3996 Résultats
Niveau de description archivistique:
Série(s)
Série(s)
Numéro de référence:
AP140.S4
Description:
Series documents responses to the death of James Stirling in 1992. It also documents the organization of the James Stirling Memorial and the establishment and activities of the James Stirling Foundation. Material in this series was produced between 1990 and 2000. Series contains textual records, including clippings of obituaries for James Stirling, condolences letters, and correspondence.
AP140.S4
Description:
Series documents responses to the death of James Stirling in 1992. It also documents the organization of the James Stirling Memorial and the establishment and activities of the James Stirling Foundation. Material in this series was produced between 1990 and 2000. Series contains textual records, including clippings of obituaries for James Stirling, condolences letters, and correspondence.
Personnes et institutions:
Date:
1990-2000
1990-2000
Titre:
James Stirling obituaries, memorial and foundation
Actions:
AP140.S4
Description:
Series documents responses to the death of James Stirling in 1992. It also documents the organization of the James Stirling Memorial and the establishment and activities of the James Stirling Foundation. Material in this series was produced between 1990 and 2000. Series contains textual records, including clippings of obituaries for James Stirling, condolences letters, and correspondence.
James Stirling obituaries, memorial and foundation
Actions:
AP140.S4
Description:
Series documents responses to the death of James Stirling in 1992. It also documents the organization of the James Stirling Memorial and the establishment and activities of the James Stirling Foundation. Material in this series was produced between 1990 and 2000. Series contains textual records, including clippings of obituaries for James Stirling, condolences letters, and correspondence.
Niveau de description archivistique:
Series 4
Series 4
Date:
1990-2000
1990-2000
Personnes et institutions:
Niveau de description archivistique:
Sous-série
Sous-série
Titre:
Opera Houses
Opera Houses
Numéro de référence:
CI001.S2.D3
Description:
Charles Rohault de Fleury's sustained involvement with the design of opera houses began with his appointment in 1846 as official architect of the existing Salle Le Pelletier, home to the *Paris Opera, and continued until an open competition was called in 1860 (Charles Garnier won this competition). During this period Rohault de Fleury submitted numerous proposals to replace theprovisional Salle Le Pelletier with a structure more appropriate to the grandeur and importance of France's national opera company. The CCA collection contains four projects related to his work for the Paris opera: two early projects (1846 and 1847) and one later one (1859) for a newopera house, and a portfolio of lithographs and drawings related to alterations and repairs to Salle Le Pelletier (1850-1854). The collection also includes Charles' earliest theatre project, a comprehensive plan for an opera house and surrounding infrastructure for the Theatre Royal Italien opera company (1838-1840), and an album containing drawings and prints of antique and contemporary theatres (1839-1854?). Charles' first project was for the Theatre Royal Italien opera company whose previous home, the Salle Favart, had burned down on the night of January 14 1838. The CCA collection contains an album of presentation drawings for a new theatre located on rue de la Paix with boutiques in the adjacent 'passages' (DR1974:0002:019:001-023). A second album consists of site plans including proposed 'maisons à loyers' (apartment buildings) and documents relating to the cost estimates and rental income for the entire project (DR1974:0002:036:001-016). The architectural style and interior arrangement of the theatre is heavily indebted to Francois Debret's Salle Le Pelletier. Charles' originality lies more in his conception of the social and economic role of the theatre in relation and integration, to its surrounding urban fabric. An explanation of the entire Theatre Royal Italien project, and Charles' role as architect in it, is found in two proposal letters (located in the Avery Library, Columbia University, NY) written by the entrepreneur Eugene Lecomte to the Minister of the Interior, Comte Duchatel, on May 15 and October 31 1839 (1). Charles' album of drawings at the CCA for the theatre and some of the cost and rental estimates are probably presentation copies directly related to the first letter, and most likely submitted to the Minister of the Interior. Charles' project was never executed, and the Italian opera company eventualy found a permanent home in the existing Salle Ventadour (1841). However, the inclusive nature of the Théâtre Royal Italien proposal, with its stress on urban development and contextuality, continued to play a seminal role in his later Paris Opera projects. Upon replacing Francois Debret as architect of Salle Le Pelletier in 1846, Charles proposed nine possible locations (site plans) for a new opera house for the Paris Opera (*Academie Royale de Musique) and, in the following year (1847) prepared a portfolio of drawings for the actual structure with an accompanying seven-page manuscript describing the project. Although executed in successive years, the site plans and 1847 drawings are conceptually related. Both components were undertaken in response to offical interest in a public competition that was never implemented (2)(3). The CCA has two sets of the nine site plans proposed in 1846 (DR1974:0002:036:001-016), one containing transfer lithographed site plans with a written analysis and cost estimate for each of the proposed locations, and the other with only the site plans (similar sets are located in the 'Archives Nationales' in France). They indicate that Charles, (heavily influenced by his Théâtre Royal Italien project) preferred the Rue de la Paix location (siteplan #3) for the new opera house. Although site plan number six, Boulevard des Capucines, was not favoured at this date, it is highly prophetic as it was the location officially chosen in 1860 for the new opera house. Apparently unique to the CCA collection is the 1847 manuscript and portfolio of drawings for the proposed opera house (DR1974:0002:036:001-016). The manuscript is both an indepth review of the requirements for a national opera house and a guide to his portfolio of drawings. Charles' conception and design continued to be strongly influenced by Debret's Salle Lepelletier, as well as his own Théâtre Italien project, and various antique and contemporary opera houses and theatres. Many of the French and Italian sources mentioned in the manuscript are collected in an album (DR1974:0002:010:001-048) as references for his own designs (4). As official architect of Salle Le pelletier, Charles was also responsible for repairs, restorations, and alterations to the existing structure. The drawings and transfer lithographs in the CCA collection (DR1974:0002:036:001-016) are primarily dated 1854, and relate to documented repair and restoration projects undertaken during this period (5)(6). The CCA collection has the presentation drawings and lithographs for the later 1859 project (DR1974:0002:027:001-027) for the Paris opera (*Theatre Imperiale de l'opera) that were sent to Achille Fould, the Minister of State. This project is probably a counterpart to a similiar one that he submitted to the Prefect of the Seine, Baron Haussmann, in the same year (7). Site plans show the opera house on an irregular polygonal site facing Boulevard des Capucines. The placement of the 'maisons à loyers' on the rear of the site reflects Charles' continued emphasis on integrating his opera projects into the surrounding urban context. In 1859, it appeared that Charles was favoured to build the new opera house. But late in the following year, a public competition was called in which Charles Garnier emerged as the victor. Although Charles did not build the final structure, his numerous projects, as exemplified in the CCA collection, were of prime importance in determining the location, configuration, and plan of the Place de l'Opera (8). * The 'Paris Opera' was France's national opera, and thus its name changed numerous times throughout its history according to altering perceptions of its role in French culture and/or changes in political regimes. For reasons of clarity, the national opera will be referred to as the Paris Opera. The names indicated in brackets with a star refer to the proper name of the opera company at the date of the project. (1) Eugene Le Comte, "Projet de Salle rue de la Paix, pour le Théâtre Royal Italien: Lettres à Monsieur le Ministre de l'Intérieur, en date des 15 mai et 31octobre 1839" (Paris: P. Dupont, 1839). (2) Christopher Curtis Mead, "Charles Garnier's Paris Opera and the Renaissance of Classicism in Nineteenth century French Architecture", 3 vols. (PhD thesis; Philadelphia: University of Pennsylvania, 1986), p. 234 and p. 956, fn. 30. (3) Monika Steinhauser, "Die Architektur des Pariser Oper" (Munich: Prestel Verlag, 1969), p. 45, fns. 143 and 144. (4) Barry Bergdoll, "Charles Rohault de Fleury: Part Three: Theatres and the Opera house", 'CCA Research Report', n.d., p. 3. (5) Larousse XIXth Century, s.v. "Rohault de Fleury, Charles". (6) Mead, p. 238. (7) Oeuvres de C. Rohault de Fleury, architecte" (Paris: Librarie centrale d'architecture, 1884).. (8) Macmillan, s.v. "Rohault de Fleury Familly".
CI001.S2.D3
Description:
Charles Rohault de Fleury's sustained involvement with the design of opera houses began with his appointment in 1846 as official architect of the existing Salle Le Pelletier, home to the *Paris Opera, and continued until an open competition was called in 1860 (Charles Garnier won this competition). During this period Rohault de Fleury submitted numerous proposals to replace theprovisional Salle Le Pelletier with a structure more appropriate to the grandeur and importance of France's national opera company. The CCA collection contains four projects related to his work for the Paris opera: two early projects (1846 and 1847) and one later one (1859) for a newopera house, and a portfolio of lithographs and drawings related to alterations and repairs to Salle Le Pelletier (1850-1854). The collection also includes Charles' earliest theatre project, a comprehensive plan for an opera house and surrounding infrastructure for the Theatre Royal Italien opera company (1838-1840), and an album containing drawings and prints of antique and contemporary theatres (1839-1854?). Charles' first project was for the Theatre Royal Italien opera company whose previous home, the Salle Favart, had burned down on the night of January 14 1838. The CCA collection contains an album of presentation drawings for a new theatre located on rue de la Paix with boutiques in the adjacent 'passages' (DR1974:0002:019:001-023). A second album consists of site plans including proposed 'maisons à loyers' (apartment buildings) and documents relating to the cost estimates and rental income for the entire project (DR1974:0002:036:001-016). The architectural style and interior arrangement of the theatre is heavily indebted to Francois Debret's Salle Le Pelletier. Charles' originality lies more in his conception of the social and economic role of the theatre in relation and integration, to its surrounding urban fabric. An explanation of the entire Theatre Royal Italien project, and Charles' role as architect in it, is found in two proposal letters (located in the Avery Library, Columbia University, NY) written by the entrepreneur Eugene Lecomte to the Minister of the Interior, Comte Duchatel, on May 15 and October 31 1839 (1). Charles' album of drawings at the CCA for the theatre and some of the cost and rental estimates are probably presentation copies directly related to the first letter, and most likely submitted to the Minister of the Interior. Charles' project was never executed, and the Italian opera company eventualy found a permanent home in the existing Salle Ventadour (1841). However, the inclusive nature of the Théâtre Royal Italien proposal, with its stress on urban development and contextuality, continued to play a seminal role in his later Paris Opera projects. Upon replacing Francois Debret as architect of Salle Le Pelletier in 1846, Charles proposed nine possible locations (site plans) for a new opera house for the Paris Opera (*Academie Royale de Musique) and, in the following year (1847) prepared a portfolio of drawings for the actual structure with an accompanying seven-page manuscript describing the project. Although executed in successive years, the site plans and 1847 drawings are conceptually related. Both components were undertaken in response to offical interest in a public competition that was never implemented (2)(3). The CCA has two sets of the nine site plans proposed in 1846 (DR1974:0002:036:001-016), one containing transfer lithographed site plans with a written analysis and cost estimate for each of the proposed locations, and the other with only the site plans (similar sets are located in the 'Archives Nationales' in France). They indicate that Charles, (heavily influenced by his Théâtre Royal Italien project) preferred the Rue de la Paix location (siteplan #3) for the new opera house. Although site plan number six, Boulevard des Capucines, was not favoured at this date, it is highly prophetic as it was the location officially chosen in 1860 for the new opera house. Apparently unique to the CCA collection is the 1847 manuscript and portfolio of drawings for the proposed opera house (DR1974:0002:036:001-016). The manuscript is both an indepth review of the requirements for a national opera house and a guide to his portfolio of drawings. Charles' conception and design continued to be strongly influenced by Debret's Salle Lepelletier, as well as his own Théâtre Italien project, and various antique and contemporary opera houses and theatres. Many of the French and Italian sources mentioned in the manuscript are collected in an album (DR1974:0002:010:001-048) as references for his own designs (4). As official architect of Salle Le pelletier, Charles was also responsible for repairs, restorations, and alterations to the existing structure. The drawings and transfer lithographs in the CCA collection (DR1974:0002:036:001-016) are primarily dated 1854, and relate to documented repair and restoration projects undertaken during this period (5)(6). The CCA collection has the presentation drawings and lithographs for the later 1859 project (DR1974:0002:027:001-027) for the Paris opera (*Theatre Imperiale de l'opera) that were sent to Achille Fould, the Minister of State. This project is probably a counterpart to a similiar one that he submitted to the Prefect of the Seine, Baron Haussmann, in the same year (7). Site plans show the opera house on an irregular polygonal site facing Boulevard des Capucines. The placement of the 'maisons à loyers' on the rear of the site reflects Charles' continued emphasis on integrating his opera projects into the surrounding urban context. In 1859, it appeared that Charles was favoured to build the new opera house. But late in the following year, a public competition was called in which Charles Garnier emerged as the victor. Although Charles did not build the final structure, his numerous projects, as exemplified in the CCA collection, were of prime importance in determining the location, configuration, and plan of the Place de l'Opera (8). * The 'Paris Opera' was France's national opera, and thus its name changed numerous times throughout its history according to altering perceptions of its role in French culture and/or changes in political regimes. For reasons of clarity, the national opera will be referred to as the Paris Opera. The names indicated in brackets with a star refer to the proper name of the opera company at the date of the project. (1) Eugene Le Comte, "Projet de Salle rue de la Paix, pour le Théâtre Royal Italien: Lettres à Monsieur le Ministre de l'Intérieur, en date des 15 mai et 31octobre 1839" (Paris: P. Dupont, 1839). (2) Christopher Curtis Mead, "Charles Garnier's Paris Opera and the Renaissance of Classicism in Nineteenth century French Architecture", 3 vols. (PhD thesis; Philadelphia: University of Pennsylvania, 1986), p. 234 and p. 956, fn. 30. (3) Monika Steinhauser, "Die Architektur des Pariser Oper" (Munich: Prestel Verlag, 1969), p. 45, fns. 143 and 144. (4) Barry Bergdoll, "Charles Rohault de Fleury: Part Three: Theatres and the Opera house", 'CCA Research Report', n.d., p. 3. (5) Larousse XIXth Century, s.v. "Rohault de Fleury, Charles". (6) Mead, p. 238. (7) Oeuvres de C. Rohault de Fleury, architecte" (Paris: Librarie centrale d'architecture, 1884).. (8) Macmillan, s.v. "Rohault de Fleury Familly".
Personnes et institutions:
Date:
1717-1868
1717-1868
Titre:
Opera Houses
CI001.S2.D3
Description:
Charles Rohault de Fleury's sustained involvement with the design of opera houses began with his appointment in 1846 as official architect of the existing Salle Le Pelletier, home to the *Paris Opera, and continued until an open competition was called in 1860 (Charles Garnier won this competition). During this period Rohault de Fleury submitted numerous proposals to replace theprovisional Salle Le Pelletier with a structure more appropriate to the grandeur and importance of France's national opera company. The CCA collection contains four projects related to his work for the Paris opera: two early projects (1846 and 1847) and one later one (1859) for a newopera house, and a portfolio of lithographs and drawings related to alterations and repairs to Salle Le Pelletier (1850-1854). The collection also includes Charles' earliest theatre project, a comprehensive plan for an opera house and surrounding infrastructure for the Theatre Royal Italien opera company (1838-1840), and an album containing drawings and prints of antique and contemporary theatres (1839-1854?). Charles' first project was for the Theatre Royal Italien opera company whose previous home, the Salle Favart, had burned down on the night of January 14 1838. The CCA collection contains an album of presentation drawings for a new theatre located on rue de la Paix with boutiques in the adjacent 'passages' (DR1974:0002:019:001-023). A second album consists of site plans including proposed 'maisons à loyers' (apartment buildings) and documents relating to the cost estimates and rental income for the entire project (DR1974:0002:036:001-016). The architectural style and interior arrangement of the theatre is heavily indebted to Francois Debret's Salle Le Pelletier. Charles' originality lies more in his conception of the social and economic role of the theatre in relation and integration, to its surrounding urban fabric. An explanation of the entire Theatre Royal Italien project, and Charles' role as architect in it, is found in two proposal letters (located in the Avery Library, Columbia University, NY) written by the entrepreneur Eugene Lecomte to the Minister of the Interior, Comte Duchatel, on May 15 and October 31 1839 (1). Charles' album of drawings at the CCA for the theatre and some of the cost and rental estimates are probably presentation copies directly related to the first letter, and most likely submitted to the Minister of the Interior. Charles' project was never executed, and the Italian opera company eventualy found a permanent home in the existing Salle Ventadour (1841). However, the inclusive nature of the Théâtre Royal Italien proposal, with its stress on urban development and contextuality, continued to play a seminal role in his later Paris Opera projects. Upon replacing Francois Debret as architect of Salle Le Pelletier in 1846, Charles proposed nine possible locations (site plans) for a new opera house for the Paris Opera (*Academie Royale de Musique) and, in the following year (1847) prepared a portfolio of drawings for the actual structure with an accompanying seven-page manuscript describing the project. Although executed in successive years, the site plans and 1847 drawings are conceptually related. Both components were undertaken in response to offical interest in a public competition that was never implemented (2)(3). The CCA has two sets of the nine site plans proposed in 1846 (DR1974:0002:036:001-016), one containing transfer lithographed site plans with a written analysis and cost estimate for each of the proposed locations, and the other with only the site plans (similar sets are located in the 'Archives Nationales' in France). They indicate that Charles, (heavily influenced by his Théâtre Royal Italien project) preferred the Rue de la Paix location (siteplan #3) for the new opera house. Although site plan number six, Boulevard des Capucines, was not favoured at this date, it is highly prophetic as it was the location officially chosen in 1860 for the new opera house. Apparently unique to the CCA collection is the 1847 manuscript and portfolio of drawings for the proposed opera house (DR1974:0002:036:001-016). The manuscript is both an indepth review of the requirements for a national opera house and a guide to his portfolio of drawings. Charles' conception and design continued to be strongly influenced by Debret's Salle Lepelletier, as well as his own Théâtre Italien project, and various antique and contemporary opera houses and theatres. Many of the French and Italian sources mentioned in the manuscript are collected in an album (DR1974:0002:010:001-048) as references for his own designs (4). As official architect of Salle Le pelletier, Charles was also responsible for repairs, restorations, and alterations to the existing structure. The drawings and transfer lithographs in the CCA collection (DR1974:0002:036:001-016) are primarily dated 1854, and relate to documented repair and restoration projects undertaken during this period (5)(6). The CCA collection has the presentation drawings and lithographs for the later 1859 project (DR1974:0002:027:001-027) for the Paris opera (*Theatre Imperiale de l'opera) that were sent to Achille Fould, the Minister of State. This project is probably a counterpart to a similiar one that he submitted to the Prefect of the Seine, Baron Haussmann, in the same year (7). Site plans show the opera house on an irregular polygonal site facing Boulevard des Capucines. The placement of the 'maisons à loyers' on the rear of the site reflects Charles' continued emphasis on integrating his opera projects into the surrounding urban context. In 1859, it appeared that Charles was favoured to build the new opera house. But late in the following year, a public competition was called in which Charles Garnier emerged as the victor. Although Charles did not build the final structure, his numerous projects, as exemplified in the CCA collection, were of prime importance in determining the location, configuration, and plan of the Place de l'Opera (8). * The 'Paris Opera' was France's national opera, and thus its name changed numerous times throughout its history according to altering perceptions of its role in French culture and/or changes in political regimes. For reasons of clarity, the national opera will be referred to as the Paris Opera. The names indicated in brackets with a star refer to the proper name of the opera company at the date of the project. (1) Eugene Le Comte, "Projet de Salle rue de la Paix, pour le Théâtre Royal Italien: Lettres à Monsieur le Ministre de l'Intérieur, en date des 15 mai et 31octobre 1839" (Paris: P. Dupont, 1839). (2) Christopher Curtis Mead, "Charles Garnier's Paris Opera and the Renaissance of Classicism in Nineteenth century French Architecture", 3 vols. (PhD thesis; Philadelphia: University of Pennsylvania, 1986), p. 234 and p. 956, fn. 30. (3) Monika Steinhauser, "Die Architektur des Pariser Oper" (Munich: Prestel Verlag, 1969), p. 45, fns. 143 and 144. (4) Barry Bergdoll, "Charles Rohault de Fleury: Part Three: Theatres and the Opera house", 'CCA Research Report', n.d., p. 3. (5) Larousse XIXth Century, s.v. "Rohault de Fleury, Charles". (6) Mead, p. 238. (7) Oeuvres de C. Rohault de Fleury, architecte" (Paris: Librarie centrale d'architecture, 1884).. (8) Macmillan, s.v. "Rohault de Fleury Familly".
Opera Houses
CI001.S2.D3
Description:
Charles Rohault de Fleury's sustained involvement with the design of opera houses began with his appointment in 1846 as official architect of the existing Salle Le Pelletier, home to the *Paris Opera, and continued until an open competition was called in 1860 (Charles Garnier won this competition). During this period Rohault de Fleury submitted numerous proposals to replace theprovisional Salle Le Pelletier with a structure more appropriate to the grandeur and importance of France's national opera company. The CCA collection contains four projects related to his work for the Paris opera: two early projects (1846 and 1847) and one later one (1859) for a newopera house, and a portfolio of lithographs and drawings related to alterations and repairs to Salle Le Pelletier (1850-1854). The collection also includes Charles' earliest theatre project, a comprehensive plan for an opera house and surrounding infrastructure for the Theatre Royal Italien opera company (1838-1840), and an album containing drawings and prints of antique and contemporary theatres (1839-1854?). Charles' first project was for the Theatre Royal Italien opera company whose previous home, the Salle Favart, had burned down on the night of January 14 1838. The CCA collection contains an album of presentation drawings for a new theatre located on rue de la Paix with boutiques in the adjacent 'passages' (DR1974:0002:019:001-023). A second album consists of site plans including proposed 'maisons à loyers' (apartment buildings) and documents relating to the cost estimates and rental income for the entire project (DR1974:0002:036:001-016). The architectural style and interior arrangement of the theatre is heavily indebted to Francois Debret's Salle Le Pelletier. Charles' originality lies more in his conception of the social and economic role of the theatre in relation and integration, to its surrounding urban fabric. An explanation of the entire Theatre Royal Italien project, and Charles' role as architect in it, is found in two proposal letters (located in the Avery Library, Columbia University, NY) written by the entrepreneur Eugene Lecomte to the Minister of the Interior, Comte Duchatel, on May 15 and October 31 1839 (1). Charles' album of drawings at the CCA for the theatre and some of the cost and rental estimates are probably presentation copies directly related to the first letter, and most likely submitted to the Minister of the Interior. Charles' project was never executed, and the Italian opera company eventualy found a permanent home in the existing Salle Ventadour (1841). However, the inclusive nature of the Théâtre Royal Italien proposal, with its stress on urban development and contextuality, continued to play a seminal role in his later Paris Opera projects. Upon replacing Francois Debret as architect of Salle Le Pelletier in 1846, Charles proposed nine possible locations (site plans) for a new opera house for the Paris Opera (*Academie Royale de Musique) and, in the following year (1847) prepared a portfolio of drawings for the actual structure with an accompanying seven-page manuscript describing the project. Although executed in successive years, the site plans and 1847 drawings are conceptually related. Both components were undertaken in response to offical interest in a public competition that was never implemented (2)(3). The CCA has two sets of the nine site plans proposed in 1846 (DR1974:0002:036:001-016), one containing transfer lithographed site plans with a written analysis and cost estimate for each of the proposed locations, and the other with only the site plans (similar sets are located in the 'Archives Nationales' in France). They indicate that Charles, (heavily influenced by his Théâtre Royal Italien project) preferred the Rue de la Paix location (siteplan #3) for the new opera house. Although site plan number six, Boulevard des Capucines, was not favoured at this date, it is highly prophetic as it was the location officially chosen in 1860 for the new opera house. Apparently unique to the CCA collection is the 1847 manuscript and portfolio of drawings for the proposed opera house (DR1974:0002:036:001-016). The manuscript is both an indepth review of the requirements for a national opera house and a guide to his portfolio of drawings. Charles' conception and design continued to be strongly influenced by Debret's Salle Lepelletier, as well as his own Théâtre Italien project, and various antique and contemporary opera houses and theatres. Many of the French and Italian sources mentioned in the manuscript are collected in an album (DR1974:0002:010:001-048) as references for his own designs (4). As official architect of Salle Le pelletier, Charles was also responsible for repairs, restorations, and alterations to the existing structure. The drawings and transfer lithographs in the CCA collection (DR1974:0002:036:001-016) are primarily dated 1854, and relate to documented repair and restoration projects undertaken during this period (5)(6). The CCA collection has the presentation drawings and lithographs for the later 1859 project (DR1974:0002:027:001-027) for the Paris opera (*Theatre Imperiale de l'opera) that were sent to Achille Fould, the Minister of State. This project is probably a counterpart to a similiar one that he submitted to the Prefect of the Seine, Baron Haussmann, in the same year (7). Site plans show the opera house on an irregular polygonal site facing Boulevard des Capucines. The placement of the 'maisons à loyers' on the rear of the site reflects Charles' continued emphasis on integrating his opera projects into the surrounding urban context. In 1859, it appeared that Charles was favoured to build the new opera house. But late in the following year, a public competition was called in which Charles Garnier emerged as the victor. Although Charles did not build the final structure, his numerous projects, as exemplified in the CCA collection, were of prime importance in determining the location, configuration, and plan of the Place de l'Opera (8). * The 'Paris Opera' was France's national opera, and thus its name changed numerous times throughout its history according to altering perceptions of its role in French culture and/or changes in political regimes. For reasons of clarity, the national opera will be referred to as the Paris Opera. The names indicated in brackets with a star refer to the proper name of the opera company at the date of the project. (1) Eugene Le Comte, "Projet de Salle rue de la Paix, pour le Théâtre Royal Italien: Lettres à Monsieur le Ministre de l'Intérieur, en date des 15 mai et 31octobre 1839" (Paris: P. Dupont, 1839). (2) Christopher Curtis Mead, "Charles Garnier's Paris Opera and the Renaissance of Classicism in Nineteenth century French Architecture", 3 vols. (PhD thesis; Philadelphia: University of Pennsylvania, 1986), p. 234 and p. 956, fn. 30. (3) Monika Steinhauser, "Die Architektur des Pariser Oper" (Munich: Prestel Verlag, 1969), p. 45, fns. 143 and 144. (4) Barry Bergdoll, "Charles Rohault de Fleury: Part Three: Theatres and the Opera house", 'CCA Research Report', n.d., p. 3. (5) Larousse XIXth Century, s.v. "Rohault de Fleury, Charles". (6) Mead, p. 238. (7) Oeuvres de C. Rohault de Fleury, architecte" (Paris: Librarie centrale d'architecture, 1884).. (8) Macmillan, s.v. "Rohault de Fleury Familly".
Niveau de description archivistique:
File 3
File 3
Date:
1717-1868
1717-1868
Personnes et institutions:
Classification:
dessins, documents textuels
dessins, documents textuels
Numéro de référence:
AP018.S1.1981.PR19.003
Description:
This is a box containing certificates of payment, supplementary instructions, change orders, interoffice letters, contractor documentation, interior design records, specifications, and material samples.
AP018.S1.1981.PR19.003
Description:
This is a box containing certificates of payment, supplementary instructions, change orders, interoffice letters, contractor documentation, interior design records, specifications, and material samples.
Personnes et institutions:
Date:
1982-1983
1982-1983
Titre:
Project documentation, Nova Computer Centre, Calgary, Alberta
Actions:
AP018.S1.1981.PR19.003
Description:
This is a box containing certificates of payment, supplementary instructions, change orders, interoffice letters, contractor documentation, interior design records, specifications, and material samples.
Project documentation, Nova Computer Centre, Calgary, Alberta
Actions:
AP018.S1.1981.PR19.003
Description:
This is a box containing certificates of payment, supplementary instructions, change orders, interoffice letters, contractor documentation, interior design records, specifications, and material samples.
Classification:
dessins, documents textuels
dessins, documents textuels
Date:
1982-1983
1982-1983
Personnes et institutions:
Classification:
documents textuels, photographies
documents textuels, photographies
Numéro de référence:
AP018.S1.1971.PR03.017
Description:
This is a box containing construction progress photographs and photographs of the completed building, contractor correspondence, consultancy records, contract data and interoffice letters.
AP018.S1.1971.PR03.017
Description:
This is a box containing construction progress photographs and photographs of the completed building, contractor correspondence, consultancy records, contract data and interoffice letters.
Personnes et institutions:
Date:
1972-1975
1972-1975
Titre:
Project documentation, Phoenix House, Toronto
Actions:
AP018.S1.1971.PR03.017
Description:
This is a box containing construction progress photographs and photographs of the completed building, contractor correspondence, consultancy records, contract data and interoffice letters.
Project documentation, Phoenix House, Toronto
Actions:
AP018.S1.1971.PR03.017
Description:
This is a box containing construction progress photographs and photographs of the completed building, contractor correspondence, consultancy records, contract data and interoffice letters.
Classification:
documents textuels, photographies
documents textuels, photographies
Date:
1972-1975
1972-1975
Personnes et institutions:
Classification:
documents textuels
documents textuels
Numéro de référence:
ARCH267764
Description:
This group consists of tender forms and draft versions of letters concerning the Conservatoire of the Grand Théâtre de Québec in Québec City, Québec.
ARCH267764
Description:
This group consists of tender forms and draft versions of letters concerning the Conservatoire of the Grand Théâtre de Québec in Québec City, Québec.
Personnes et institutions:
Date:
January 1971
January 1971
Titre:
6409 / Soumission de contrat 2.3 / Sous-traitant Conservatoire Janvier 71
Actions:
ARCH267764
Description:
This group consists of tender forms and draft versions of letters concerning the Conservatoire of the Grand Théâtre de Québec in Québec City, Québec.
6409 / Soumission de contrat 2.3 / Sous-traitant Conservatoire Janvier 71
Actions:
ARCH267764
Description:
This group consists of tender forms and draft versions of letters concerning the Conservatoire of the Grand Théâtre de Québec in Québec City, Québec.
Classification:
documents textuels
documents textuels
Date:
January 1971
January 1971
Personnes et institutions:
Classification:
dessins, documents textuels
dessins, documents textuels
Numéro de référence:
AP018.S1.1973.PR05.017
Description:
This is a box containing correspondence with clients, contractors and consultants, financial records, interoffice letters, site meeting minutes, supplementary instructions and change orders.
AP018.S1.1973.PR05.017
Description:
This is a box containing correspondence with clients, contractors and consultants, financial records, interoffice letters, site meeting minutes, supplementary instructions and change orders.
Personnes et institutions:
Date:
1973-1978
1973-1978
Titre:
Project documentation, Safeco Insurance Company of America, Toronto Office Building, Mississauga, Ontario
Actions:
AP018.S1.1973.PR05.017
Description:
This is a box containing correspondence with clients, contractors and consultants, financial records, interoffice letters, site meeting minutes, supplementary instructions and change orders.
Project documentation, Safeco Insurance Company of America, Toronto Office Building, Mississauga, Ontario
Actions:
AP018.S1.1973.PR05.017
Description:
This is a box containing correspondence with clients, contractors and consultants, financial records, interoffice letters, site meeting minutes, supplementary instructions and change orders.
Classification:
dessins, documents textuels
dessins, documents textuels
Date:
1973-1978
1973-1978
Personnes et institutions:
Classification:
dessins
dessins
Titre:
Sketch elevations for the E and D columns for the E,D,E,N, Pavilion, Rheinfelden, Switzerland
Sketch elevations for the E and D columns for the E,D,E,N, Pavilion, Rheinfelden, Switzerland
Actions:
Numéro de référence:
DR1997:0028
Description:
- This drawing shows the letters E, D and E backwards and elongated. The inscription "la piazza ?" refers to the sculpture "Piazza" by Alberto Giacometti with elongated human figures.
DR1997:0028
Description:
- This drawing shows the letters E, D and E backwards and elongated. The inscription "la piazza ?" refers to the sculpture "Piazza" by Alberto Giacometti with elongated human figures.
Personnes et institutions:
Sujet:
architecture
architecture
Date:
1986-1987
1986-1987
Titre:
Sketch elevations for the E and D columns for the E,D,E,N, Pavilion, Rheinfelden, Switzerland
Actions:
DR1997:0028
Description:
- This drawing shows the letters E, D and E backwards and elongated. The inscription "la piazza ?" refers to the sculpture "Piazza" by Alberto Giacometti with elongated human figures.
Sketch elevations for the E and D columns for the E,D,E,N, Pavilion, Rheinfelden, Switzerland
Actions:
DR1997:0028
Description:
- This drawing shows the letters E, D and E backwards and elongated. The inscription "la piazza ?" refers to the sculpture "Piazza" by Alberto Giacometti with elongated human figures.
Classification:
dessins
dessins
Date:
1986-1987
1986-1987
Personnes et institutions:
Sujet:
architecture
architecture
Classification:
documents textuels
documents textuels
Numéro de référence:
AP075.S3.SS2.150
Description:
This box contains professional correspondence, organized in chronological order, from 1994-2001. This correspondence contains chiefly letters related to participation to exhibitions and publishing in landscape architecture publications, correspondence related to nominations and awards received by Oberlander, requests to serve on juries, correspondence with schools of architecture and landscape architects associations, about membership or attendance to events. It also comprises correspondence related to research and involvement in sustainable development. It also contains correspondence with city planning committees or other governmental institutions related to projects or consultation in landscape design, and letters of reference or received job applications. This box also includes correspondence related to Oberlander's trip to Australia This correspondence also comprises a few letters related to Oberlander's projects, mainly letters of congratulations or comments for her design.
AP075.S3.SS2.150
Description:
This box contains professional correspondence, organized in chronological order, from 1994-2001. This correspondence contains chiefly letters related to participation to exhibitions and publishing in landscape architecture publications, correspondence related to nominations and awards received by Oberlander, requests to serve on juries, correspondence with schools of architecture and landscape architects associations, about membership or attendance to events. It also comprises correspondence related to research and involvement in sustainable development. It also contains correspondence with city planning committees or other governmental institutions related to projects or consultation in landscape design, and letters of reference or received job applications. This box also includes correspondence related to Oberlander's trip to Australia This correspondence also comprises a few letters related to Oberlander's projects, mainly letters of congratulations or comments for her design.
Personnes et institutions:
Date:
1994-2001
1994-2001
Titre:
Professional correspondence from 1994-2001
Actions:
AP075.S3.SS2.150
Description:
This box contains professional correspondence, organized in chronological order, from 1994-2001. This correspondence contains chiefly letters related to participation to exhibitions and publishing in landscape architecture publications, correspondence related to nominations and awards received by Oberlander, requests to serve on juries, correspondence with schools of architecture and landscape architects associations, about membership or attendance to events. It also comprises correspondence related to research and involvement in sustainable development. It also contains correspondence with city planning committees or other governmental institutions related to projects or consultation in landscape design, and letters of reference or received job applications. This box also includes correspondence related to Oberlander's trip to Australia This correspondence also comprises a few letters related to Oberlander's projects, mainly letters of congratulations or comments for her design.
Professional correspondence from 1994-2001
Actions:
AP075.S3.SS2.150
Description:
This box contains professional correspondence, organized in chronological order, from 1994-2001. This correspondence contains chiefly letters related to participation to exhibitions and publishing in landscape architecture publications, correspondence related to nominations and awards received by Oberlander, requests to serve on juries, correspondence with schools of architecture and landscape architects associations, about membership or attendance to events. It also comprises correspondence related to research and involvement in sustainable development. It also contains correspondence with city planning committees or other governmental institutions related to projects or consultation in landscape design, and letters of reference or received job applications. This box also includes correspondence related to Oberlander's trip to Australia This correspondence also comprises a few letters related to Oberlander's projects, mainly letters of congratulations or comments for her design.
Classification:
documents textuels
documents textuels
Date:
1994-2001
1994-2001
Personnes et institutions:
Niveau de description archivistique:
Sous-série
Sous-série
Numéro de référence:
AP156.S6.SS2.D2
Description:
Le dossier documente la correspondance particulière reçue par Jacqueline Jeanneret entre 1961 et 2011, incluant de la correspondance d'Albert Jeanneret, de Pierre Jeanneret, de Le Corbusier, de Jeet et Indira Malhotra et de Eulie Chowdhury. Le dossier contient des documents textuels, principalement des lettres. File documents the particular correspondence received by Jacqueline Jeanneret between 1961 and 2011, including correspondence from Albert Jeanneret, Pierre Jeanneret, Le Corbusier, Jeet and Indira Malhotra and Eulie Chowdhury. The file contains textual records, predominantly letters.
AP156.S6.SS2.D2
Description:
Le dossier documente la correspondance particulière reçue par Jacqueline Jeanneret entre 1961 et 2011, incluant de la correspondance d'Albert Jeanneret, de Pierre Jeanneret, de Le Corbusier, de Jeet et Indira Malhotra et de Eulie Chowdhury. Le dossier contient des documents textuels, principalement des lettres. File documents the particular correspondence received by Jacqueline Jeanneret between 1961 and 2011, including correspondence from Albert Jeanneret, Pierre Jeanneret, Le Corbusier, Jeet and Indira Malhotra and Eulie Chowdhury. The file contains textual records, predominantly letters.
Personnes et institutions:
Date:
1961-2011
1961-2011
Titre:
Correspondance particulière de Jacqueline Jeanneret = Particular correspondence of Jacqueline Jeanneret
Actions:
AP156.S6.SS2.D2
Description:
Le dossier documente la correspondance particulière reçue par Jacqueline Jeanneret entre 1961 et 2011, incluant de la correspondance d'Albert Jeanneret, de Pierre Jeanneret, de Le Corbusier, de Jeet et Indira Malhotra et de Eulie Chowdhury. Le dossier contient des documents textuels, principalement des lettres. File documents the particular correspondence received by Jacqueline Jeanneret between 1961 and 2011, including correspondence from Albert Jeanneret, Pierre Jeanneret, Le Corbusier, Jeet and Indira Malhotra and Eulie Chowdhury. The file contains textual records, predominantly letters.
Correspondance particulière de Jacqueline Jeanneret = Particular correspondence of Jacqueline Jeanneret
Actions:
AP156.S6.SS2.D2
Description:
Le dossier documente la correspondance particulière reçue par Jacqueline Jeanneret entre 1961 et 2011, incluant de la correspondance d'Albert Jeanneret, de Pierre Jeanneret, de Le Corbusier, de Jeet et Indira Malhotra et de Eulie Chowdhury. Le dossier contient des documents textuels, principalement des lettres. File documents the particular correspondence received by Jacqueline Jeanneret between 1961 and 2011, including correspondence from Albert Jeanneret, Pierre Jeanneret, Le Corbusier, Jeet and Indira Malhotra and Eulie Chowdhury. The file contains textual records, predominantly letters.
Niveau de description archivistique:
Dossier 2
Dossier 2
Date:
1961-2011
1961-2011
Personnes et institutions:
Classification:
documents textuels
documents textuels
Numéro de référence:
DR2007:0098
Description:
This box contains correspondence, records of professional correspondence, specifications, letters, budgets. The records are mostly related to Donna Barry, project architect at Eisenman Architects.
DR2007:0098
Description:
This box contains correspondence, records of professional correspondence, specifications, letters, budgets. The records are mostly related to Donna Barry, project architect at Eisenman Architects.
Personnes et institutions:
Date:
circa 1990-1993
circa 1990-1993
Titre:
Correspondence files, Aronoff Center for Design and Art, University of Cincinnati, Ohio
Actions:
DR2007:0098
Description:
This box contains correspondence, records of professional correspondence, specifications, letters, budgets. The records are mostly related to Donna Barry, project architect at Eisenman Architects.
Correspondence files, Aronoff Center for Design and Art, University of Cincinnati, Ohio
Actions:
DR2007:0098
Description:
This box contains correspondence, records of professional correspondence, specifications, letters, budgets. The records are mostly related to Donna Barry, project architect at Eisenman Architects.
Classification:
documents textuels
documents textuels
Date:
circa 1990-1993
circa 1990-1993
Personnes et institutions:
