented in the CCA collection. In 1819, Hubert Rohault de Fleury in collaboration with Etienne Hyppolite Godde was commissioned to direct the restoration of the Thermes de Julien located under the Hôtel de Cluny. The CCA collection includes several letters and drawings, and a report related to this commission (DR1974:0002 :037:001-031). Hubert's private urban projects, mostly commissioned by private entrepreneurs or societies, were concerned with the expansion of the infrastructure of Paris and the surrounding communities as well as, to some extent, larger issues of urban development. One album contains projects dating from between 1819 and 1836 related horses - an essential part of 19th century urban life (5): a stud-farm (Haras de Madrid, Bois de Boulogne), an auction house and an infirmary (Clos St. Charles, Clos d'équarrissage, fôret de Bondy) and three slaughterhouses (Plaine de Grenelle, an unnamed project and La Villete (6))(DR1974:0002:014:001-104). These album also includes developmental studies for a new quartier of Paris - Nouveau Quartier Poissonière (the site of today's 10e arrondissement). A second album (ca. 1825) includes designs for a "maison de blanchisseur", an "entrepot de vins" with adjacent "guingette" and designs for structures at Parc de Clichy - a reservoir, a washhouse and a manège (DR1974:0002:009:001-079) (7). The drawings in these albums are particularly informative regarding the materials, structures and mechanical systems utilized. As with most of his government commissions, for these buildings, Hubert adopted a sparse architectural syntax of pared-down classical motifs and regimented plans grounded in the ideas of Durand and commonly used in utilitarian buildings during the 19th century. (1) These are discussed in some detail in Chapter 2 of David Van Zanten, 'Building Paris' (Cambridge: Cambridge University Press, 1994). (2) Van Zanten, 'Building Paris', 51-52. (3) The Cabinet des Estampes at the Musée Carnavalet in Paris has drawings related to Hubert's work for the Conseil général des hospices. (4) Evidence of this position is based on inscriptions on drawings in album, DR1974:0002:008:001-77. (5) Bergdoll, 4. (6) The La Villete slaughterhouse was designed by Charles Rohault de Fleury. (7) The source(s) of these commissions is unknown.
CI001.S1.D3
Description:
The urban and public architecture of Hubert Rohault de Fleury is insightful concerning both the stylistic directions of utilitarian architecture in France and the structure and role of the government architectural services (1) in the Empire and the Restoration. The drawings in the CCA collection depict built and unbuilt projects undertaken in the context of Hubert's positions in the government architectural services as well as private commissions. Hubert's principal official positions related to three branches of the French government: the Préfecture de la police, the Conseil général des hospices and the Conseil des Bâtiments Civils, a "division" of the Ministère de l'interieur. Hubert's work for the Préfecture de la police (which was also responsible for the gendarmerie and the sapeurs-pompiers barracks) is represented in the CCA collection by projects for four gendarmerie barracks (1821-1830) and alterations to the Préfecture de la Police (1833 ?) and nearby prison in Paris (1819)(DR1974:0002:016:001-070 / DR1974:0002:011:001-089 and DR1974:0002: 015:001-070). The drawings in these albums emphasize the planning (or re-arrangement) of the interior spaces. The album for the Préfecture de la police also includes record drawings for prisons in England and France as background material for Hubert's work and/or related to reports for the Conseil des Bâtiments Civils, which had an active role in the design of prisons throughout France during the early years of the nineteenth century (2). Although the CCA collection has no drawings directly related to Hubert's position as the architecte des hospices (3), drawings and prints are included for his earlier ideal hospitals (ca. 1810) (DR1974:0002:008:001-077). These projects continue the late 17th and 18th century tradition of monumental geometrically laid-out ideal hospitals. This album also contains prints and drawings of medical buildings by other architects (probably reference material), and drawings of Hubert's unexecuted proposal for the re-development of the École de médecine (Paris) and the surrounding buildings and urban spaces. Hubert was the architecte de l'École de medicine (4); a position that probably related to his work for the Ministère d'Interieur, which would have been responsible for this building. In general, Hubert's role and responsibilities within the Ministère de l'interieur and the associated Conseil de Bâtiment Civils (especially prior to his appointment to the position of inspecteur gènèral in 1830) are the least clear of his government positions. In addition to the École de medicine album, two other albums contain projects relating to the Ministère de l'Interieur: two proposals for Place Louis XV commissioned by the Ministre de l'interieur, Duc Decazes in 1821 (DR1974:0002:037:001-031), and drawings for the conversion or renovation of several Parisian hôtel particuliers (probably between 1810 and ca. 1820) including those used by the Ministère de l'interieur, Ministère de la Guerre and the Ministère des affaires étrangères (DR1974:0002;011:001-089). On other government commission of significance is represented in the CCA collection. In 1819, Hubert Rohault de Fleury in collaboration with Etienne Hyppolite Godde was commissioned to direct the restoration of the Thermes de Julien located under the Hôtel de Cluny. The CCA collection includes several letters and drawings, and a report related to this commission (DR1974:0002 :037:001-031). Hubert's private urban projects, mostly commissioned by private entrepreneurs or societies, were concerned with the expansion of the infrastructure of Paris and the surrounding communities as well as, to some extent, larger issues of urban development. One album contains projects dating from between 1819 and 1836 related horses - an essential part of 19th century urban life (5): a stud-farm (Haras de Madrid, Bois de Boulogne), an auction house and an infirmary (Clos St. Charles, Clos d'équarrissage, fôret de Bondy) and three slaughterhouses (Plaine de Grenelle, an unnamed project and La Villete (6))(DR1974:0002:014:001-104). These album also includes developmental studies for a new quartier of Paris - Nouveau Quartier Poissonière (the site of today's 10e arrondissement). A second album (ca. 1825) includes designs for a "maison de blanchisseur", an "entrepot de vins" with adjacent "guingette" and designs for structures at Parc de Clichy - a reservoir, a washhouse and a manège (DR1974:0002:009:001-079) (7). The drawings in these albums are particularly informative regarding the materials, structures and mechanical systems utilized. As with most of his government commissions, for these buildings, Hubert adopted a sparse architectural syntax of pared-down classical motifs and regimented plans grounded in the ideas of Durand and commonly used in utilitarian buildings during the 19th century. (1) These are discussed in some detail in Chapter 2 of David Van Zanten, 'Building Paris' (Cambridge: Cambridge University Press, 1994). (2) Van Zanten, 'Building Paris', 51-52. (3) The Cabinet des Estampes at the Musée Carnavalet in Paris has drawings related to Hubert's work for the Conseil général des hospices. (4) Evidence of this position is based on inscriptions on drawings in album, DR1974:0002:008:001-77. (5) Bergdoll, 4. (6) The La Villete slaughterhouse was designed by Charles Rohault de Fleury. (7) The source(s) of these commissions is unknown.
Personnes et institutions:
Date:
1754-1875
1754-1875
Titre:
Public and Urban architecture
CI001.S1.D3
Description:
The urban and public architecture of Hubert Rohault de Fleury is insightful concerning both the stylistic directions of utilitarian architecture in France and the structure and role of the government architectural services (1) in the Empire and the Restoration. The drawings in the CCA collection depict built and unbuilt projects undertaken in the context of Hubert's positions in the government architectural services as well as private commissions. Hubert's principal official positions related to three branches of the French government: the Préfecture de la police, the Conseil général des hospices and the Conseil des Bâtiments Civils, a "division" of the Ministère de l'interieur. Hubert's work for the Préfecture de la police (which was also responsible for the gendarmerie and the sapeurs-pompiers barracks) is represented in the CCA collection by projects for four gendarmerie barracks (1821-1830) and alterations to the Préfecture de la Police (1833 ?) and nearby prison in Paris (1819)(DR1974:0002:016:001-070 / DR1974:0002:011:001-089 and DR1974:0002: 015:001-070). The drawings in these albums emphasize the planning (or re-arrangement) of the interior spaces. The album for the Préfecture de la police also includes record drawings for prisons in England and France as background material for Hubert's work and/or related to reports for the Conseil des Bâtiments Civils, which had an active role in the design of prisons throughout France during the early years of the nineteenth century (2). Although the CCA collection has no drawings directly related to Hubert's position as the architecte des hospices (3), drawings and prints are included for his earlier ideal hospitals (ca. 1810) (DR1974:0002:008:001-077). These projects continue the late 17th and 18th century tradition of monumental geometrically laid-out ideal hospitals. This album also contains prints and drawings of medical buildings by other architects (probably reference material), and drawings of Hubert's unexecuted proposal for the re-development of the École de médecine (Paris) and the surrounding buildings and urban spaces. Hubert was the architecte de l'École de medicine (4); a position that probably related to his work for the Ministère d'Interieur, which would have been responsible for this building. In general, Hubert's role and responsibilities within the Ministère de l'interieur and the associated Conseil de Bâtiment Civils (especially prior to his appointment to the position of inspecteur gènèral in 1830) are the least clear of his government positions. In addition to the École de medicine album, two other albums contain projects relating to the Ministère de l'Interieur: two proposals for Place Louis XV commissioned by the Ministre de l'interieur, Duc Decazes in 1821 (DR1974:0002:037:001-031), and drawings for the conversion or renovation of several Parisian hôtel particuliers (probably between 1810 and ca. 1820) including those used by the Ministère de l'interieur, Ministère de la Guerre and the Ministère des affaires étrangères (DR1974:0002;011:001-089). On other government commission of significance is represented in the CCA collection. In 1819, Hubert Rohault de Fleury in collaboration with Etienne Hyppolite Godde was commissioned to direct the restoration of the Thermes de Julien located under the Hôtel de Cluny. The CCA collection includes several letters and drawings, and a report related to this commission (DR1974:0002 :037:001-031). Hubert's private urban projects, mostly commissioned by private entrepreneurs or societies, were concerned with the expansion of the infrastructure of Paris and the surrounding communities as well as, to some extent, larger issues of urban development. One album contains projects dating from between 1819 and 1836 related horses - an essential part of 19th century urban life (5): a stud-farm (Haras de Madrid, Bois de Boulogne), an auction house and an infirmary (Clos St. Charles, Clos d'équarrissage, fôret de Bondy) and three slaughterhouses (Plaine de Grenelle, an unnamed project and La Villete (6))(DR1974:0002:014:001-104). These album also includes developmental studies for a new quartier of Paris - Nouveau Quartier Poissonière (the site of today's 10e arrondissement). A second album (ca. 1825) includes designs for a "maison de blanchisseur", an "entrepot de vins" with adjacent "guingette" and designs for structures at Parc de Clichy - a reservoir, a washhouse and a manège (DR1974:0002:009:001-079) (7). The drawings in these albums are particularly informative regarding the materials, structures and mechanical systems utilized. As with most of his government commissions, for these buildings, Hubert adopted a sparse architectural syntax of pared-down classical motifs and regimented plans grounded in the ideas of Durand and commonly used in utilitarian buildings during the 19th century. (1) These are discussed in some detail in Chapter 2 of David Van Zanten, 'Building Paris' (Cambridge: Cambridge University Press, 1994). (2) Van Zanten, 'Building Paris', 51-52. (3) The Cabinet des Estampes at the Musée Carnavalet in Paris has drawings related to Hubert's work for the Conseil général des hospices. (4) Evidence of this position is based on inscriptions on drawings in album, DR1974:0002:008:001-77. (5) Bergdoll, 4. (6) The La Villete slaughterhouse was designed by Charles Rohault de Fleury. (7) The source(s) of these commissions is unknown.
Public and Urban architecture
CI001.S1.D3
Description:
The urban and public architecture of Hubert Rohault de Fleury is insightful concerning both the stylistic directions of utilitarian architecture in France and the structure and role of the government architectural services (1) in the Empire and the Restoration. The drawings in the CCA collection depict built and unbuilt projects undertaken in the context of Hubert's positions in the government architectural services as well as private commissions. Hubert's principal official positions related to three branches of the French government: the Préfecture de la police, the Conseil général des hospices and the Conseil des Bâtiments Civils, a "division" of the Ministère de l'interieur. Hubert's work for the Préfecture de la police (which was also responsible for the gendarmerie and the sapeurs-pompiers barracks) is represented in the CCA collection by projects for four gendarmerie barracks (1821-1830) and alterations to the Préfecture de la Police (1833 ?) and nearby prison in Paris (1819)(DR1974:0002:016:001-070 / DR1974:0002:011:001-089 and DR1974:0002: 015:001-070). The drawings in these albums emphasize the planning (or re-arrangement) of the interior spaces. The album for the Préfecture de la police also includes record drawings for prisons in England and France as background material for Hubert's work and/or related to reports for the Conseil des Bâtiments Civils, which had an active role in the design of prisons throughout France during the early years of the nineteenth century (2). Although the CCA collection has no drawings directly related to Hubert's position as the architecte des hospices (3), drawings and prints are included for his earlier ideal hospitals (ca. 1810) (DR1974:0002:008:001-077). These projects continue the late 17th and 18th century tradition of monumental geometrically laid-out ideal hospitals. This album also contains prints and drawings of medical buildings by other architects (probably reference material), and drawings of Hubert's unexecuted proposal for the re-development of the École de médecine (Paris) and the surrounding buildings and urban spaces. Hubert was the architecte de l'École de medicine (4); a position that probably related to his work for the Ministère d'Interieur, which would have been responsible for this building. In general, Hubert's role and responsibilities within the Ministère de l'interieur and the associated Conseil de Bâtiment Civils (especially prior to his appointment to the position of inspecteur gènèral in 1830) are the least clear of his government positions. In addition to the École de medicine album, two other albums contain projects relating to the Ministère de l'Interieur: two proposals for Place Louis XV commissioned by the Ministre de l'interieur, Duc Decazes in 1821 (DR1974:0002:037:001-031), and drawings for the conversion or renovation of several Parisian hôtel particuliers (probably between 1810 and ca. 1820) including those used by the Ministère de l'interieur, Ministère de la Guerre and the Ministère des affaires étrangères (DR1974:0002;011:001-089). On other government commission of significance is represented in the CCA collection. In 1819, Hubert Rohault de Fleury in collaboration with Etienne Hyppolite Godde was commissioned to direct the restoration of the Thermes de Julien located under the Hôtel de Cluny. The CCA collection includes several letters and drawings, and a report related to this commission (DR1974:0002 :037:001-031). Hubert's private urban projects, mostly commissioned by private entrepreneurs or societies, were concerned with the expansion of the infrastructure of Paris and the surrounding communities as well as, to some extent, larger issues of urban development. One album contains projects dating from between 1819 and 1836 related horses - an essential part of 19th century urban life (5): a stud-farm (Haras de Madrid, Bois de Boulogne), an auction house and an infirmary (Clos St. Charles, Clos d'équarrissage, fôret de Bondy) and three slaughterhouses (Plaine de Grenelle, an unnamed project and La Villete (6))(DR1974:0002:014:001-104). These album also includes developmental studies for a new quartier of Paris - Nouveau Quartier Poissonière (the site of today's 10e arrondissement). A second album (ca. 1825) includes designs for a "maison de blanchisseur", an "entrepot de vins" with adjacent "guingette" and designs for structures at Parc de Clichy - a reservoir, a washhouse and a manège (DR1974:0002:009:001-079) (7). The drawings in these albums are particularly informative regarding the materials, structures and mechanical systems utilized. As with most of his government commissions, for these buildings, Hubert adopted a sparse architectural syntax of pared-down classical motifs and regimented plans grounded in the ideas of Durand and commonly used in utilitarian buildings during the 19th century. (1) These are discussed in some detail in Chapter 2 of David Van Zanten, 'Building Paris' (Cambridge: Cambridge University Press, 1994). (2) Van Zanten, 'Building Paris', 51-52. (3) The Cabinet des Estampes at the Musée Carnavalet in Paris has drawings related to Hubert's work for the Conseil général des hospices. (4) Evidence of this position is based on inscriptions on drawings in album, DR1974:0002:008:001-77. (5) Bergdoll, 4. (6) The La Villete slaughterhouse was designed by Charles Rohault de Fleury. (7) The source(s) of these commissions is unknown.
Niveau de description archivistique:
File 3
File 3
Date:
1754-1875
1754-1875
Personnes et institutions:
Classification:
archives
Niveau de description archivistique:
Fonds
archives
Niveau de description archivistique:
Fonds
Titre:
Fonds Bijoy Jain
Fonds Bijoy Jain
Numéro de référence:
AP182
Résumé:
The Bijoy Jain fonds documents eight projects by Bijoy Jain and the firm Studio Mumbai carried out between 2009 and 2015. Represented work includes courtyard houses in Maharashtra, Ahmedabad, and Chennai, live-work complexes in Mumbai and Dehradun, as well as two research-based projects, one for migrant housing and another an investigation of building demolition. The fonds consists of reproduced and original drawings, photographs, models, material samples, and several video recordings.
AP182
Résumé:
The Bijoy Jain fonds documents eight projects by Bijoy Jain and the firm Studio Mumbai carried out between 2009 and 2015. Represented work includes courtyard houses in Maharashtra, Ahmedabad, and Chennai, live-work complexes in Mumbai and Dehradun, as well as two research-based projects, one for migrant housing and another an investigation of building demolition. The fonds consists of reproduced and original drawings, photographs, models, material samples, and several video recordings.
Personnes et institutions:
Date:
2008-2015
2008-2015
Titre:
Fonds Bijoy Jain
Actions:
AP182
Résumé:
The Bijoy Jain fonds documents eight projects by Bijoy Jain and the firm Studio Mumbai carried out between 2009 and 2015. Represented work includes courtyard houses in Maharashtra, Ahmedabad, and Chennai, live-work complexes in Mumbai and Dehradun, as well as two research-based projects, one for migrant housing and another an investigation of building demolition. The fonds consists of reproduced and original drawings, photographs, models, material samples, and several video recordings.
Fonds Bijoy Jain
Actions:
AP182
Résumé:
The Bijoy Jain fonds documents eight projects by Bijoy Jain and the firm Studio Mumbai carried out between 2009 and 2015. Represented work includes courtyard houses in Maharashtra, Ahmedabad, and Chennai, live-work complexes in Mumbai and Dehradun, as well as two research-based projects, one for migrant housing and another an investigation of building demolition. The fonds consists of reproduced and original drawings, photographs, models, material samples, and several video recordings.
Classification:
archives
Niveau de description archivistique:
Fonds
archives
Niveau de description archivistique:
Fonds
Date:
2008-2015
2008-2015
Personnes et institutions:
Classification:
documents textuels
Quantité:
2 textual record(s)
documents textuels
Quantité:
2 textual record(s)
Titre:
Competitors Meeting Schedule
Competitors Meeting Schedule
Numéro de référence:
ARCH183738
Description:
Competitors Meeting Schedule: 1 draft schedule for 5 March Competitor's Meeting and 1 e-mail to Helen Malkin from Ralph Lerner, 24 February 1999
ARCH183738
Description:
Competitors Meeting Schedule: 1 draft schedule for 5 March Competitor's Meeting and 1 e-mail to Helen Malkin from Ralph Lerner, 24 February 1999
Personnes et institutions:
Date:
1999
1999
Titre:
Competitors Meeting Schedule
Actions:
ARCH183738
Description:
Competitors Meeting Schedule: 1 draft schedule for 5 March Competitor's Meeting and 1 e-mail to Helen Malkin from Ralph Lerner, 24 February 1999
Competitors Meeting Schedule
Actions:
ARCH183738
Description:
Competitors Meeting Schedule: 1 draft schedule for 5 March Competitor's Meeting and 1 e-mail to Helen Malkin from Ralph Lerner, 24 February 1999
Classification:
documents textuels
Quantité:
2 textual record(s)
documents textuels
Quantité:
2 textual record(s)
Date:
1999
1999
Personnes et institutions:
