11703 Résultats
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:
documents textuels
documents textuels
Numéro de référence:
DR2012:0012:100:016
Description:
Ring binder and two spiral-bound books containing documents in English (predominant) and French, including reference materials related to the Royal Canadian Navy monument. Includes a photocopy of Customs and Traditions of the Canadian Armed Forces, by E.C. Russell.
DR2012:0012:100:016
Description:
Ring binder and two spiral-bound books containing documents in English (predominant) and French, including reference materials related to the Royal Canadian Navy monument. Includes a photocopy of Customs and Traditions of the Canadian Armed Forces, by E.C. Russell.
Personnes et institutions:
Date:
1980, 2009
1980, 2009
Titre:
Reference materials, Canadian Navy monument, Ottawa, Ontario
Actions:
DR2012:0012:100:016
Description:
Ring binder and two spiral-bound books containing documents in English (predominant) and French, including reference materials related to the Royal Canadian Navy monument. Includes a photocopy of Customs and Traditions of the Canadian Armed Forces, by E.C. Russell.
Reference materials, Canadian Navy monument, Ottawa, Ontario
Actions:
DR2012:0012:100:016
Description:
Ring binder and two spiral-bound books containing documents in English (predominant) and French, including reference materials related to the Royal Canadian Navy monument. Includes a photocopy of Customs and Traditions of the Canadian Armed Forces, by E.C. Russell.
Classification:
documents textuels
documents textuels
Date:
1980, 2009
1980, 2009
Personnes et institutions:
Niveau de description archivistique:
Projet
Projet
Numéro de référence:
AP206.S1.1975.PR01
Description:
This project series documents Aditya Prakash's proposal for an alternative plan for Chandigarh, India, which came to be known as the Linear City. Prakash began developing and advocating for this idea around the early 1970s. The Linear City had two fundamental ideas at its core. The first was to raise the roadways in Chandigarh (or any future city) 10-12 feet from ground level. This, he proposed, would separate vehicular traffic from pedestrians, eliminating all the hazardous impacts of traffic on daily life. The large part of the drawings for this project show sector plans and city blocks with evenly dispersed roundabout roadways as major transit hubs, wrapping around but high above centres of pedestrian activity that included shops, markets and green spaces. The sale of the land below the roadways would pay for the upheaval. He also recommended building this city only a few sectors deep, but endlessly expanding it length-wise, with a raised canal along one side to provide an additional transportation network and irrigation. The second fundamental idea of this city was the creation of self-sustaining sectors in the city plan, advocating that each neighbourhood should have the infrastructure to provide food and recycling for its residents. He fervently argued for the reimagination of modernist Chandigarh by incorporating sustainable, local traditions - the rural should exist in harmony with the urban. In opposition to Le Corbusier and Pierre Jeanneret, he believed areas for recycling, animal husbandry, and growing food should be incorporated into the fabric of the city.[1] This project is recorded largely through original drawings of city plans, perspectives and axonometric views detailing Prakash's new vision for the city. It seems that many of the perspectives were drawn by family friend Sandeep Virmani, after listening to Prakash's ideas.[2] The project is also recorded through photographs, negatives and slides showing plans and the project model. A small amount of notes and an article on the project are also included. [1]Vikramaditya Prakash, One Continuous Line: Art, Architecture and Urbanism of Aditya Prakash (Ahmedabad, India: Mapin Publishing Pvt. Ltd., 2019), 164-181. [2]Prakash, One Continuous Line, 169.
AP206.S1.1975.PR01
Description:
This project series documents Aditya Prakash's proposal for an alternative plan for Chandigarh, India, which came to be known as the Linear City. Prakash began developing and advocating for this idea around the early 1970s. The Linear City had two fundamental ideas at its core. The first was to raise the roadways in Chandigarh (or any future city) 10-12 feet from ground level. This, he proposed, would separate vehicular traffic from pedestrians, eliminating all the hazardous impacts of traffic on daily life. The large part of the drawings for this project show sector plans and city blocks with evenly dispersed roundabout roadways as major transit hubs, wrapping around but high above centres of pedestrian activity that included shops, markets and green spaces. The sale of the land below the roadways would pay for the upheaval. He also recommended building this city only a few sectors deep, but endlessly expanding it length-wise, with a raised canal along one side to provide an additional transportation network and irrigation. The second fundamental idea of this city was the creation of self-sustaining sectors in the city plan, advocating that each neighbourhood should have the infrastructure to provide food and recycling for its residents. He fervently argued for the reimagination of modernist Chandigarh by incorporating sustainable, local traditions - the rural should exist in harmony with the urban. In opposition to Le Corbusier and Pierre Jeanneret, he believed areas for recycling, animal husbandry, and growing food should be incorporated into the fabric of the city.[1] This project is recorded largely through original drawings of city plans, perspectives and axonometric views detailing Prakash's new vision for the city. It seems that many of the perspectives were drawn by family friend Sandeep Virmani, after listening to Prakash's ideas.[2] The project is also recorded through photographs, negatives and slides showing plans and the project model. A small amount of notes and an article on the project are also included. [1]Vikramaditya Prakash, One Continuous Line: Art, Architecture and Urbanism of Aditya Prakash (Ahmedabad, India: Mapin Publishing Pvt. Ltd., 2019), 164-181. [2]Prakash, One Continuous Line, 169.
Personnes et institutions:
Date:
circa 1975-2003
circa 1975-2003
Titre:
Linear city, Chandigarh, India (circa 1975-1987)
Actions:
AP206.S1.1975.PR01
Description:
This project series documents Aditya Prakash's proposal for an alternative plan for Chandigarh, India, which came to be known as the Linear City. Prakash began developing and advocating for this idea around the early 1970s. The Linear City had two fundamental ideas at its core. The first was to raise the roadways in Chandigarh (or any future city) 10-12 feet from ground level. This, he proposed, would separate vehicular traffic from pedestrians, eliminating all the hazardous impacts of traffic on daily life. The large part of the drawings for this project show sector plans and city blocks with evenly dispersed roundabout roadways as major transit hubs, wrapping around but high above centres of pedestrian activity that included shops, markets and green spaces. The sale of the land below the roadways would pay for the upheaval. He also recommended building this city only a few sectors deep, but endlessly expanding it length-wise, with a raised canal along one side to provide an additional transportation network and irrigation. The second fundamental idea of this city was the creation of self-sustaining sectors in the city plan, advocating that each neighbourhood should have the infrastructure to provide food and recycling for its residents. He fervently argued for the reimagination of modernist Chandigarh by incorporating sustainable, local traditions - the rural should exist in harmony with the urban. In opposition to Le Corbusier and Pierre Jeanneret, he believed areas for recycling, animal husbandry, and growing food should be incorporated into the fabric of the city.[1] This project is recorded largely through original drawings of city plans, perspectives and axonometric views detailing Prakash's new vision for the city. It seems that many of the perspectives were drawn by family friend Sandeep Virmani, after listening to Prakash's ideas.[2] The project is also recorded through photographs, negatives and slides showing plans and the project model. A small amount of notes and an article on the project are also included. [1]Vikramaditya Prakash, One Continuous Line: Art, Architecture and Urbanism of Aditya Prakash (Ahmedabad, India: Mapin Publishing Pvt. Ltd., 2019), 164-181. [2]Prakash, One Continuous Line, 169.
Linear city, Chandigarh, India (circa 1975-1987)
Actions:
AP206.S1.1975.PR01
Description:
This project series documents Aditya Prakash's proposal for an alternative plan for Chandigarh, India, which came to be known as the Linear City. Prakash began developing and advocating for this idea around the early 1970s. The Linear City had two fundamental ideas at its core. The first was to raise the roadways in Chandigarh (or any future city) 10-12 feet from ground level. This, he proposed, would separate vehicular traffic from pedestrians, eliminating all the hazardous impacts of traffic on daily life. The large part of the drawings for this project show sector plans and city blocks with evenly dispersed roundabout roadways as major transit hubs, wrapping around but high above centres of pedestrian activity that included shops, markets and green spaces. The sale of the land below the roadways would pay for the upheaval. He also recommended building this city only a few sectors deep, but endlessly expanding it length-wise, with a raised canal along one side to provide an additional transportation network and irrigation. The second fundamental idea of this city was the creation of self-sustaining sectors in the city plan, advocating that each neighbourhood should have the infrastructure to provide food and recycling for its residents. He fervently argued for the reimagination of modernist Chandigarh by incorporating sustainable, local traditions - the rural should exist in harmony with the urban. In opposition to Le Corbusier and Pierre Jeanneret, he believed areas for recycling, animal husbandry, and growing food should be incorporated into the fabric of the city.[1] This project is recorded largely through original drawings of city plans, perspectives and axonometric views detailing Prakash's new vision for the city. It seems that many of the perspectives were drawn by family friend Sandeep Virmani, after listening to Prakash's ideas.[2] The project is also recorded through photographs, negatives and slides showing plans and the project model. A small amount of notes and an article on the project are also included. [1]Vikramaditya Prakash, One Continuous Line: Art, Architecture and Urbanism of Aditya Prakash (Ahmedabad, India: Mapin Publishing Pvt. Ltd., 2019), 164-181. [2]Prakash, One Continuous Line, 169.
Niveau de description archivistique:
Project
Project
Date:
circa 1975-2003
circa 1975-2003
Personnes et institutions:
Classification:
dessins, oeuvres d'art
dessins, oeuvres d'art
Actions:
Numéro de référence:
DR1974:0002:021:001-033
Description:
- This album contains studies by Charles Rohault de Fleury of the five classical orders. The majority of the drawings are from his student years at the Ecole des Beaux-Arts (1822-1825). Others are from his student years at the Ecole Polytechnique (1820-1822), or drawings executed while he was a practicing architect (after 1825). Although the drawings are not physically organized into categories within the album, they can be divided into three groups according to their architectural sources: paradigmatic examples taken from named monuments of Greek and Roman architecture, examples taken from unnamed architectural monuments or treatises, and examples after 16th century Italian and French interpretors of the classical tradition, such as Palladio, Serlio, Vignola and Delorme. The only exception to these categories is the drawing of the "soubassement" for the pavilions of the Louvre (DR1974:0002:021:032 R/V). Most of the drawings focus on the proportions of the orders, their disposition within the portico in terms of intercolumnar spacing and number of columns, and the proper moulding and ornamentation particular to each order. This album also contains four etchings of similar subject matter by Gaitte, Stévigny, Piranesi, and an unknown early 19th century etcher.
DR1974:0002:021:001-033
Description:
- This album contains studies by Charles Rohault de Fleury of the five classical orders. The majority of the drawings are from his student years at the Ecole des Beaux-Arts (1822-1825). Others are from his student years at the Ecole Polytechnique (1820-1822), or drawings executed while he was a practicing architect (after 1825). Although the drawings are not physically organized into categories within the album, they can be divided into three groups according to their architectural sources: paradigmatic examples taken from named monuments of Greek and Roman architecture, examples taken from unnamed architectural monuments or treatises, and examples after 16th century Italian and French interpretors of the classical tradition, such as Palladio, Serlio, Vignola and Delorme. The only exception to these categories is the drawing of the "soubassement" for the pavilions of the Louvre (DR1974:0002:021:032 R/V). Most of the drawings focus on the proportions of the orders, their disposition within the portico in terms of intercolumnar spacing and number of columns, and the proper moulding and ornamentation particular to each order. This album also contains four etchings of similar subject matter by Gaitte, Stévigny, Piranesi, and an unknown early 19th century etcher.
Personnes et institutions:
Date:
drawings executed between 1818-1832, prints executed 1776 ?-1832
drawings executed between 1818-1832, prints executed 1776 ?-1832
Titre:
Album of mostly student drawings of the Orders
Actions:
DR1974:0002:021:001-033
Description:
- This album contains studies by Charles Rohault de Fleury of the five classical orders. The majority of the drawings are from his student years at the Ecole des Beaux-Arts (1822-1825). Others are from his student years at the Ecole Polytechnique (1820-1822), or drawings executed while he was a practicing architect (after 1825). Although the drawings are not physically organized into categories within the album, they can be divided into three groups according to their architectural sources: paradigmatic examples taken from named monuments of Greek and Roman architecture, examples taken from unnamed architectural monuments or treatises, and examples after 16th century Italian and French interpretors of the classical tradition, such as Palladio, Serlio, Vignola and Delorme. The only exception to these categories is the drawing of the "soubassement" for the pavilions of the Louvre (DR1974:0002:021:032 R/V). Most of the drawings focus on the proportions of the orders, their disposition within the portico in terms of intercolumnar spacing and number of columns, and the proper moulding and ornamentation particular to each order. This album also contains four etchings of similar subject matter by Gaitte, Stévigny, Piranesi, and an unknown early 19th century etcher.
Album of mostly student drawings of the Orders
Actions:
DR1974:0002:021:001-033
Description:
- This album contains studies by Charles Rohault de Fleury of the five classical orders. The majority of the drawings are from his student years at the Ecole des Beaux-Arts (1822-1825). Others are from his student years at the Ecole Polytechnique (1820-1822), or drawings executed while he was a practicing architect (after 1825). Although the drawings are not physically organized into categories within the album, they can be divided into three groups according to their architectural sources: paradigmatic examples taken from named monuments of Greek and Roman architecture, examples taken from unnamed architectural monuments or treatises, and examples after 16th century Italian and French interpretors of the classical tradition, such as Palladio, Serlio, Vignola and Delorme. The only exception to these categories is the drawing of the "soubassement" for the pavilions of the Louvre (DR1974:0002:021:032 R/V). Most of the drawings focus on the proportions of the orders, their disposition within the portico in terms of intercolumnar spacing and number of columns, and the proper moulding and ornamentation particular to each order. This album also contains four etchings of similar subject matter by Gaitte, Stévigny, Piranesi, and an unknown early 19th century etcher.
Classification:
dessins, oeuvres d'art
dessins, oeuvres d'art
Date:
drawings executed between 1818-1832, prints executed 1776 ?-1832
drawings executed between 1818-1832, prints executed 1776 ?-1832
Personnes et institutions:
Classification:
documents textuels
documents textuels
Numéro de référence:
ARCH153618
Description:
transcript of a conference at Venice Biennale, Italy about American and European architectural traditions; rejected for publication by editorial board of Oppositions magazine. Participants include: Peter Eisenman, James Stirling, Carlo Aymonino, Aldo Rossi, Denise Scott Brown, Manfredo Tafuri, Giancarlo De Carlo, Raimund Abraham, John Hejduk, O.M. Ungers, Peter Smithson; in Italian and English
ARCH153618
Description:
transcript of a conference at Venice Biennale, Italy about American and European architectural traditions; rejected for publication by editorial board of Oppositions magazine. Participants include: Peter Eisenman, James Stirling, Carlo Aymonino, Aldo Rossi, Denise Scott Brown, Manfredo Tafuri, Giancarlo De Carlo, Raimund Abraham, John Hejduk, O.M. Ungers, Peter Smithson; in Italian and English
Personnes et institutions:
Date:
1 August 1976
1 August 1976
Titre:
Transcript of a conference at Venice Biennale
Actions:
ARCH153618
Description:
transcript of a conference at Venice Biennale, Italy about American and European architectural traditions; rejected for publication by editorial board of Oppositions magazine. Participants include: Peter Eisenman, James Stirling, Carlo Aymonino, Aldo Rossi, Denise Scott Brown, Manfredo Tafuri, Giancarlo De Carlo, Raimund Abraham, John Hejduk, O.M. Ungers, Peter Smithson; in Italian and English
Transcript of a conference at Venice Biennale
Actions:
ARCH153618
Description:
transcript of a conference at Venice Biennale, Italy about American and European architectural traditions; rejected for publication by editorial board of Oppositions magazine. Participants include: Peter Eisenman, James Stirling, Carlo Aymonino, Aldo Rossi, Denise Scott Brown, Manfredo Tafuri, Giancarlo De Carlo, Raimund Abraham, John Hejduk, O.M. Ungers, Peter Smithson; in Italian and English
Classification:
documents textuels
documents textuels
Date:
1 August 1976
1 August 1976
Personnes et institutions:
Classification:
documents textuels
documents textuels
Numéro de référence:
ARCH104172
Description:
trade catalogue
ARCH104172
Description:
trade catalogue
Personnes et institutions:
Date:
1945
1945
Classification:
documents textuels
documents textuels
Date:
1945
1945
Personnes et institutions:
Classification:
documents textuels
documents textuels
Numéro de référence:
AP075.S1.1985.PR02.002
Description:
Original folder entitled "Lanyon-Phillips / World Trade Terrace / WORLD TRADE CENTRE / 1999 / MISC. FOLDER".
AP075.S1.1985.PR02.002
Description:
Original folder entitled "Lanyon-Phillips / World Trade Terrace / WORLD TRADE CENTRE / 1999 / MISC. FOLDER".
Personnes et institutions:
Date:
1999
1999
Titre:
Design development for the terrace of the World Trade Centre Interior Landscape, Vancouver, British Columbia
Actions:
AP075.S1.1985.PR02.002
Description:
Original folder entitled "Lanyon-Phillips / World Trade Terrace / WORLD TRADE CENTRE / 1999 / MISC. FOLDER".
Design development for the terrace of the World Trade Centre Interior Landscape, Vancouver, British Columbia
Actions:
AP075.S1.1985.PR02.002
Description:
Original folder entitled "Lanyon-Phillips / World Trade Terrace / WORLD TRADE CENTRE / 1999 / MISC. FOLDER".
Classification:
documents textuels
documents textuels
Date:
1999
1999
Personnes et institutions:
Classification:
documents textuels
documents textuels
Numéro de référence:
AP075.S1.1985.PR02.001
Description:
"WOriginal folder entitled "MAINTENANCE SPECS / WORLD TRADE CENTRE / WORLD TRADE CENTRE / COST ESTIMATE 1985 / SPECIFICATIONS".
AP075.S1.1985.PR02.001
Description:
"WOriginal folder entitled "MAINTENANCE SPECS / WORLD TRADE CENTRE / WORLD TRADE CENTRE / COST ESTIMATE 1985 / SPECIFICATIONS".
Personnes et institutions:
Date:
1985
1985
Titre:
Cost estimate and specifications for the World Trade Centre Interior Landscape, Vancouver, British Columbia
Actions:
AP075.S1.1985.PR02.001
Description:
"WOriginal folder entitled "MAINTENANCE SPECS / WORLD TRADE CENTRE / WORLD TRADE CENTRE / COST ESTIMATE 1985 / SPECIFICATIONS".
Cost estimate and specifications for the World Trade Centre Interior Landscape, Vancouver, British Columbia
Actions:
AP075.S1.1985.PR02.001
Description:
"WOriginal folder entitled "MAINTENANCE SPECS / WORLD TRADE CENTRE / WORLD TRADE CENTRE / COST ESTIMATE 1985 / SPECIFICATIONS".
Classification:
documents textuels
documents textuels
Date:
1985
1985
Personnes et institutions:
Classification:
documents textuels
documents textuels
Numéro de référence:
AP197.S3.006
Description:
The box is comprised of correspondence for the years of 1995-1997, organized in chronological 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. Throughout this period, Frampton corresponded with various architects, professors, publishers, and editors of various publications such as: Thames and Hudson Ltd.; the Berlage Institute; the Italian Cultural Institute; Yukio Futagawa of GA/ADA Edita Tokyo Co CD; and the MIT Press. Correspondence relates to his participation/involvement in: the Michael Blackwood Production “In search of Louis Kahn: Six Buildings;” the Japanese and German translations for the Studies in Tectonic Culture publication; organizing lectures on Studies in tectonic Culture; the Jerusalem Seminar in Architecture “Technology, Place & and Architecture;” teaching at the École polytechnique fédérale de Lausanne; the Aga Khan Program for Islamic Architecture; and the Architectural Society of China. Correspondence concerning the following publications and lectures is included: “the Megaform as City in Miniature;” “Critical regionalism revisited,” a lecture at the Berlage Institute; the Le Corbusier publication; “Tradition and Innovation in the Work of Christoph Mackler;” and the forward for Vittorio Gregotti`s Inside Architecture.
AP197.S3.006
Description:
The box is comprised of correspondence for the years of 1995-1997, organized in chronological 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. Throughout this period, Frampton corresponded with various architects, professors, publishers, and editors of various publications such as: Thames and Hudson Ltd.; the Berlage Institute; the Italian Cultural Institute; Yukio Futagawa of GA/ADA Edita Tokyo Co CD; and the MIT Press. Correspondence relates to his participation/involvement in: the Michael Blackwood Production “In search of Louis Kahn: Six Buildings;” the Japanese and German translations for the Studies in Tectonic Culture publication; organizing lectures on Studies in tectonic Culture; the Jerusalem Seminar in Architecture “Technology, Place & and Architecture;” teaching at the École polytechnique fédérale de Lausanne; the Aga Khan Program for Islamic Architecture; and the Architectural Society of China. Correspondence concerning the following publications and lectures is included: “the Megaform as City in Miniature;” “Critical regionalism revisited,” a lecture at the Berlage Institute; the Le Corbusier publication; “Tradition and Innovation in the Work of Christoph Mackler;” and the forward for Vittorio Gregotti`s Inside Architecture.
Personnes et institutions:
Date:
1995-1997
1995-1997
Titre:
Personal and professional correspondence from 1995-1997
Actions:
AP197.S3.006
Description:
The box is comprised of correspondence for the years of 1995-1997, organized in chronological 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. Throughout this period, Frampton corresponded with various architects, professors, publishers, and editors of various publications such as: Thames and Hudson Ltd.; the Berlage Institute; the Italian Cultural Institute; Yukio Futagawa of GA/ADA Edita Tokyo Co CD; and the MIT Press. Correspondence relates to his participation/involvement in: the Michael Blackwood Production “In search of Louis Kahn: Six Buildings;” the Japanese and German translations for the Studies in Tectonic Culture publication; organizing lectures on Studies in tectonic Culture; the Jerusalem Seminar in Architecture “Technology, Place & and Architecture;” teaching at the École polytechnique fédérale de Lausanne; the Aga Khan Program for Islamic Architecture; and the Architectural Society of China. Correspondence concerning the following publications and lectures is included: “the Megaform as City in Miniature;” “Critical regionalism revisited,” a lecture at the Berlage Institute; the Le Corbusier publication; “Tradition and Innovation in the Work of Christoph Mackler;” and the forward for Vittorio Gregotti`s Inside Architecture.
Personal and professional correspondence from 1995-1997
Actions:
AP197.S3.006
Description:
The box is comprised of correspondence for the years of 1995-1997, organized in chronological 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. Throughout this period, Frampton corresponded with various architects, professors, publishers, and editors of various publications such as: Thames and Hudson Ltd.; the Berlage Institute; the Italian Cultural Institute; Yukio Futagawa of GA/ADA Edita Tokyo Co CD; and the MIT Press. Correspondence relates to his participation/involvement in: the Michael Blackwood Production “In search of Louis Kahn: Six Buildings;” the Japanese and German translations for the Studies in Tectonic Culture publication; organizing lectures on Studies in tectonic Culture; the Jerusalem Seminar in Architecture “Technology, Place & and Architecture;” teaching at the École polytechnique fédérale de Lausanne; the Aga Khan Program for Islamic Architecture; and the Architectural Society of China. Correspondence concerning the following publications and lectures is included: “the Megaform as City in Miniature;” “Critical regionalism revisited,” a lecture at the Berlage Institute; the Le Corbusier publication; “Tradition and Innovation in the Work of Christoph Mackler;” and the forward for Vittorio Gregotti`s Inside Architecture.
Classification:
documents textuels
documents textuels
Date:
1995-1997
1995-1997
Personnes et institutions:
Classification:
documents textuels
documents textuels
Numéro de référence:
DR2004:0491
Description:
trade catalogues, brochures, price lists, clippings, letter, and brochures and trade catalogue possibly from Marman project
DR2004:0491
Description:
trade catalogues, brochures, price lists, clippings, letter, and brochures and trade catalogue possibly from Marman project
Personnes et institutions:
Titre:
Trade catalogues, brochures, price lists, clippings
Actions:
DR2004:0491
Description:
trade catalogues, brochures, price lists, clippings, letter, and brochures and trade catalogue possibly from Marman project
Trade catalogues, brochures, price lists, clippings
Actions:
DR2004:0491
Description:
trade catalogues, brochures, price lists, clippings, letter, and brochures and trade catalogue possibly from Marman project
Classification:
documents textuels
documents textuels
Personnes et institutions:
