29168 Résultats
Classification:
documents textuels
documents textuels
Numéro de référence:
ARCH158357
Description:
Cette chemise contient de la documentation au sujet de la Fondation Frank Lloyd Wright et et de la correspondance diverse de la Fondation Frank Lloyd Wright, adressée à M. et Mme Roger D'Astous, soit à titre d'amis de la Fondation ou à titre d'ancien apprenti du Fellowship, selon le cas. Elle contient également les documents suivants: 6 exemplaires du bulletin Friends of Taliesin : vol. 1, no 1 (avril 1985), no 3 (déc. 1985), vol. 2, no 1 (avril 1986), vol. 4, no 3 (oct. 1988), vol. 5, no 1 (fév. 1989) et no 2 (mai 1989); 1 exemplaire du Taliesin Fellowship news : vol. 1, no 1 (printemps 1988); 1 exemplaire du programme du The Taliesin Festival of Music and Dance qui a eu lieu au Pavillon de Taliesin West en 1968; 1 exemplaire de Arizona Biltmore - History and Guide; 1 exemplaire d'une brochure parue en mai 1953 à l'occasion de l'exposition Small Exhibition of Organic Architecture; 1 exemplaire du catalogue paru vers 1954 lors de la présentation de l'exposition Sixty Years of Living Architecture, à Los Angeles (cette exposition avait d'abord été présentée à Florence en 1951); 1 exemplaire de Bâtiment, vol. 36, no 12 (décembre 1960); 1 exemplaire du The Los Angeles Times Home magazine (9 mars 1969).
ARCH158357
Description:
Cette chemise contient de la documentation au sujet de la Fondation Frank Lloyd Wright et et de la correspondance diverse de la Fondation Frank Lloyd Wright, adressée à M. et Mme Roger D'Astous, soit à titre d'amis de la Fondation ou à titre d'ancien apprenti du Fellowship, selon le cas. Elle contient également les documents suivants: 6 exemplaires du bulletin Friends of Taliesin : vol. 1, no 1 (avril 1985), no 3 (déc. 1985), vol. 2, no 1 (avril 1986), vol. 4, no 3 (oct. 1988), vol. 5, no 1 (fév. 1989) et no 2 (mai 1989); 1 exemplaire du Taliesin Fellowship news : vol. 1, no 1 (printemps 1988); 1 exemplaire du programme du The Taliesin Festival of Music and Dance qui a eu lieu au Pavillon de Taliesin West en 1968; 1 exemplaire de Arizona Biltmore - History and Guide; 1 exemplaire d'une brochure parue en mai 1953 à l'occasion de l'exposition Small Exhibition of Organic Architecture; 1 exemplaire du catalogue paru vers 1954 lors de la présentation de l'exposition Sixty Years of Living Architecture, à Los Angeles (cette exposition avait d'abord été présentée à Florence en 1951); 1 exemplaire de Bâtiment, vol. 36, no 12 (décembre 1960); 1 exemplaire du The Los Angeles Times Home magazine (9 mars 1969).
Personnes et institutions:
Titre:
Documentation au sujet de la Fondation Frank Lloyd Wright
Actions:
ARCH158357
Description:
Cette chemise contient de la documentation au sujet de la Fondation Frank Lloyd Wright et et de la correspondance diverse de la Fondation Frank Lloyd Wright, adressée à M. et Mme Roger D'Astous, soit à titre d'amis de la Fondation ou à titre d'ancien apprenti du Fellowship, selon le cas. Elle contient également les documents suivants: 6 exemplaires du bulletin Friends of Taliesin : vol. 1, no 1 (avril 1985), no 3 (déc. 1985), vol. 2, no 1 (avril 1986), vol. 4, no 3 (oct. 1988), vol. 5, no 1 (fév. 1989) et no 2 (mai 1989); 1 exemplaire du Taliesin Fellowship news : vol. 1, no 1 (printemps 1988); 1 exemplaire du programme du The Taliesin Festival of Music and Dance qui a eu lieu au Pavillon de Taliesin West en 1968; 1 exemplaire de Arizona Biltmore - History and Guide; 1 exemplaire d'une brochure parue en mai 1953 à l'occasion de l'exposition Small Exhibition of Organic Architecture; 1 exemplaire du catalogue paru vers 1954 lors de la présentation de l'exposition Sixty Years of Living Architecture, à Los Angeles (cette exposition avait d'abord été présentée à Florence en 1951); 1 exemplaire de Bâtiment, vol. 36, no 12 (décembre 1960); 1 exemplaire du The Los Angeles Times Home magazine (9 mars 1969).
Documentation au sujet de la Fondation Frank Lloyd Wright
Actions:
ARCH158357
Description:
Cette chemise contient de la documentation au sujet de la Fondation Frank Lloyd Wright et et de la correspondance diverse de la Fondation Frank Lloyd Wright, adressée à M. et Mme Roger D'Astous, soit à titre d'amis de la Fondation ou à titre d'ancien apprenti du Fellowship, selon le cas. Elle contient également les documents suivants: 6 exemplaires du bulletin Friends of Taliesin : vol. 1, no 1 (avril 1985), no 3 (déc. 1985), vol. 2, no 1 (avril 1986), vol. 4, no 3 (oct. 1988), vol. 5, no 1 (fév. 1989) et no 2 (mai 1989); 1 exemplaire du Taliesin Fellowship news : vol. 1, no 1 (printemps 1988); 1 exemplaire du programme du The Taliesin Festival of Music and Dance qui a eu lieu au Pavillon de Taliesin West en 1968; 1 exemplaire de Arizona Biltmore - History and Guide; 1 exemplaire d'une brochure parue en mai 1953 à l'occasion de l'exposition Small Exhibition of Organic Architecture; 1 exemplaire du catalogue paru vers 1954 lors de la présentation de l'exposition Sixty Years of Living Architecture, à Los Angeles (cette exposition avait d'abord été présentée à Florence en 1951); 1 exemplaire de Bâtiment, vol. 36, no 12 (décembre 1960); 1 exemplaire du The Los Angeles Times Home magazine (9 mars 1969).
Classification:
documents textuels
documents textuels
Personnes et institutions:
Classification:
expositions
expositions
Description:
L’interprétation par la technique incite le spectateur à poser un regard aigu sur des images presque identiques recelant des variantes nuancées. L’exposition présente des photographies, disposées en sept paires, qui proviennent toutes de la collection du CCA. Bien que ces épreuves soient tirées en double d’un même négatif, une comparaison minutieuse révèle néanmoins des(...)
L’interprétation par la technique incite le spectateur à poser un regard aigu sur des images presque identiques recelant des variantes nuancées. L’exposition présente des photographies, disposées en sept paires, qui proviennent toutes de la collection du CCA. Bien que ces épreuves soient tirées en double d’un même négatif, une comparaison minutieuse révèle néanmoins des(...)
Localisation:
Vitrines
Vitrines
Date:
17 janvier 1990 au 22 avril 1990
17 janvier 1990 au 22 avril 1990
Titre:
L'interpretation par la technique : photographies du CCA
Actions:
Description:
L’interprétation par la technique incite le spectateur à poser un regard aigu sur des images presque identiques recelant des variantes nuancées. L’exposition présente des photographies, disposées en sept paires, qui proviennent toutes de la collection du CCA. Bien que ces épreuves soient tirées en double d’un même négatif, une comparaison minutieuse révèle néanmoins des(...)
L'interpretation par la technique : photographies du CCA
Actions:
Description:
L’interprétation par la technique incite le spectateur à poser un regard aigu sur des images presque identiques recelant des variantes nuancées. L’exposition présente des photographies, disposées en sept paires, qui proviennent toutes de la collection du CCA. Bien que ces épreuves soient tirées en double d’un même négatif, une comparaison minutieuse révèle néanmoins des(...)
Classification:
expositions
expositions
Date:
17 janvier 1990 au
22 avril 1990
17 janvier 1990 au
22 avril 1990
Localisation:
Vitrines
Vitrines
Classification:
expositions
expositions
Actions:
Description:
Herzog de Meuron: archéologie de l’imaginaire présente un éventail exhaustif de documents provenant des archives des architectes Herzog de Meuron et de collections connexes. À l’image d’une exposition d’histoire naturelle, celle-ci comprend maquettes d’étude, livres, photographies, jouets, photographies, fossiles, pierres de lettrés chinois ainsi que quelques œuvres(...)
Herzog de Meuron: archéologie de l’imaginaire présente un éventail exhaustif de documents provenant des archives des architectes Herzog de Meuron et de collections connexes. À l’image d’une exposition d’histoire naturelle, celle-ci comprend maquettes d’étude, livres, photographies, jouets, photographies, fossiles, pierres de lettrés chinois ainsi que quelques œuvres(...)
Localisation:
Salles principales
Salles principales
Date:
23 octobre 2002 au 6 avril 2003
23 octobre 2002 au 6 avril 2003
Titre:
Herzog & de Meuron : archéologie de l'imaginaire
Actions:
Description:
Herzog de Meuron: archéologie de l’imaginaire présente un éventail exhaustif de documents provenant des archives des architectes Herzog de Meuron et de collections connexes. À l’image d’une exposition d’histoire naturelle, celle-ci comprend maquettes d’étude, livres, photographies, jouets, photographies, fossiles, pierres de lettrés chinois ainsi que quelques œuvres(...)
Herzog & de Meuron : archéologie de l'imaginaire
Actions:
Description:
Herzog de Meuron: archéologie de l’imaginaire présente un éventail exhaustif de documents provenant des archives des architectes Herzog de Meuron et de collections connexes. À l’image d’une exposition d’histoire naturelle, celle-ci comprend maquettes d’étude, livres, photographies, jouets, photographies, fossiles, pierres de lettrés chinois ainsi que quelques œuvres(...)
Classification:
expositions
expositions
Date:
23 octobre 2002 au
6 avril 2003
23 octobre 2002 au
6 avril 2003
Localisation:
Salles principales
Salles principales
Classification:
expositions
expositions
Titre:
John Soane 1753-1837
John Soane 1753-1837
Actions:
Description:
Décrit par Henry James comme « l’une des choses les plus étonnantes de Londres », le Sir John Soane’s Museum a été conçu comme un lieu pittoresque et énigmatique, à la fois maison, cabinet de travail, galerie de collectionneur et vitrine personnelle de l’un des architectes les plus novateurs de l’histoire. L’exposition offre le premier réexamen majeur de la carrière de(...)
Décrit par Henry James comme « l’une des choses les plus étonnantes de Londres », le Sir John Soane’s Museum a été conçu comme un lieu pittoresque et énigmatique, à la fois maison, cabinet de travail, galerie de collectionneur et vitrine personnelle de l’un des architectes les plus novateurs de l’histoire. L’exposition offre le premier réexamen majeur de la carrière de(...)
Localisation:
Salles principales
Salles principales
Date:
16 mai 2001 au 3 septembre 2001
16 mai 2001 au 3 septembre 2001
Titre:
John Soane 1753-1837
Actions:
Description:
Décrit par Henry James comme « l’une des choses les plus étonnantes de Londres », le Sir John Soane’s Museum a été conçu comme un lieu pittoresque et énigmatique, à la fois maison, cabinet de travail, galerie de collectionneur et vitrine personnelle de l’un des architectes les plus novateurs de l’histoire. L’exposition offre le premier réexamen majeur de la carrière de(...)
John Soane 1753-1837
Actions:
Description:
Décrit par Henry James comme « l’une des choses les plus étonnantes de Londres », le Sir John Soane’s Museum a été conçu comme un lieu pittoresque et énigmatique, à la fois maison, cabinet de travail, galerie de collectionneur et vitrine personnelle de l’un des architectes les plus novateurs de l’histoire. L’exposition offre le premier réexamen majeur de la carrière de(...)
Classification:
expositions
expositions
Date:
16 mai 2001 au
3 septembre 2001
16 mai 2001 au
3 septembre 2001
Localisation:
Salles principales
Salles principales
Classification:
événements
événements
Actions:
Description:
Rejoignez-nous ce soir, 9 juin 2011 à 18 h dans la maison Shaughnessy. La chercheure en résidence Elisabeth Essaïan présente ses recherches sur l’urbanisme de la période stalinienne et considère de façon critique la réception, dans les publications en Europe et en Amérique du Nord, de la production des années 1920-50. Cliquez ici pour lévénement Facebook. Consultez(...)
Rejoignez-nous ce soir, 9 juin 2011 à 18 h dans la maison Shaughnessy. La chercheure en résidence Elisabeth Essaïan présente ses recherches sur l’urbanisme de la période stalinienne et considère de façon critique la réception, dans les publications en Europe et en Amérique du Nord, de la production des années 1920-50. Cliquez ici pour lévénement Facebook. Consultez(...)
Localisation:
Maison Shaughnessy
Maison Shaughnessy
Date:
9 juin 2011 , 18h
9 juin 2011 , 18h
Titre:
Séminaire de chercheur en résidence : Elisabeth Essaïan
Actions:
Description:
Rejoignez-nous ce soir, 9 juin 2011 à 18 h dans la maison Shaughnessy. La chercheure en résidence Elisabeth Essaïan présente ses recherches sur l’urbanisme de la période stalinienne et considère de façon critique la réception, dans les publications en Europe et en Amérique du Nord, de la production des années 1920-50. Cliquez ici pour lévénement Facebook. Consultez(...)
Séminaire de chercheur en résidence : Elisabeth Essaïan
Actions:
Description:
Rejoignez-nous ce soir, 9 juin 2011 à 18 h dans la maison Shaughnessy. La chercheure en résidence Elisabeth Essaïan présente ses recherches sur l’urbanisme de la période stalinienne et considère de façon critique la réception, dans les publications en Europe et en Amérique du Nord, de la production des années 1920-50. Cliquez ici pour lévénement Facebook. Consultez(...)
Classification:
événements
événements
Date:
9 juin 2011
18h
9 juin 2011
18h
Localisation:
Maison Shaughnessy
Maison Shaughnessy
Classification:
expositions
expositions
Description:
Piero en tête présente des sculptures contemporaines de l’artiste canado-britannique Geoffrey Smedley, ainsi que 30 livres rares datant du XVe au XVIIIe siècle. Les sculptures de Smedley s’inspirent d’une série de dessins de tête humaine, réalisés par le maître de la Renaissance Piero della Francesca. L’exposition relie ces dessins et les sculptures de Smedley à la(...)
Piero en tête présente des sculptures contemporaines de l’artiste canado-britannique Geoffrey Smedley, ainsi que 30 livres rares datant du XVe au XVIIIe siècle. Les sculptures de Smedley s’inspirent d’une série de dessins de tête humaine, réalisés par le maître de la Renaissance Piero della Francesca. L’exposition relie ces dessins et les sculptures de Smedley à la(...)
Localisation:
Salle octogonale
Salle octogonale
Date:
2 mai 2001 au 16 septembre 2001
2 mai 2001 au 16 septembre 2001
Titre:
Piero en tête
Actions:
Description:
Piero en tête présente des sculptures contemporaines de l’artiste canado-britannique Geoffrey Smedley, ainsi que 30 livres rares datant du XVe au XVIIIe siècle. Les sculptures de Smedley s’inspirent d’une série de dessins de tête humaine, réalisés par le maître de la Renaissance Piero della Francesca. L’exposition relie ces dessins et les sculptures de Smedley à la(...)
Piero en tête
Actions:
Description:
Piero en tête présente des sculptures contemporaines de l’artiste canado-britannique Geoffrey Smedley, ainsi que 30 livres rares datant du XVe au XVIIIe siècle. Les sculptures de Smedley s’inspirent d’une série de dessins de tête humaine, réalisés par le maître de la Renaissance Piero della Francesca. L’exposition relie ces dessins et les sculptures de Smedley à la(...)
Classification:
expositions
expositions
Date:
2 mai 2001 au
16 septembre 2001
2 mai 2001 au
16 septembre 2001
Localisation:
Salle octogonale
Salle octogonale
Classification:
expositions
expositions
Actions:
Description:
Paraboles et autres allégories : L’Œuvre de Melvin Charney 1975-1990 présente une centaine de dessins, dont plusieurs à grande échelle, des esquisses, des photographies, ainsi que trois grandes constructions. Réunissant des pièces issues de diverses collections publiques et privées, dont celle du CCA, l’exposition permet une analyse globale de la démarche artistique de(...)
Paraboles et autres allégories : L’Œuvre de Melvin Charney 1975-1990 présente une centaine de dessins, dont plusieurs à grande échelle, des esquisses, des photographies, ainsi que trois grandes constructions. Réunissant des pièces issues de diverses collections publiques et privées, dont celle du CCA, l’exposition permet une analyse globale de la démarche artistique de(...)
Localisation:
Salles principales
Salles principales
Date:
9 octobre 1991 au 12 janvier 1992
9 octobre 1991 au 12 janvier 1992
Titre:
Paraboles et autres allégories : L'oeuvre de Melvin Charney, 1975-1990
Actions:
Description:
Paraboles et autres allégories : L’Œuvre de Melvin Charney 1975-1990 présente une centaine de dessins, dont plusieurs à grande échelle, des esquisses, des photographies, ainsi que trois grandes constructions. Réunissant des pièces issues de diverses collections publiques et privées, dont celle du CCA, l’exposition permet une analyse globale de la démarche artistique de(...)
Paraboles et autres allégories : L'oeuvre de Melvin Charney, 1975-1990
Actions:
Description:
Paraboles et autres allégories : L’Œuvre de Melvin Charney 1975-1990 présente une centaine de dessins, dont plusieurs à grande échelle, des esquisses, des photographies, ainsi que trois grandes constructions. Réunissant des pièces issues de diverses collections publiques et privées, dont celle du CCA, l’exposition permet une analyse globale de la démarche artistique de(...)
