13008 Résultats
Classification:
dessins
dessins
Numéro de référence:
ARCH45620
ARCH45620
Personnes et institutions:
Date:
1954
1954
Classification:
dessins
dessins
Date:
1954
1954
Personnes et institutions:
Classification:
photographies
photographies
Actions:
Numéro de référence:
PH1985:0080
PH1985:0080
Personnes et institutions:
Sujet:
architecture
architecture
Date:
between 1883 and 1884
between 1883 and 1884
Classification:
photographies
photographies
Date:
between 1883 and 1884
between 1883 and 1884
Personnes et institutions:
Sujet:
architecture
architecture
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:
Titre:
A terra cotta roof tile and a copper nail to secure it from one of Edwin Lutyen's Houses in Surrey
A terra cotta roof tile and a copper nail to secure it from one of Edwin Lutyen's Houses in Surrey
Actions:
Numéro de référence:
DR1991:0014:001-002
DR1991:0014:001-002
Personnes et institutions:
Date:
ca. 1890-1910
ca. 1890-1910
Titre:
A terra cotta roof tile and a copper nail to secure it from one of Edwin Lutyen's Houses in Surrey
Actions:
DR1991:0014:001-002
A terra cotta roof tile and a copper nail to secure it from one of Edwin Lutyen's Houses in Surrey
Actions:
DR1991:0014:001-002
Date:
ca. 1890-1910
ca. 1890-1910
Personnes et institutions:
Classification:
livres
livres
Titre:
Chandigarh houses, Volume 1
Chandigarh houses, Volume 1
Numéro de référence:
ARCH285211
Description:
Presentation album containing plans, elevations and sections for various dwellings in Chandigarh, India, as conceived by Pierre Jeanneret and the Architects’ Office. Many plans are signed by Pierre Jeanneret. Album contains plans for the following house types: - House Type 2.J. (Minister’s House) - House Type 3F-C. - House Type 4D - House Type 3JB - House Type 5 J’A’ - House Type 6D - House Type 6.J. - House Type 6.JB. - House Type 7F - House Type 7.S. - House Type 9J - House Type 10 P - House Type 12.J.C. - House Type 14D - House Type 14J - Standard design for 10 Marla - Standard design for 5 Marla - P.U.C. House Type V - P.U.C. House Type VI - P.U.C. House Type VII - P.U.C. House Type VIII-A
ARCH285211
Description:
Presentation album containing plans, elevations and sections for various dwellings in Chandigarh, India, as conceived by Pierre Jeanneret and the Architects’ Office. Many plans are signed by Pierre Jeanneret. Album contains plans for the following house types: - House Type 2.J. (Minister’s House) - House Type 3F-C. - House Type 4D - House Type 3JB - House Type 5 J’A’ - House Type 6D - House Type 6.J. - House Type 6.JB. - House Type 7F - House Type 7.S. - House Type 9J - House Type 10 P - House Type 12.J.C. - House Type 14D - House Type 14J - Standard design for 10 Marla - Standard design for 5 Marla - P.U.C. House Type V - P.U.C. House Type VI - P.U.C. House Type VII - P.U.C. House Type VIII-A
Personnes et institutions:
Date:
circa 1959
circa 1959
Titre:
Chandigarh houses, Volume 1
Actions:
ARCH285211
Description:
Presentation album containing plans, elevations and sections for various dwellings in Chandigarh, India, as conceived by Pierre Jeanneret and the Architects’ Office. Many plans are signed by Pierre Jeanneret. Album contains plans for the following house types: - House Type 2.J. (Minister’s House) - House Type 3F-C. - House Type 4D - House Type 3JB - House Type 5 J’A’ - House Type 6D - House Type 6.J. - House Type 6.JB. - House Type 7F - House Type 7.S. - House Type 9J - House Type 10 P - House Type 12.J.C. - House Type 14D - House Type 14J - Standard design for 10 Marla - Standard design for 5 Marla - P.U.C. House Type V - P.U.C. House Type VI - P.U.C. House Type VII - P.U.C. House Type VIII-A
Chandigarh houses, Volume 1
Actions:
ARCH285211
Description:
Presentation album containing plans, elevations and sections for various dwellings in Chandigarh, India, as conceived by Pierre Jeanneret and the Architects’ Office. Many plans are signed by Pierre Jeanneret. Album contains plans for the following house types: - House Type 2.J. (Minister’s House) - House Type 3F-C. - House Type 4D - House Type 3JB - House Type 5 J’A’ - House Type 6D - House Type 6.J. - House Type 6.JB. - House Type 7F - House Type 7.S. - House Type 9J - House Type 10 P - House Type 12.J.C. - House Type 14D - House Type 14J - Standard design for 10 Marla - Standard design for 5 Marla - P.U.C. House Type V - P.U.C. House Type VI - P.U.C. House Type VII - P.U.C. House Type VIII-A
Classification:
livres
livres
Date:
circa 1959
circa 1959
Personnes et institutions:
Classification:
livres
livres
Titre:
Chandigarh houses, Volume 1
Chandigarh houses, Volume 1
Numéro de référence:
ARCH264812
Description:
Presentation album containing plans, elevations and sections for various dwellings in Chandigarh, India, as conceived by Pierre Jeanneret and the Architects’ Office. Many plans are signed by Pierre Jeanneret. Album contains plans for the following house types: - House Type 2.J. (Minister’s House) - House Type 3F-C. - House Type 4D - House Type 3JB - House Type 5 J’A’ - House Type 6D - House Type 6.J. - House Type 6.JB. - House Type 7F - House Type 7.S. - House Type 9J - House Type 10 P - House Type 12.J.C. - House Type 14D - House Type 14J - Standard design for 10 Marla - Standard design for 5 Marla - P.U.C. House Type V - P.U.C. House Type VI - P.U.C. House Type VII - P.U.C. House Type VIII-A
ARCH264812
Description:
Presentation album containing plans, elevations and sections for various dwellings in Chandigarh, India, as conceived by Pierre Jeanneret and the Architects’ Office. Many plans are signed by Pierre Jeanneret. Album contains plans for the following house types: - House Type 2.J. (Minister’s House) - House Type 3F-C. - House Type 4D - House Type 3JB - House Type 5 J’A’ - House Type 6D - House Type 6.J. - House Type 6.JB. - House Type 7F - House Type 7.S. - House Type 9J - House Type 10 P - House Type 12.J.C. - House Type 14D - House Type 14J - Standard design for 10 Marla - Standard design for 5 Marla - P.U.C. House Type V - P.U.C. House Type VI - P.U.C. House Type VII - P.U.C. House Type VIII-A
Personnes et institutions:
Date:
circa 1959
circa 1959
Titre:
Chandigarh houses, Volume 1
Actions:
ARCH264812
Description:
Presentation album containing plans, elevations and sections for various dwellings in Chandigarh, India, as conceived by Pierre Jeanneret and the Architects’ Office. Many plans are signed by Pierre Jeanneret. Album contains plans for the following house types: - House Type 2.J. (Minister’s House) - House Type 3F-C. - House Type 4D - House Type 3JB - House Type 5 J’A’ - House Type 6D - House Type 6.J. - House Type 6.JB. - House Type 7F - House Type 7.S. - House Type 9J - House Type 10 P - House Type 12.J.C. - House Type 14D - House Type 14J - Standard design for 10 Marla - Standard design for 5 Marla - P.U.C. House Type V - P.U.C. House Type VI - P.U.C. House Type VII - P.U.C. House Type VIII-A
Chandigarh houses, Volume 1
Actions:
ARCH264812
Description:
Presentation album containing plans, elevations and sections for various dwellings in Chandigarh, India, as conceived by Pierre Jeanneret and the Architects’ Office. Many plans are signed by Pierre Jeanneret. Album contains plans for the following house types: - House Type 2.J. (Minister’s House) - House Type 3F-C. - House Type 4D - House Type 3JB - House Type 5 J’A’ - House Type 6D - House Type 6.J. - House Type 6.JB. - House Type 7F - House Type 7.S. - House Type 9J - House Type 10 P - House Type 12.J.C. - House Type 14D - House Type 14J - Standard design for 10 Marla - Standard design for 5 Marla - P.U.C. House Type V - P.U.C. House Type VI - P.U.C. House Type VII - P.U.C. House Type VIII-A
Classification:
livres
livres
Date:
circa 1959
circa 1959
Personnes et institutions:
Classification:
photographies
photographies
Actions:
Numéro de référence:
PH1986:0638
PH1986:0638
Personnes et institutions:
Sujet:
architecture, sculpture
architecture, sculpture
Date:
1985
1985
Classification:
photographies
photographies
Date:
1985
1985
Personnes et institutions:
Sujet:
architecture, sculpture
architecture, sculpture
Niveau de description archivistique:
Projet
Projet
Titre:
Diamond Houses
Diamond Houses
Numéro de référence:
AP145.S2.D15
Description:
File documents projects for several houses and a museum. Material in this file was produced between 1963 and 1967, reprographic copies of some conceptual drawings and presentation drawings were created between 1963 and 1985. File contains conceptual drawings, design development drawings, presentation drawings, presentation panels, photographic materials, and presentation models.
AP145.S2.D15
Description:
File documents projects for several houses and a museum. Material in this file was produced between 1963 and 1967, reprographic copies of some conceptual drawings and presentation drawings were created between 1963 and 1985. File contains conceptual drawings, design development drawings, presentation drawings, presentation panels, photographic materials, and presentation models.
Personnes et institutions:
Date:
[1963-1985, predominant 1963-1967]
[1963-1985, predominant 1963-1967]
Titre:
Diamond Houses
Actions:
AP145.S2.D15
Description:
File documents projects for several houses and a museum. Material in this file was produced between 1963 and 1967, reprographic copies of some conceptual drawings and presentation drawings were created between 1963 and 1985. File contains conceptual drawings, design development drawings, presentation drawings, presentation panels, photographic materials, and presentation models.
Diamond Houses
Actions:
AP145.S2.D15
Description:
File documents projects for several houses and a museum. Material in this file was produced between 1963 and 1967, reprographic copies of some conceptual drawings and presentation drawings were created between 1963 and 1985. File contains conceptual drawings, design development drawings, presentation drawings, presentation panels, photographic materials, and presentation models.
Niveau de description archivistique:
File 15
File 15
Date:
[1963-1985, predominant 1963-1967]
[1963-1985, predominant 1963-1967]
Personnes et institutions:
Classification:
photographies
photographies
Numéro de référence:
ARCH402429
ARCH402429
Personnes et institutions:
Date:
circa 1956
circa 1956
Classification:
photographies
photographies
Date:
circa 1956
circa 1956
Personnes et institutions:
Classification:
photographies
photographies
Actions:
Numéro de référence:
PH1979:0447.02:067
PH1979:0447.02:067
Personnes et institutions:
Sujet:
architecture
architecture
Date:
between August 1858 and 1890
between August 1858 and 1890
Titre:
View of a road and houses, Matale Bazaar, Matale, Ceylon (now Sri Lanka)
Actions:
PH1979:0447.02:067
View of a road and houses, Matale Bazaar, Matale, Ceylon (now Sri Lanka)
Actions:
PH1979:0447.02:067
Classification:
photographies
photographies
Date:
between August 1858 and 1890
between August 1858 and 1890
Personnes et institutions:
Sujet:
architecture
architecture
