25835 Résultats
Classification:
documents textuels
documents textuels
Numéro de référence:
ARCH153458
Description:
Minutes of the meetings of the Board of Trustees held on Nov. 15, 1982, and Jan. 3 & 17, and May 2, 1983 Draft texts for General Introduction of IAUS history and goals by PDE Copy of letter to Armand Bartos from Arthur Raybin, Nov. 3, 1981 Memo from J. to PDE about a book translation Budget of IAUS for 1983-84 First transcripts of PDE's interview of Henry Cobb for Skyline, March 5, 1982
ARCH153458
Description:
Minutes of the meetings of the Board of Trustees held on Nov. 15, 1982, and Jan. 3 & 17, and May 2, 1983 Draft texts for General Introduction of IAUS history and goals by PDE Copy of letter to Armand Bartos from Arthur Raybin, Nov. 3, 1981 Memo from J. to PDE about a book translation Budget of IAUS for 1983-84 First transcripts of PDE's interview of Henry Cobb for Skyline, March 5, 1982
Personnes et institutions:
Date:
1981-1983
1981-1983
Titre:
Board of Trustees minutes of the meetings, drafts, transcripts, and correspondence
Actions:
ARCH153458
Description:
Minutes of the meetings of the Board of Trustees held on Nov. 15, 1982, and Jan. 3 & 17, and May 2, 1983 Draft texts for General Introduction of IAUS history and goals by PDE Copy of letter to Armand Bartos from Arthur Raybin, Nov. 3, 1981 Memo from J. to PDE about a book translation Budget of IAUS for 1983-84 First transcripts of PDE's interview of Henry Cobb for Skyline, March 5, 1982
Board of Trustees minutes of the meetings, drafts, transcripts, and correspondence
Actions:
ARCH153458
Description:
Minutes of the meetings of the Board of Trustees held on Nov. 15, 1982, and Jan. 3 & 17, and May 2, 1983 Draft texts for General Introduction of IAUS history and goals by PDE Copy of letter to Armand Bartos from Arthur Raybin, Nov. 3, 1981 Memo from J. to PDE about a book translation Budget of IAUS for 1983-84 First transcripts of PDE's interview of Henry Cobb for Skyline, March 5, 1982
Classification:
documents textuels
documents textuels
Date:
1981-1983
1981-1983
Personnes et institutions:
Niveau de description archivistique:
Projet
Projet
Numéro de référence:
AP018.S1.1958.PR03
Description:
This project series documents the design and construction of Toronto City Hall and Civic Square in Toronto from 1958-1965. The office identified the project number as 5867. The design of Toronto's New City Hall, built next to its older counterpart, was realized through an international architectural competition that attracted more than 500 entries from around the world. Eventually, a unanimous jury chose Finnish architect Viljo Revell's design, cementing the age of modernist architecture in Toronto. However, the rules stated that if the winning architect was not part of the Ontario Association of Architects, they were required to partner with a local firm. In this way, John B. Parkin Associates was chosen as the associate architects for this project. The design was comprised of a concrete dome house, which contained the city council chambers, surrounded by two curved office towers, all perched on top of a podium, with a public square to the south, known as Nathan Phillips Square. The buildings were 816,000 square feet in size, the west tower having 18 office floors and the east tower with 25. The project is recorded through drawings, a mounted presentation photograph of the project and textual records dating from 1958-1966. The drawings are mostly reprographic copies, which include plans, elevations, sections, details and perspectives. The textual records consist of a competition synopsis book, a book of submission materials for the competition, and correspondence between Parkin and Revell.
AP018.S1.1958.PR03
Description:
This project series documents the design and construction of Toronto City Hall and Civic Square in Toronto from 1958-1965. The office identified the project number as 5867. The design of Toronto's New City Hall, built next to its older counterpart, was realized through an international architectural competition that attracted more than 500 entries from around the world. Eventually, a unanimous jury chose Finnish architect Viljo Revell's design, cementing the age of modernist architecture in Toronto. However, the rules stated that if the winning architect was not part of the Ontario Association of Architects, they were required to partner with a local firm. In this way, John B. Parkin Associates was chosen as the associate architects for this project. The design was comprised of a concrete dome house, which contained the city council chambers, surrounded by two curved office towers, all perched on top of a podium, with a public square to the south, known as Nathan Phillips Square. The buildings were 816,000 square feet in size, the west tower having 18 office floors and the east tower with 25. The project is recorded through drawings, a mounted presentation photograph of the project and textual records dating from 1958-1966. The drawings are mostly reprographic copies, which include plans, elevations, sections, details and perspectives. The textual records consist of a competition synopsis book, a book of submission materials for the competition, and correspondence between Parkin and Revell.
Personnes et institutions:
Date:
1958-1966
1958-1966
Titre:
Toronto City Hall and Civic Square, Toronto (1958)
Actions:
AP018.S1.1958.PR03
Description:
This project series documents the design and construction of Toronto City Hall and Civic Square in Toronto from 1958-1965. The office identified the project number as 5867. The design of Toronto's New City Hall, built next to its older counterpart, was realized through an international architectural competition that attracted more than 500 entries from around the world. Eventually, a unanimous jury chose Finnish architect Viljo Revell's design, cementing the age of modernist architecture in Toronto. However, the rules stated that if the winning architect was not part of the Ontario Association of Architects, they were required to partner with a local firm. In this way, John B. Parkin Associates was chosen as the associate architects for this project. The design was comprised of a concrete dome house, which contained the city council chambers, surrounded by two curved office towers, all perched on top of a podium, with a public square to the south, known as Nathan Phillips Square. The buildings were 816,000 square feet in size, the west tower having 18 office floors and the east tower with 25. The project is recorded through drawings, a mounted presentation photograph of the project and textual records dating from 1958-1966. The drawings are mostly reprographic copies, which include plans, elevations, sections, details and perspectives. The textual records consist of a competition synopsis book, a book of submission materials for the competition, and correspondence between Parkin and Revell.
Toronto City Hall and Civic Square, Toronto (1958)
Actions:
AP018.S1.1958.PR03
Description:
This project series documents the design and construction of Toronto City Hall and Civic Square in Toronto from 1958-1965. The office identified the project number as 5867. The design of Toronto's New City Hall, built next to its older counterpart, was realized through an international architectural competition that attracted more than 500 entries from around the world. Eventually, a unanimous jury chose Finnish architect Viljo Revell's design, cementing the age of modernist architecture in Toronto. However, the rules stated that if the winning architect was not part of the Ontario Association of Architects, they were required to partner with a local firm. In this way, John B. Parkin Associates was chosen as the associate architects for this project. The design was comprised of a concrete dome house, which contained the city council chambers, surrounded by two curved office towers, all perched on top of a podium, with a public square to the south, known as Nathan Phillips Square. The buildings were 816,000 square feet in size, the west tower having 18 office floors and the east tower with 25. The project is recorded through drawings, a mounted presentation photograph of the project and textual records dating from 1958-1966. The drawings are mostly reprographic copies, which include plans, elevations, sections, details and perspectives. The textual records consist of a competition synopsis book, a book of submission materials for the competition, and correspondence between Parkin and Revell.
Niveau de description archivistique:
Project
Project
Date:
1958-1966
1958-1966
Personnes et institutions:
Classification:
événements
événements
Titre:
Histoires de l’environnement
Histoires de l’environnement
Actions:
Description:
Pour débuter « Architecture et/pour l’environnement », le troisième Projet de Recherche Multidisciplinaire du CCA financé par la Andrew W. Mellon Foundation, Daniel Abramson et Imre Szeman présenteront deux concepts clés pour reconcevoir l’environnement dans l’histoire de l’architecture. Daniel Abramson, historien de l’architecture, discutera de « l’obsolescence » comme(...)
Pour débuter « Architecture et/pour l’environnement », le troisième Projet de Recherche Multidisciplinaire du CCA financé par la Andrew W. Mellon Foundation, Daniel Abramson et Imre Szeman présenteront deux concepts clés pour reconcevoir l’environnement dans l’histoire de l’architecture. Daniel Abramson, historien de l’architecture, discutera de « l’obsolescence » comme(...)
Localisation:
Théâtre Paul-Demarais
Théâtre Paul-Demarais
Date:
15 décembre 2016, 18h
15 décembre 2016, 18h
Titre:
Histoires de l’environnement
Actions:
Description:
Pour débuter « Architecture et/pour l’environnement », le troisième Projet de Recherche Multidisciplinaire du CCA financé par la Andrew W. Mellon Foundation, Daniel Abramson et Imre Szeman présenteront deux concepts clés pour reconcevoir l’environnement dans l’histoire de l’architecture. Daniel Abramson, historien de l’architecture, discutera de « l’obsolescence » comme(...)
Histoires de l’environnement
Actions:
Description:
Pour débuter « Architecture et/pour l’environnement », le troisième Projet de Recherche Multidisciplinaire du CCA financé par la Andrew W. Mellon Foundation, Daniel Abramson et Imre Szeman présenteront deux concepts clés pour reconcevoir l’environnement dans l’histoire de l’architecture. Daniel Abramson, historien de l’architecture, discutera de « l’obsolescence » comme(...)
Classification:
événements
événements
Date:
15 décembre 2016
18h
15 décembre 2016
18h
Localisation:
Théâtre Paul-Demarais
Théâtre Paul-Demarais
Classification:
documents textuels
documents textuels
Numéro de référence:
AP206.S2.066
Description:
File was originally housed in a binder along with content arranged in AP206.S2.065, AP206.S2.067 and AP206.S2.068. This file includes the following papers: "The Politics of Urban Redevelopment: A Study of Old Delhi by Ajay K. Mehra," book review "Environmental Management of Mining Operations Human Settlements and Rehabilitation of Population," 1986 "Reminiscences of Education in Pre-independence India," 1997 "The Pedestrian, the Rickshaw and the Motor Vehicle" "Chandigarh: As I see it" "Conservation is our Future" "Sikh Architecture by PS Arshi," review "The Aftermath of Vistara" "Random Thoughts on Architectural Education"
AP206.S2.066
Description:
File was originally housed in a binder along with content arranged in AP206.S2.065, AP206.S2.067 and AP206.S2.068. This file includes the following papers: "The Politics of Urban Redevelopment: A Study of Old Delhi by Ajay K. Mehra," book review "Environmental Management of Mining Operations Human Settlements and Rehabilitation of Population," 1986 "Reminiscences of Education in Pre-independence India," 1997 "The Pedestrian, the Rickshaw and the Motor Vehicle" "Chandigarh: As I see it" "Conservation is our Future" "Sikh Architecture by PS Arshi," review "The Aftermath of Vistara" "Random Thoughts on Architectural Education"
Personnes et institutions:
Date:
1985-1997
1985-1997
Titre:
Published and unpublished papers (folder 2 of 4)
Actions:
AP206.S2.066
Description:
File was originally housed in a binder along with content arranged in AP206.S2.065, AP206.S2.067 and AP206.S2.068. This file includes the following papers: "The Politics of Urban Redevelopment: A Study of Old Delhi by Ajay K. Mehra," book review "Environmental Management of Mining Operations Human Settlements and Rehabilitation of Population," 1986 "Reminiscences of Education in Pre-independence India," 1997 "The Pedestrian, the Rickshaw and the Motor Vehicle" "Chandigarh: As I see it" "Conservation is our Future" "Sikh Architecture by PS Arshi," review "The Aftermath of Vistara" "Random Thoughts on Architectural Education"
Published and unpublished papers (folder 2 of 4)
Actions:
AP206.S2.066
Description:
File was originally housed in a binder along with content arranged in AP206.S2.065, AP206.S2.067 and AP206.S2.068. This file includes the following papers: "The Politics of Urban Redevelopment: A Study of Old Delhi by Ajay K. Mehra," book review "Environmental Management of Mining Operations Human Settlements and Rehabilitation of Population," 1986 "Reminiscences of Education in Pre-independence India," 1997 "The Pedestrian, the Rickshaw and the Motor Vehicle" "Chandigarh: As I see it" "Conservation is our Future" "Sikh Architecture by PS Arshi," review "The Aftermath of Vistara" "Random Thoughts on Architectural Education"
Classification:
documents textuels
documents textuels
Date:
1985-1997
1985-1997
Personnes et institutions:
Classification:
expositions
expositions
Actions:
Description:
Au cours de la Seconde Guerre mondiale, expositions et publications ont joué un rôle de premier plan dans l’effort de guerre. Elles ont été organisées et diffusées partout dans le monde comme des moments de réflexion et de propagande, des productions d’une approche disciplinaire de l’architecture et de l’urbanisme. Le choix des objets exposés découle des recherches de(...)
Au cours de la Seconde Guerre mondiale, expositions et publications ont joué un rôle de premier plan dans l’effort de guerre. Elles ont été organisées et diffusées partout dans le monde comme des moments de réflexion et de propagande, des productions d’une approche disciplinaire de l’architecture et de l’urbanisme. Le choix des objets exposés découle des recherches de(...)
Localisation:
Vitrines
Vitrines
Date:
13 avril 2011 au 18 septembre 2011
13 avril 2011 au 18 septembre 2011
Titre:
Une guerre de papier: Images et mots, 1939-1945
Actions:
Description:
Au cours de la Seconde Guerre mondiale, expositions et publications ont joué un rôle de premier plan dans l’effort de guerre. Elles ont été organisées et diffusées partout dans le monde comme des moments de réflexion et de propagande, des productions d’une approche disciplinaire de l’architecture et de l’urbanisme. Le choix des objets exposés découle des recherches de(...)
Une guerre de papier: Images et mots, 1939-1945
Actions:
Description:
Au cours de la Seconde Guerre mondiale, expositions et publications ont joué un rôle de premier plan dans l’effort de guerre. Elles ont été organisées et diffusées partout dans le monde comme des moments de réflexion et de propagande, des productions d’une approche disciplinaire de l’architecture et de l’urbanisme. Le choix des objets exposés découle des recherches de(...)
Classification:
expositions
expositions
Date:
13 avril 2011 au
18 septembre 2011
13 avril 2011 au
18 septembre 2011
Localisation:
Vitrines
Vitrines
Classification:
documents textuels
documents textuels
Numéro de référence:
AP197.S3.005
Description:
The box is comprised of correspondence for the years of 1991-1994, organized in alphabetical order by last name, from U-Z. The last four folders in this box comprises of loose correspondence organized in chronological order, from 1991-1994; this correspondence is not organized in alphabetical order. The box documents Frampton’s career as Ware professor at the Graduate School of Architecture, Planning and Preservation, Columbia University and his related professional activities. Correspondence in this box includes: offers of teaching positions; requests to write articles, reviews, books and recommendation letters; invitations to teach, present, or attend at lectures/symposiums/conferences; and requests to serve on juries. Correspondence relates to Frampton’s participation/involvement in: the “Architecture and legitimacy” conference at the Congress Netherlands Architecture Institute; as part of the International Board of Advisors for the Fundación de Arquitectura Tapatía; in the Chinese translation for the Studies in Tectonic Culture publication; as a visiting professor at the École polytechnique fédérale de Lausanne.
AP197.S3.005
Description:
The box is comprised of correspondence for the years of 1991-1994, organized in alphabetical order by last name, from U-Z. The last four folders in this box comprises of loose correspondence organized in chronological order, from 1991-1994; this correspondence is not organized in alphabetical order. The box documents Frampton’s career as Ware professor at the Graduate School of Architecture, Planning and Preservation, Columbia University and his related professional activities. Correspondence in this box includes: offers of teaching positions; requests to write articles, reviews, books and recommendation letters; invitations to teach, present, or attend at lectures/symposiums/conferences; and requests to serve on juries. Correspondence relates to Frampton’s participation/involvement in: the “Architecture and legitimacy” conference at the Congress Netherlands Architecture Institute; as part of the International Board of Advisors for the Fundación de Arquitectura Tapatía; in the Chinese translation for the Studies in Tectonic Culture publication; as a visiting professor at the École polytechnique fédérale de Lausanne.
Personnes et institutions:
Date:
1991-1994
1991-1994
Titre:
Personal and professional correspondence for names U-Z from 1991-1994
Actions:
AP197.S3.005
Description:
The box is comprised of correspondence for the years of 1991-1994, organized in alphabetical order by last name, from U-Z. The last four folders in this box comprises of loose correspondence organized in chronological order, from 1991-1994; this correspondence is not organized in alphabetical order. The box documents Frampton’s career as Ware professor at the Graduate School of Architecture, Planning and Preservation, Columbia University and his related professional activities. Correspondence in this box includes: offers of teaching positions; requests to write articles, reviews, books and recommendation letters; invitations to teach, present, or attend at lectures/symposiums/conferences; and requests to serve on juries. Correspondence relates to Frampton’s participation/involvement in: the “Architecture and legitimacy” conference at the Congress Netherlands Architecture Institute; as part of the International Board of Advisors for the Fundación de Arquitectura Tapatía; in the Chinese translation for the Studies in Tectonic Culture publication; as a visiting professor at the École polytechnique fédérale de Lausanne.
Personal and professional correspondence for names U-Z from 1991-1994
Actions:
AP197.S3.005
Description:
The box is comprised of correspondence for the years of 1991-1994, organized in alphabetical order by last name, from U-Z. The last four folders in this box comprises of loose correspondence organized in chronological order, from 1991-1994; this correspondence is not organized in alphabetical order. The box documents Frampton’s career as Ware professor at the Graduate School of Architecture, Planning and Preservation, Columbia University and his related professional activities. Correspondence in this box includes: offers of teaching positions; requests to write articles, reviews, books and recommendation letters; invitations to teach, present, or attend at lectures/symposiums/conferences; and requests to serve on juries. Correspondence relates to Frampton’s participation/involvement in: the “Architecture and legitimacy” conference at the Congress Netherlands Architecture Institute; as part of the International Board of Advisors for the Fundación de Arquitectura Tapatía; in the Chinese translation for the Studies in Tectonic Culture publication; as a visiting professor at the École polytechnique fédérale de Lausanne.
Classification:
documents textuels
documents textuels
Date:
1991-1994
1991-1994
Personnes et institutions:
Niveau de description archivistique:
Sous-série
Sous-série
Numéro de référence:
AP197.S1.SS8
Description:
Materials in this subseries document the theoretical seminar "Comparative Critical Analysis of Built Form," which Kenneth Frampton taught since 1973 at the Graduate School of Architecture, Preservation and Planning, Columbia University. The seminar became the bases for his book “Genealogy of Modern Architecture: Comparative Critical Analysis” (2015). Materials for the seminar make up a significant portion of this subseries. Materials consist of copyright image requests and permission requests (organized in alphabetical order), handwritten and typed drafts with edits, correspondence, layout drafts, notes, copyright information charts, grant applications, as well as student analyses/projects, student drawings, and course readers for the seminar.
AP197.S1.SS8
Description:
Materials in this subseries document the theoretical seminar "Comparative Critical Analysis of Built Form," which Kenneth Frampton taught since 1973 at the Graduate School of Architecture, Preservation and Planning, Columbia University. The seminar became the bases for his book “Genealogy of Modern Architecture: Comparative Critical Analysis” (2015). Materials for the seminar make up a significant portion of this subseries. Materials consist of copyright image requests and permission requests (organized in alphabetical order), handwritten and typed drafts with edits, correspondence, layout drafts, notes, copyright information charts, grant applications, as well as student analyses/projects, student drawings, and course readers for the seminar.
Personnes et institutions:
Date:
circa 1970-2015
circa 1970-2015
Titre:
Comparative critical analysis (1973-2015, 2018)
Actions:
AP197.S1.SS8
Description:
Materials in this subseries document the theoretical seminar "Comparative Critical Analysis of Built Form," which Kenneth Frampton taught since 1973 at the Graduate School of Architecture, Preservation and Planning, Columbia University. The seminar became the bases for his book “Genealogy of Modern Architecture: Comparative Critical Analysis” (2015). Materials for the seminar make up a significant portion of this subseries. Materials consist of copyright image requests and permission requests (organized in alphabetical order), handwritten and typed drafts with edits, correspondence, layout drafts, notes, copyright information charts, grant applications, as well as student analyses/projects, student drawings, and course readers for the seminar.
Comparative critical analysis (1973-2015, 2018)
Actions:
AP197.S1.SS8
Description:
Materials in this subseries document the theoretical seminar "Comparative Critical Analysis of Built Form," which Kenneth Frampton taught since 1973 at the Graduate School of Architecture, Preservation and Planning, Columbia University. The seminar became the bases for his book “Genealogy of Modern Architecture: Comparative Critical Analysis” (2015). Materials for the seminar make up a significant portion of this subseries. Materials consist of copyright image requests and permission requests (organized in alphabetical order), handwritten and typed drafts with edits, correspondence, layout drafts, notes, copyright information charts, grant applications, as well as student analyses/projects, student drawings, and course readers for the seminar.
Niveau de description archivistique:
Subseries
Subseries
Date:
circa 1970-2015
circa 1970-2015
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:
expositions
expositions
Titre:
L’idée du pénitencier
L’idée du pénitencier
Actions:
Description:
Cette exposition explore l’idée du pénitencier qui, au XIXe siècle, s’est frayée un chemin dans les consciences et les territoires d’Europe et d’Amérique du Nord. S’inspirant de la tendance rationaliste en architecture et des principes sociaux posés au XVIIIe siècle, les partisans de la prison se sont attachés à une claire géométrie de l’isolement, de la surveillance et(...)
Cette exposition explore l’idée du pénitencier qui, au XIXe siècle, s’est frayée un chemin dans les consciences et les territoires d’Europe et d’Amérique du Nord. S’inspirant de la tendance rationaliste en architecture et des principes sociaux posés au XVIIIe siècle, les partisans de la prison se sont attachés à une claire géométrie de l’isolement, de la surveillance et(...)
Localisation:
Vitrines
Vitrines
Date:
8 novembre 1995 au 31 mai 1996
8 novembre 1995 au 31 mai 1996
Titre:
L’idée du pénitencier
Actions:
Description:
Cette exposition explore l’idée du pénitencier qui, au XIXe siècle, s’est frayée un chemin dans les consciences et les territoires d’Europe et d’Amérique du Nord. S’inspirant de la tendance rationaliste en architecture et des principes sociaux posés au XVIIIe siècle, les partisans de la prison se sont attachés à une claire géométrie de l’isolement, de la surveillance et(...)
L’idée du pénitencier
Actions:
Description:
Cette exposition explore l’idée du pénitencier qui, au XIXe siècle, s’est frayée un chemin dans les consciences et les territoires d’Europe et d’Amérique du Nord. S’inspirant de la tendance rationaliste en architecture et des principes sociaux posés au XVIIIe siècle, les partisans de la prison se sont attachés à une claire géométrie de l’isolement, de la surveillance et(...)
Classification:
expositions
expositions
Date:
8 novembre 1995 au
31 mai 1996
8 novembre 1995 au
31 mai 1996
Localisation:
Vitrines
Vitrines
Classification:
événements
événements
Actions:
Description:
Dans la série de conférences Hier d’aujourd’hui, l’architecte et auteur canadien Witold Rybczynski expose les origines de l’Ecol House, prototype d’un modèle d’habitation autonome pour les pays en développement. Le projet a été créé à Montréal en 1972 par Ecol Operation, un groupe d’architectes et d’étudiants duquel il était membre et qui devient, au début des années(...)
Dans la série de conférences Hier d’aujourd’hui, l’architecte et auteur canadien Witold Rybczynski expose les origines de l’Ecol House, prototype d’un modèle d’habitation autonome pour les pays en développement. Le projet a été créé à Montréal en 1972 par Ecol Operation, un groupe d’architectes et d’étudiants duquel il était membre et qui devient, au début des années(...)
Localisation:
Théâtre Paul-Desmarais
Théâtre Paul-Desmarais
Date:
29 novembre 2007
29 novembre 2007
Titre:
Witold Rybczynski : Green Before Green
Actions:
Description:
Dans la série de conférences Hier d’aujourd’hui, l’architecte et auteur canadien Witold Rybczynski expose les origines de l’Ecol House, prototype d’un modèle d’habitation autonome pour les pays en développement. Le projet a été créé à Montréal en 1972 par Ecol Operation, un groupe d’architectes et d’étudiants duquel il était membre et qui devient, au début des années(...)
Witold Rybczynski : Green Before Green
Actions:
Description:
Dans la série de conférences Hier d’aujourd’hui, l’architecte et auteur canadien Witold Rybczynski expose les origines de l’Ecol House, prototype d’un modèle d’habitation autonome pour les pays en développement. Le projet a été créé à Montréal en 1972 par Ecol Operation, un groupe d’architectes et d’étudiants duquel il était membre et qui devient, au début des années(...)
Classification:
événements
événements
Date:
29 novembre 2007
29 novembre 2007
Localisation:
Théâtre Paul-Desmarais
Théâtre Paul-Desmarais