Classification:
expositions
expositions
Date:
9 octobre 1991 au
12 janvier 1992
9 octobre 1991 au
12 janvier 1992
Localisation:
Salles principales
Salles principales
Classification:
événements
événements
Titre:
Isola et Norzi : Conshelf II
Isola et Norzi : Conshelf II
Actions:
Description:
Les artistes Hilario Isola et Matteo Norzi parlent de la base sous-marine Précontinent II de Jacques Cousteau et de leur propre projet Liquid Door qui propose de réanimer le rêve d’une vie sous-marine en rendant la maison « Étoile de mer » de Cousteau habitable. Basés à New York, les Italiens Hilario Isola et Matteo Norzi collaborent depuis 2003, mettant en commun leurs(...)
Les artistes Hilario Isola et Matteo Norzi parlent de la base sous-marine Précontinent II de Jacques Cousteau et de leur propre projet Liquid Door qui propose de réanimer le rêve d’une vie sous-marine en rendant la maison « Étoile de mer » de Cousteau habitable. Basés à New York, les Italiens Hilario Isola et Matteo Norzi collaborent depuis 2003, mettant en commun leurs(...)
Localisation:
Théâtre Paul-Desmarais
Théâtre Paul-Desmarais
Date:
13 mai 2010 , 19h
13 mai 2010 , 19h
Titre:
Isola et Norzi : Conshelf II
Actions:
Description:
Les artistes Hilario Isola et Matteo Norzi parlent de la base sous-marine Précontinent II de Jacques Cousteau et de leur propre projet Liquid Door qui propose de réanimer le rêve d’une vie sous-marine en rendant la maison « Étoile de mer » de Cousteau habitable. Basés à New York, les Italiens Hilario Isola et Matteo Norzi collaborent depuis 2003, mettant en commun leurs(...)
Isola et Norzi : Conshelf II
Actions:
Description:
Les artistes Hilario Isola et Matteo Norzi parlent de la base sous-marine Précontinent II de Jacques Cousteau et de leur propre projet Liquid Door qui propose de réanimer le rêve d’une vie sous-marine en rendant la maison « Étoile de mer » de Cousteau habitable. Basés à New York, les Italiens Hilario Isola et Matteo Norzi collaborent depuis 2003, mettant en commun leurs(...)
Classification:
événements
événements
Date:
13 mai 2010
19h
13 mai 2010
19h
Localisation:
Théâtre Paul-Desmarais
Théâtre Paul-Desmarais
Classification:
événements
événements
Titre:
Dénouer le paysage numérique
Dénouer le paysage numérique
Actions:
Description:
Dans cette conférence, Christophe Girot aborde les modèles de paysage numérique : Le design et l’analyse du paysage numérique ont traversé une révolution tranquille au cours des dix dernières années, suscitée par l’introduction de modèles numériques de nuages de points. La portée et la précision de ces modèles de paysages numériques créés à l’aide de lecteurs laser(...)
Dans cette conférence, Christophe Girot aborde les modèles de paysage numérique : Le design et l’analyse du paysage numérique ont traversé une révolution tranquille au cours des dix dernières années, suscitée par l’introduction de modèles numériques de nuages de points. La portée et la précision de ces modèles de paysages numériques créés à l’aide de lecteurs laser(...)
Localisation:
Théâtre Paul-Desmarais
Théâtre Paul-Desmarais
Date:
6 octobre 2016, 18h
6 octobre 2016, 18h
Titre:
Dénouer le paysage numérique
Actions:
Description:
Dans cette conférence, Christophe Girot aborde les modèles de paysage numérique : Le design et l’analyse du paysage numérique ont traversé une révolution tranquille au cours des dix dernières années, suscitée par l’introduction de modèles numériques de nuages de points. La portée et la précision de ces modèles de paysages numériques créés à l’aide de lecteurs laser(...)
Dénouer le paysage numérique
Actions:
Description:
Dans cette conférence, Christophe Girot aborde les modèles de paysage numérique : Le design et l’analyse du paysage numérique ont traversé une révolution tranquille au cours des dix dernières années, suscitée par l’introduction de modèles numériques de nuages de points. La portée et la précision de ces modèles de paysages numériques créés à l’aide de lecteurs laser(...)
Classification:
événements
événements
Date:
6 octobre 2016
18h
6 octobre 2016
18h
Localisation:
Théâtre Paul-Desmarais
Théâtre Paul-Desmarais
Niveau de description archivistique:
Sous-série
Sous-série
Titre:
Opera Houses
Opera Houses
Numéro de référence:
CI001.S2.D3
Description:
Charles Rohault de Fleury's sustained involvement with the design of opera houses began with his appointment in 1846 as official architect of the existing Salle Le Pelletier, home to the *Paris Opera, and continued until an open competition was called in 1860 (Charles Garnier won this competition). During this period Rohault de Fleury submitted numerous proposals to replace theprovisional Salle Le Pelletier with a structure more appropriate to the grandeur and importance of France's national opera company. The CCA collection contains four projects related to his work for the Paris opera: two early projects (1846 and 1847) and one later one (1859) for a newopera house, and a portfolio of lithographs and drawings related to alterations and repairs to Salle Le Pelletier (1850-1854). The collection also includes Charles' earliest theatre project, a comprehensive plan for an opera house and surrounding infrastructure for the Theatre Royal Italien opera company (1838-1840), and an album containing drawings and prints of antique and contemporary theatres (1839-1854?). Charles' first project was for the Theatre Royal Italien opera company whose previous home, the Salle Favart, had burned down on the night of January 14 1838. The CCA collection contains an album of presentation drawings for a new theatre located on rue de la Paix with boutiques in the adjacent 'passages' (DR1974:0002:019:001-023). A second album consists of site plans including proposed 'maisons à loyers' (apartment buildings) and documents relating to the cost estimates and rental income for the entire project (DR1974:0002:036:001-016). The architectural style and interior arrangement of the theatre is heavily indebted to Francois Debret's Salle Le Pelletier. Charles' originality lies more in his conception of the social and economic role of the theatre in relation and integration, to its surrounding urban fabric. An explanation of the entire Theatre Royal Italien project, and Charles' role as architect in it, is found in two proposal letters (located in the Avery Library, Columbia University, NY) written by the entrepreneur Eugene Lecomte to the Minister of the Interior, Comte Duchatel, on May 15 and October 31 1839 (1). Charles' album of drawings at the CCA for the theatre and some of the cost and rental estimates are probably presentation copies directly related to the first letter, and most likely submitted to the Minister of the Interior. Charles' project was never executed, and the Italian opera company eventualy found a permanent home in the existing Salle Ventadour (1841). However, the inclusive nature of the Théâtre Royal Italien proposal, with its stress on urban development and contextuality, continued to play a seminal role in his later Paris Opera projects. Upon replacing Francois Debret as architect of Salle Le Pelletier in 1846, Charles proposed nine possible locations (site plans) for a new opera house for the Paris Opera (*Academie Royale de Musique) and, in the following year (1847) prepared a portfolio of drawings for the actual structure with an accompanying seven-page manuscript describing the project. Although executed in successive years, the site plans and 1847 drawings are conceptually related. Both components were undertaken in response to offical interest in a public competition that was never implemented (2)(3). The CCA has two sets of the nine site plans proposed in 1846 (DR1974:0002:036:001-016), one containing transfer lithographed site plans with a written analysis and cost estimate for each of the proposed locations, and the other with only the site plans (similar sets are located in the 'Archives Nationales' in France). They indicate that Charles, (heavily influenced by his Théâtre Royal Italien project) preferred the Rue de la Paix location (siteplan #3) for the new opera house. Although site plan number six, Boulevard des Capucines, was not favoured at this date, it is highly prophetic as it was the location officially chosen in 1860 for the new opera house. Apparently unique to the CCA collection is the 1847 manuscript and portfolio of drawings for the proposed opera house (DR1974:0002:036:001-016). The manuscript is both an indepth review of the requirements for a national opera house and a guide to his portfolio of drawings. Charles' conception and design continued to be strongly influenced by Debret's Salle Lepelletier, as well as his own Théâtre Italien project, and various antique and contemporary opera houses and theatres. Many of the French and Italian sources mentioned in the manuscript are collected in an album (DR1974:0002:010:001-048) as references for his own designs (4). As official architect of Salle Le pelletier, Charles was also responsible for repairs, restorations, and alterations to the existing structure. The drawings and transfer lithographs in the CCA collection (DR1974:0002:036:001-016) are primarily dated 1854, and relate to documented repair and restoration projects undertaken during this period (5)(6). The CCA collection has the presentation drawings and lithographs for the later 1859 project (DR1974:0002:027:001-027) for the Paris opera (*Theatre Imperiale de l'opera) that were sent to Achille Fould, the Minister of State. This project is probably a counterpart to a similiar one that he submitted to the Prefect of the Seine, Baron Haussmann, in the same year (7). Site plans show the opera house on an irregular polygonal site facing Boulevard des Capucines. The placement of the 'maisons à loyers' on the rear of the site reflects Charles' continued emphasis on integrating his opera projects into the surrounding urban context. In 1859, it appeared that Charles was favoured to build the new opera house. But late in the following year, a public competition was called in which Charles Garnier emerged as the victor. Although Charles did not build the final structure, his numerous projects, as exemplified in the CCA collection, were of prime importance in determining the location, configuration, and plan of the Place de l'Opera (8). * The 'Paris Opera' was France's national opera, and thus its name changed numerous times throughout its history according to altering perceptions of its role in French culture and/or changes in political regimes. For reasons of clarity, the national opera will be referred to as the Paris Opera. The names indicated in brackets with a star refer to the proper name of the opera company at the date of the project. (1) Eugene Le Comte, "Projet de Salle rue de la Paix, pour le Théâtre Royal Italien: Lettres à Monsieur le Ministre de l'Intérieur, en date des 15 mai et 31octobre 1839" (Paris: P. Dupont, 1839). (2) Christopher Curtis Mead, "Charles Garnier's Paris Opera and the Renaissance of Classicism in Nineteenth century French Architecture", 3 vols. (PhD thesis; Philadelphia: University of Pennsylvania, 1986), p. 234 and p. 956, fn. 30. (3) Monika Steinhauser, "Die Architektur des Pariser Oper" (Munich: Prestel Verlag, 1969), p. 45, fns. 143 and 144. (4) Barry Bergdoll, "Charles Rohault de Fleury: Part Three: Theatres and the Opera house", 'CCA Research Report', n.d., p. 3. (5) Larousse XIXth Century, s.v. "Rohault de Fleury, Charles". (6) Mead, p. 238. (7) Oeuvres de C. Rohault de Fleury, architecte" (Paris: Librarie centrale d'architecture, 1884).. (8) Macmillan, s.v. "Rohault de Fleury Familly".
CI001.S2.D3
Description:
Charles Rohault de Fleury's sustained involvement with the design of opera houses began with his appointment in 1846 as official architect of the existing Salle Le Pelletier, home to the *Paris Opera, and continued until an open competition was called in 1860 (Charles Garnier won this competition). During this period Rohault de Fleury submitted numerous proposals to replace theprovisional Salle Le Pelletier with a structure more appropriate to the grandeur and importance of France's national opera company. The CCA collection contains four projects related to his work for the Paris opera: two early projects (1846 and 1847) and one later one (1859) for a newopera house, and a portfolio of lithographs and drawings related to alterations and repairs to Salle Le Pelletier (1850-1854). The collection also includes Charles' earliest theatre project, a comprehensive plan for an opera house and surrounding infrastructure for the Theatre Royal Italien opera company (1838-1840), and an album containing drawings and prints of antique and contemporary theatres (1839-1854?). Charles' first project was for the Theatre Royal Italien opera company whose previous home, the Salle Favart, had burned down on the night of January 14 1838. The CCA collection contains an album of presentation drawings for a new theatre located on rue de la Paix with boutiques in the adjacent 'passages' (DR1974:0002:019:001-023). A second album consists of site plans including proposed 'maisons à loyers' (apartment buildings) and documents relating to the cost estimates and rental income for the entire project (DR1974:0002:036:001-016). The architectural style and interior arrangement of the theatre is heavily indebted to Francois Debret's Salle Le Pelletier. Charles' originality lies more in his conception of the social and economic role of the theatre in relation and integration, to its surrounding urban fabric. An explanation of the entire Theatre Royal Italien project, and Charles' role as architect in it, is found in two proposal letters (located in the Avery Library, Columbia University, NY) written by the entrepreneur Eugene Lecomte to the Minister of the Interior, Comte Duchatel, on May 15 and October 31 1839 (1). Charles' album of drawings at the CCA for the theatre and some of the cost and rental estimates are probably presentation copies directly related to the first letter, and most likely submitted to the Minister of the Interior. Charles' project was never executed, and the Italian opera company eventualy found a permanent home in the existing Salle Ventadour (1841). However, the inclusive nature of the Théâtre Royal Italien proposal, with its stress on urban development and contextuality, continued to play a seminal role in his later Paris Opera projects. Upon replacing Francois Debret as architect of Salle Le Pelletier in 1846, Charles proposed nine possible locations (site plans) for a new opera house for the Paris Opera (*Academie Royale de Musique) and, in the following year (1847) prepared a portfolio of drawings for the actual structure with an accompanying seven-page manuscript describing the project. Although executed in successive years, the site plans and 1847 drawings are conceptually related. Both components were undertaken in response to offical interest in a public competition that was never implemented (2)(3). The CCA has two sets of the nine site plans proposed in 1846 (DR1974:0002:036:001-016), one containing transfer lithographed site plans with a written analysis and cost estimate for each of the proposed locations, and the other with only the site plans (similar sets are located in the 'Archives Nationales' in France). They indicate that Charles, (heavily influenced by his Théâtre Royal Italien project) preferred the Rue de la Paix location (siteplan #3) for the new opera house. Although site plan number six, Boulevard des Capucines, was not favoured at this date, it is highly prophetic as it was the location officially chosen in 1860 for the new opera house. Apparently unique to the CCA collection is the 1847 manuscript and portfolio of drawings for the proposed opera house (DR1974:0002:036:001-016). The manuscript is both an indepth review of the requirements for a national opera house and a guide to his portfolio of drawings. Charles' conception and design continued to be strongly influenced by Debret's Salle Lepelletier, as well as his own Théâtre Italien project, and various antique and contemporary opera houses and theatres. Many of the French and Italian sources mentioned in the manuscript are collected in an album (DR1974:0002:010:001-048) as references for his own designs (4). As official architect of Salle Le pelletier, Charles was also responsible for repairs, restorations, and alterations to the existing structure. The drawings and transfer lithographs in the CCA collection (DR1974:0002:036:001-016) are primarily dated 1854, and relate to documented repair and restoration projects undertaken during this period (5)(6). The CCA collection has the presentation drawings and lithographs for the later 1859 project (DR1974:0002:027:001-027) for the Paris opera (*Theatre Imperiale de l'opera) that were sent to Achille Fould, the Minister of State. This project is probably a counterpart to a similiar one that he submitted to the Prefect of the Seine, Baron Haussmann, in the same year (7). Site plans show the opera house on an irregular polygonal site facing Boulevard des Capucines. The placement of the 'maisons à loyers' on the rear of the site reflects Charles' continued emphasis on integrating his opera projects into the surrounding urban context. In 1859, it appeared that Charles was favoured to build the new opera house. But late in the following year, a public competition was called in which Charles Garnier emerged as the victor. Although Charles did not build the final structure, his numerous projects, as exemplified in the CCA collection, were of prime importance in determining the location, configuration, and plan of the Place de l'Opera (8). * The 'Paris Opera' was France's national opera, and thus its name changed numerous times throughout its history according to altering perceptions of its role in French culture and/or changes in political regimes. For reasons of clarity, the national opera will be referred to as the Paris Opera. The names indicated in brackets with a star refer to the proper name of the opera company at the date of the project. (1) Eugene Le Comte, "Projet de Salle rue de la Paix, pour le Théâtre Royal Italien: Lettres à Monsieur le Ministre de l'Intérieur, en date des 15 mai et 31octobre 1839" (Paris: P. Dupont, 1839). (2) Christopher Curtis Mead, "Charles Garnier's Paris Opera and the Renaissance of Classicism in Nineteenth century French Architecture", 3 vols. (PhD thesis; Philadelphia: University of Pennsylvania, 1986), p. 234 and p. 956, fn. 30. (3) Monika Steinhauser, "Die Architektur des Pariser Oper" (Munich: Prestel Verlag, 1969), p. 45, fns. 143 and 144. (4) Barry Bergdoll, "Charles Rohault de Fleury: Part Three: Theatres and the Opera house", 'CCA Research Report', n.d., p. 3. (5) Larousse XIXth Century, s.v. "Rohault de Fleury, Charles". (6) Mead, p. 238. (7) Oeuvres de C. Rohault de Fleury, architecte" (Paris: Librarie centrale d'architecture, 1884).. (8) Macmillan, s.v. "Rohault de Fleury Familly".
Personnes et institutions:
Date:
1717-1868
1717-1868
Titre:
Opera Houses
CI001.S2.D3
Description:
Charles Rohault de Fleury's sustained involvement with the design of opera houses began with his appointment in 1846 as official architect of the existing Salle Le Pelletier, home to the *Paris Opera, and continued until an open competition was called in 1860 (Charles Garnier won this competition). During this period Rohault de Fleury submitted numerous proposals to replace theprovisional Salle Le Pelletier with a structure more appropriate to the grandeur and importance of France's national opera company. The CCA collection contains four projects related to his work for the Paris opera: two early projects (1846 and 1847) and one later one (1859) for a newopera house, and a portfolio of lithographs and drawings related to alterations and repairs to Salle Le Pelletier (1850-1854). The collection also includes Charles' earliest theatre project, a comprehensive plan for an opera house and surrounding infrastructure for the Theatre Royal Italien opera company (1838-1840), and an album containing drawings and prints of antique and contemporary theatres (1839-1854?). Charles' first project was for the Theatre Royal Italien opera company whose previous home, the Salle Favart, had burned down on the night of January 14 1838. The CCA collection contains an album of presentation drawings for a new theatre located on rue de la Paix with boutiques in the adjacent 'passages' (DR1974:0002:019:001-023). A second album consists of site plans including proposed 'maisons à loyers' (apartment buildings) and documents relating to the cost estimates and rental income for the entire project (DR1974:0002:036:001-016). The architectural style and interior arrangement of the theatre is heavily indebted to Francois Debret's Salle Le Pelletier. Charles' originality lies more in his conception of the social and economic role of the theatre in relation and integration, to its surrounding urban fabric. An explanation of the entire Theatre Royal Italien project, and Charles' role as architect in it, is found in two proposal letters (located in the Avery Library, Columbia University, NY) written by the entrepreneur Eugene Lecomte to the Minister of the Interior, Comte Duchatel, on May 15 and October 31 1839 (1). Charles' album of drawings at the CCA for the theatre and some of the cost and rental estimates are probably presentation copies directly related to the first letter, and most likely submitted to the Minister of the Interior. Charles' project was never executed, and the Italian opera company eventualy found a permanent home in the existing Salle Ventadour (1841). However, the inclusive nature of the Théâtre Royal Italien proposal, with its stress on urban development and contextuality, continued to play a seminal role in his later Paris Opera projects. Upon replacing Francois Debret as architect of Salle Le Pelletier in 1846, Charles proposed nine possible locations (site plans) for a new opera house for the Paris Opera (*Academie Royale de Musique) and, in the following year (1847) prepared a portfolio of drawings for the actual structure with an accompanying seven-page manuscript describing the project. Although executed in successive years, the site plans and 1847 drawings are conceptually related. Both components were undertaken in response to offical interest in a public competition that was never implemented (2)(3). The CCA has two sets of the nine site plans proposed in 1846 (DR1974:0002:036:001-016), one containing transfer lithographed site plans with a written analysis and cost estimate for each of the proposed locations, and the other with only the site plans (similar sets are located in the 'Archives Nationales' in France). They indicate that Charles, (heavily influenced by his Théâtre Royal Italien project) preferred the Rue de la Paix location (siteplan #3) for the new opera house. Although site plan number six, Boulevard des Capucines, was not favoured at this date, it is highly prophetic as it was the location officially chosen in 1860 for the new opera house. Apparently unique to the CCA collection is the 1847 manuscript and portfolio of drawings for the proposed opera house (DR1974:0002:036:001-016). The manuscript is both an indepth review of the requirements for a national opera house and a guide to his portfolio of drawings. Charles' conception and design continued to be strongly influenced by Debret's Salle Lepelletier, as well as his own Théâtre Italien project, and various antique and contemporary opera houses and theatres. Many of the French and Italian sources mentioned in the manuscript are collected in an album (DR1974:0002:010:001-048) as references for his own designs (4). As official architect of Salle Le pelletier, Charles was also responsible for repairs, restorations, and alterations to the existing structure. The drawings and transfer lithographs in the CCA collection (DR1974:0002:036:001-016) are primarily dated 1854, and relate to documented repair and restoration projects undertaken during this period (5)(6). The CCA collection has the presentation drawings and lithographs for the later 1859 project (DR1974:0002:027:001-027) for the Paris opera (*Theatre Imperiale de l'opera) that were sent to Achille Fould, the Minister of State. This project is probably a counterpart to a similiar one that he submitted to the Prefect of the Seine, Baron Haussmann, in the same year (7). Site plans show the opera house on an irregular polygonal site facing Boulevard des Capucines. The placement of the 'maisons à loyers' on the rear of the site reflects Charles' continued emphasis on integrating his opera projects into the surrounding urban context. In 1859, it appeared that Charles was favoured to build the new opera house. But late in the following year, a public competition was called in which Charles Garnier emerged as the victor. Although Charles did not build the final structure, his numerous projects, as exemplified in the CCA collection, were of prime importance in determining the location, configuration, and plan of the Place de l'Opera (8). * The 'Paris Opera' was France's national opera, and thus its name changed numerous times throughout its history according to altering perceptions of its role in French culture and/or changes in political regimes. For reasons of clarity, the national opera will be referred to as the Paris Opera. The names indicated in brackets with a star refer to the proper name of the opera company at the date of the project. (1) Eugene Le Comte, "Projet de Salle rue de la Paix, pour le Théâtre Royal Italien: Lettres à Monsieur le Ministre de l'Intérieur, en date des 15 mai et 31octobre 1839" (Paris: P. Dupont, 1839). (2) Christopher Curtis Mead, "Charles Garnier's Paris Opera and the Renaissance of Classicism in Nineteenth century French Architecture", 3 vols. (PhD thesis; Philadelphia: University of Pennsylvania, 1986), p. 234 and p. 956, fn. 30. (3) Monika Steinhauser, "Die Architektur des Pariser Oper" (Munich: Prestel Verlag, 1969), p. 45, fns. 143 and 144. (4) Barry Bergdoll, "Charles Rohault de Fleury: Part Three: Theatres and the Opera house", 'CCA Research Report', n.d., p. 3. (5) Larousse XIXth Century, s.v. "Rohault de Fleury, Charles". (6) Mead, p. 238. (7) Oeuvres de C. Rohault de Fleury, architecte" (Paris: Librarie centrale d'architecture, 1884).. (8) Macmillan, s.v. "Rohault de Fleury Familly".
Opera Houses
CI001.S2.D3
Description:
Charles Rohault de Fleury's sustained involvement with the design of opera houses began with his appointment in 1846 as official architect of the existing Salle Le Pelletier, home to the *Paris Opera, and continued until an open competition was called in 1860 (Charles Garnier won this competition). During this period Rohault de Fleury submitted numerous proposals to replace theprovisional Salle Le Pelletier with a structure more appropriate to the grandeur and importance of France's national opera company. The CCA collection contains four projects related to his work for the Paris opera: two early projects (1846 and 1847) and one later one (1859) for a newopera house, and a portfolio of lithographs and drawings related to alterations and repairs to Salle Le Pelletier (1850-1854). The collection also includes Charles' earliest theatre project, a comprehensive plan for an opera house and surrounding infrastructure for the Theatre Royal Italien opera company (1838-1840), and an album containing drawings and prints of antique and contemporary theatres (1839-1854?). Charles' first project was for the Theatre Royal Italien opera company whose previous home, the Salle Favart, had burned down on the night of January 14 1838. The CCA collection contains an album of presentation drawings for a new theatre located on rue de la Paix with boutiques in the adjacent 'passages' (DR1974:0002:019:001-023). A second album consists of site plans including proposed 'maisons à loyers' (apartment buildings) and documents relating to the cost estimates and rental income for the entire project (DR1974:0002:036:001-016). The architectural style and interior arrangement of the theatre is heavily indebted to Francois Debret's Salle Le Pelletier. Charles' originality lies more in his conception of the social and economic role of the theatre in relation and integration, to its surrounding urban fabric. An explanation of the entire Theatre Royal Italien project, and Charles' role as architect in it, is found in two proposal letters (located in the Avery Library, Columbia University, NY) written by the entrepreneur Eugene Lecomte to the Minister of the Interior, Comte Duchatel, on May 15 and October 31 1839 (1). Charles' album of drawings at the CCA for the theatre and some of the cost and rental estimates are probably presentation copies directly related to the first letter, and most likely submitted to the Minister of the Interior. Charles' project was never executed, and the Italian opera company eventualy found a permanent home in the existing Salle Ventadour (1841). However, the inclusive nature of the Théâtre Royal Italien proposal, with its stress on urban development and contextuality, continued to play a seminal role in his later Paris Opera projects. Upon replacing Francois Debret as architect of Salle Le Pelletier in 1846, Charles proposed nine possible locations (site plans) for a new opera house for the Paris Opera (*Academie Royale de Musique) and, in the following year (1847) prepared a portfolio of drawings for the actual structure with an accompanying seven-page manuscript describing the project. Although executed in successive years, the site plans and 1847 drawings are conceptually related. Both components were undertaken in response to offical interest in a public competition that was never implemented (2)(3). The CCA has two sets of the nine site plans proposed in 1846 (DR1974:0002:036:001-016), one containing transfer lithographed site plans with a written analysis and cost estimate for each of the proposed locations, and the other with only the site plans (similar sets are located in the 'Archives Nationales' in France). They indicate that Charles, (heavily influenced by his Théâtre Royal Italien project) preferred the Rue de la Paix location (siteplan #3) for the new opera house. Although site plan number six, Boulevard des Capucines, was not favoured at this date, it is highly prophetic as it was the location officially chosen in 1860 for the new opera house. Apparently unique to the CCA collection is the 1847 manuscript and portfolio of drawings for the proposed opera house (DR1974:0002:036:001-016). The manuscript is both an indepth review of the requirements for a national opera house and a guide to his portfolio of drawings. Charles' conception and design continued to be strongly influenced by Debret's Salle Lepelletier, as well as his own Théâtre Italien project, and various antique and contemporary opera houses and theatres. Many of the French and Italian sources mentioned in the manuscript are collected in an album (DR1974:0002:010:001-048) as references for his own designs (4). As official architect of Salle Le pelletier, Charles was also responsible for repairs, restorations, and alterations to the existing structure. The drawings and transfer lithographs in the CCA collection (DR1974:0002:036:001-016) are primarily dated 1854, and relate to documented repair and restoration projects undertaken during this period (5)(6). The CCA collection has the presentation drawings and lithographs for the later 1859 project (DR1974:0002:027:001-027) for the Paris opera (*Theatre Imperiale de l'opera) that were sent to Achille Fould, the Minister of State. This project is probably a counterpart to a similiar one that he submitted to the Prefect of the Seine, Baron Haussmann, in the same year (7). Site plans show the opera house on an irregular polygonal site facing Boulevard des Capucines. The placement of the 'maisons à loyers' on the rear of the site reflects Charles' continued emphasis on integrating his opera projects into the surrounding urban context. In 1859, it appeared that Charles was favoured to build the new opera house. But late in the following year, a public competition was called in which Charles Garnier emerged as the victor. Although Charles did not build the final structure, his numerous projects, as exemplified in the CCA collection, were of prime importance in determining the location, configuration, and plan of the Place de l'Opera (8). * The 'Paris Opera' was France's national opera, and thus its name changed numerous times throughout its history according to altering perceptions of its role in French culture and/or changes in political regimes. For reasons of clarity, the national opera will be referred to as the Paris Opera. The names indicated in brackets with a star refer to the proper name of the opera company at the date of the project. (1) Eugene Le Comte, "Projet de Salle rue de la Paix, pour le Théâtre Royal Italien: Lettres à Monsieur le Ministre de l'Intérieur, en date des 15 mai et 31octobre 1839" (Paris: P. Dupont, 1839). (2) Christopher Curtis Mead, "Charles Garnier's Paris Opera and the Renaissance of Classicism in Nineteenth century French Architecture", 3 vols. (PhD thesis; Philadelphia: University of Pennsylvania, 1986), p. 234 and p. 956, fn. 30. (3) Monika Steinhauser, "Die Architektur des Pariser Oper" (Munich: Prestel Verlag, 1969), p. 45, fns. 143 and 144. (4) Barry Bergdoll, "Charles Rohault de Fleury: Part Three: Theatres and the Opera house", 'CCA Research Report', n.d., p. 3. (5) Larousse XIXth Century, s.v. "Rohault de Fleury, Charles". (6) Mead, p. 238. (7) Oeuvres de C. Rohault de Fleury, architecte" (Paris: Librarie centrale d'architecture, 1884).. (8) Macmillan, s.v. "Rohault de Fleury Familly".
Niveau de description archivistique:
File 3
File 3
Date:
1717-1868
1717-1868
Personnes et institutions:
