5497 Résultats
Classification:
recherche
recherche
Titre:
Chercheurs en résidence 2007
Chercheurs en résidence 2007
Actions:
Description:
S.M. Can Bilsel, University of San Diego, San Diego, États-Unis Sujet : The Modern Cult of Authenticity: Reproduction of Antiquity and the Location of Architecture in the 20th Century Museum Constance Classen, Université Concordia, Montréal, Canada Sujet : Beckford and Fonthill: Creating a Palace of the Senses Seminar: Multisensory Marketing and the Design of Retail(...)
S.M. Can Bilsel, University of San Diego, San Diego, États-Unis Sujet : The Modern Cult of Authenticity: Reproduction of Antiquity and the Location of Architecture in the 20th Century Museum Constance Classen, Université Concordia, Montréal, Canada Sujet : Beckford and Fonthill: Creating a Palace of the Senses Seminar: Multisensory Marketing and the Design of Retail(...)
Date:
mai 2007 au septembre 2007
mai 2007 au septembre 2007
Titre:
Chercheurs en résidence 2007
Actions:
Description:
S.M. Can Bilsel, University of San Diego, San Diego, États-Unis Sujet : The Modern Cult of Authenticity: Reproduction of Antiquity and the Location of Architecture in the 20th Century Museum Constance Classen, Université Concordia, Montréal, Canada Sujet : Beckford and Fonthill: Creating a Palace of the Senses Seminar: Multisensory Marketing and the Design of Retail(...)
Chercheurs en résidence 2007
Actions:
Description:
S.M. Can Bilsel, University of San Diego, San Diego, États-Unis Sujet : The Modern Cult of Authenticity: Reproduction of Antiquity and the Location of Architecture in the 20th Century Museum Constance Classen, Université Concordia, Montréal, Canada Sujet : Beckford and Fonthill: Creating a Palace of the Senses Seminar: Multisensory Marketing and the Design of Retail(...)
Classification:
recherche
recherche
Date:
mai 2007 au
septembre 2007
mai 2007 au
septembre 2007
Classification:
recherche
recherche
Titre:
Chercheurs en résidence 2010
Chercheurs en résidence 2010
Actions:
Description:
Nicholas Adams, Collège Vassar, Poughkeepsie, États-Unis Sujet : Being Modern, Being Swedish: Gunnar Asplund’s Law Court Extension, Göteborg (1934-1938) Frederick Bohrer, Hood College, Frederick, États-Unis Sujet : Photography, Architecture, Archaeology: The Image as Object Enrico Chapel, École nationale supérieure d’architecture de Toulouse, France Sujet : Le paysage(...)
Nicholas Adams, Collège Vassar, Poughkeepsie, États-Unis Sujet : Being Modern, Being Swedish: Gunnar Asplund’s Law Court Extension, Göteborg (1934-1938) Frederick Bohrer, Hood College, Frederick, États-Unis Sujet : Photography, Architecture, Archaeology: The Image as Object Enrico Chapel, École nationale supérieure d’architecture de Toulouse, France Sujet : Le paysage(...)
Date:
9 mars 2010 au 15 août 2010
9 mars 2010 au 15 août 2010
Titre:
Chercheurs en résidence 2010
Actions:
Description:
Nicholas Adams, Collège Vassar, Poughkeepsie, États-Unis Sujet : Being Modern, Being Swedish: Gunnar Asplund’s Law Court Extension, Göteborg (1934-1938) Frederick Bohrer, Hood College, Frederick, États-Unis Sujet : Photography, Architecture, Archaeology: The Image as Object Enrico Chapel, École nationale supérieure d’architecture de Toulouse, France Sujet : Le paysage(...)
Chercheurs en résidence 2010
Actions:
Description:
Nicholas Adams, Collège Vassar, Poughkeepsie, États-Unis Sujet : Being Modern, Being Swedish: Gunnar Asplund’s Law Court Extension, Göteborg (1934-1938) Frederick Bohrer, Hood College, Frederick, États-Unis Sujet : Photography, Architecture, Archaeology: The Image as Object Enrico Chapel, École nationale supérieure d’architecture de Toulouse, France Sujet : Le paysage(...)
Classification:
recherche
recherche
Date:
9 mars 2010 au
15 août 2010
9 mars 2010 au
15 août 2010
Niveau de description archivistique:
Série(s)
Série(s)
Titre:
Articles, 2015-2020
Articles, 2015-2020
Numéro de référence:
AP133.S3
Description:
This series documents Pierre du Prey's writings for articles in collaborative publications and magazine on the history of architecture. It contains documents related to the following articles: "William Chambers, John Yenn, and the Boboli Gardens transported to England's Shores" in "Rethinking Renaissance Drawings: Essays in Honour of David McTavish" edited by Una Roman d’Elia (2015); "Conviviality Versus Seclusions in Pliny’s Tuscan and Laurentine Villas" in "The Roman Villa in the Mediterranean Bassin: Late Republic to Late Antiquity" edited by Annalisa Marzano and Guy P. R. Métraux (2017); and "London, Parma, Dresden: Exposition, Competition, Exhibition" in "The Companions to the History of Architecture, Volume II: Eighteenth-Century Architecture", edited by Caroline van Eck and Sigrid de Jong (2018). It also contains material related to the article "A Serendipitous Discovery" published in "The Architectural Historian" magazine of March 2019 about a recently found drawing by Sir John Soane and small publication "Finding the 'Lost' Church of St. John the Baptist" published by Delusso Éditeur in 2020. The series contains draft and final versions of texts, and correspondence regarding each of the five articles.
AP133.S3
Description:
This series documents Pierre du Prey's writings for articles in collaborative publications and magazine on the history of architecture. It contains documents related to the following articles: "William Chambers, John Yenn, and the Boboli Gardens transported to England's Shores" in "Rethinking Renaissance Drawings: Essays in Honour of David McTavish" edited by Una Roman d’Elia (2015); "Conviviality Versus Seclusions in Pliny’s Tuscan and Laurentine Villas" in "The Roman Villa in the Mediterranean Bassin: Late Republic to Late Antiquity" edited by Annalisa Marzano and Guy P. R. Métraux (2017); and "London, Parma, Dresden: Exposition, Competition, Exhibition" in "The Companions to the History of Architecture, Volume II: Eighteenth-Century Architecture", edited by Caroline van Eck and Sigrid de Jong (2018). It also contains material related to the article "A Serendipitous Discovery" published in "The Architectural Historian" magazine of March 2019 about a recently found drawing by Sir John Soane and small publication "Finding the 'Lost' Church of St. John the Baptist" published by Delusso Éditeur in 2020. The series contains draft and final versions of texts, and correspondence regarding each of the five articles.
Personnes et institutions:
Date:
2010-2020
2010-2020
Titre:
Articles, 2015-2020
Actions:
AP133.S3
Description:
This series documents Pierre du Prey's writings for articles in collaborative publications and magazine on the history of architecture. It contains documents related to the following articles: "William Chambers, John Yenn, and the Boboli Gardens transported to England's Shores" in "Rethinking Renaissance Drawings: Essays in Honour of David McTavish" edited by Una Roman d’Elia (2015); "Conviviality Versus Seclusions in Pliny’s Tuscan and Laurentine Villas" in "The Roman Villa in the Mediterranean Bassin: Late Republic to Late Antiquity" edited by Annalisa Marzano and Guy P. R. Métraux (2017); and "London, Parma, Dresden: Exposition, Competition, Exhibition" in "The Companions to the History of Architecture, Volume II: Eighteenth-Century Architecture", edited by Caroline van Eck and Sigrid de Jong (2018). It also contains material related to the article "A Serendipitous Discovery" published in "The Architectural Historian" magazine of March 2019 about a recently found drawing by Sir John Soane and small publication "Finding the 'Lost' Church of St. John the Baptist" published by Delusso Éditeur in 2020. The series contains draft and final versions of texts, and correspondence regarding each of the five articles.
Articles, 2015-2020
Actions:
AP133.S3
Description:
This series documents Pierre du Prey's writings for articles in collaborative publications and magazine on the history of architecture. It contains documents related to the following articles: "William Chambers, John Yenn, and the Boboli Gardens transported to England's Shores" in "Rethinking Renaissance Drawings: Essays in Honour of David McTavish" edited by Una Roman d’Elia (2015); "Conviviality Versus Seclusions in Pliny’s Tuscan and Laurentine Villas" in "The Roman Villa in the Mediterranean Bassin: Late Republic to Late Antiquity" edited by Annalisa Marzano and Guy P. R. Métraux (2017); and "London, Parma, Dresden: Exposition, Competition, Exhibition" in "The Companions to the History of Architecture, Volume II: Eighteenth-Century Architecture", edited by Caroline van Eck and Sigrid de Jong (2018). It also contains material related to the article "A Serendipitous Discovery" published in "The Architectural Historian" magazine of March 2019 about a recently found drawing by Sir John Soane and small publication "Finding the 'Lost' Church of St. John the Baptist" published by Delusso Éditeur in 2020. The series contains draft and final versions of texts, and correspondence regarding each of the five articles.
Niveau de description archivistique:
Series
Series
Date:
2010-2020
2010-2020
Personnes et institutions:
Niveau de description archivistique:
Sous-série
Sous-série
Titre:
Education
Education
Numéro de référence:
CI001.S1.D1
Description:
Hubert Rohault de Fleury studied under Jean-Nicolas-Louis Durand at the École polytechnique and with Julien-David Leroy at the École des beaux-arts. The confluence of their respective pedagogies is evident in albums DR1974:0002:012:001-049 and DR1974:0002:013:001-008 where Durand's` "rationalized" methodology of design is applied to Leroy's vocabulary of antiquity(1). Hubert's two albums of student drawings for the École des Beaux-Arts (DR1974:0002:012:001-049 and DR1974:0002:013:001-008) are complimentary. The former contains competition drawings and programmes for the monthly competitions (Concours d'emulation) as well as drawing, prints, and programmes for the 1800 (2e), 1801, and 1802 (1er) Grand Prix competitions, each of which trace the entire process from "Concours d'essai" and "esquisse", up to and including, studies for final renderings. The latter album contains large-scale final renderings for the 1800, 1801, and possibly the 1798 Grand prix competitions. As in Durand's "mecanisme de la composition", Hubert proceeds from the simple to the complex, often utilizing the graph paper or hand drawn grid particular to Durand's design methodology (codified in his book 'Precis des Lecons' 1802). This process is readily apparent in both Hubert's "Concours d'emulation" drawings, and, more completely, in the drawings for the Grand Prix competitions. The studies for Hubert's winning 1802 Grand Prix entry for a'Foire' indicate that he isolated and studied different building types before combining them into the unified complex evident in his final renderings. The original final renderings of the Grand Prix winners were kept by the École des beaux-arts. Album DR1974:0002:012:001-049 contains only the prints of the final renderings. The success of Hubert in the Grand Prix competitions is not surprising. His large wash final renderings for the 1800 and 1801 competitions (DR1974:0002:013:001-008) indicate that the neo-classical simplicity then favoured by the judges at the École des beaux-arts dovetailed with the notions of economy implicit in Durand's functionalist approach to design. (1) Barry Bergdoll, "Hubert Rohault de Fleury: Architectural Education", 'CCA Research Report', n.d.
CI001.S1.D1
Description:
Hubert Rohault de Fleury studied under Jean-Nicolas-Louis Durand at the École polytechnique and with Julien-David Leroy at the École des beaux-arts. The confluence of their respective pedagogies is evident in albums DR1974:0002:012:001-049 and DR1974:0002:013:001-008 where Durand's` "rationalized" methodology of design is applied to Leroy's vocabulary of antiquity(1). Hubert's two albums of student drawings for the École des Beaux-Arts (DR1974:0002:012:001-049 and DR1974:0002:013:001-008) are complimentary. The former contains competition drawings and programmes for the monthly competitions (Concours d'emulation) as well as drawing, prints, and programmes for the 1800 (2e), 1801, and 1802 (1er) Grand Prix competitions, each of which trace the entire process from "Concours d'essai" and "esquisse", up to and including, studies for final renderings. The latter album contains large-scale final renderings for the 1800, 1801, and possibly the 1798 Grand prix competitions. As in Durand's "mecanisme de la composition", Hubert proceeds from the simple to the complex, often utilizing the graph paper or hand drawn grid particular to Durand's design methodology (codified in his book 'Precis des Lecons' 1802). This process is readily apparent in both Hubert's "Concours d'emulation" drawings, and, more completely, in the drawings for the Grand Prix competitions. The studies for Hubert's winning 1802 Grand Prix entry for a'Foire' indicate that he isolated and studied different building types before combining them into the unified complex evident in his final renderings. The original final renderings of the Grand Prix winners were kept by the École des beaux-arts. Album DR1974:0002:012:001-049 contains only the prints of the final renderings. The success of Hubert in the Grand Prix competitions is not surprising. His large wash final renderings for the 1800 and 1801 competitions (DR1974:0002:013:001-008) indicate that the neo-classical simplicity then favoured by the judges at the École des beaux-arts dovetailed with the notions of economy implicit in Durand's functionalist approach to design. (1) Barry Bergdoll, "Hubert Rohault de Fleury: Architectural Education", 'CCA Research Report', n.d.
Personnes et institutions:
Date:
1800-1807
1800-1807
Titre:
Education
CI001.S1.D1
Description:
Hubert Rohault de Fleury studied under Jean-Nicolas-Louis Durand at the École polytechnique and with Julien-David Leroy at the École des beaux-arts. The confluence of their respective pedagogies is evident in albums DR1974:0002:012:001-049 and DR1974:0002:013:001-008 where Durand's` "rationalized" methodology of design is applied to Leroy's vocabulary of antiquity(1). Hubert's two albums of student drawings for the École des Beaux-Arts (DR1974:0002:012:001-049 and DR1974:0002:013:001-008) are complimentary. The former contains competition drawings and programmes for the monthly competitions (Concours d'emulation) as well as drawing, prints, and programmes for the 1800 (2e), 1801, and 1802 (1er) Grand Prix competitions, each of which trace the entire process from "Concours d'essai" and "esquisse", up to and including, studies for final renderings. The latter album contains large-scale final renderings for the 1800, 1801, and possibly the 1798 Grand prix competitions. As in Durand's "mecanisme de la composition", Hubert proceeds from the simple to the complex, often utilizing the graph paper or hand drawn grid particular to Durand's design methodology (codified in his book 'Precis des Lecons' 1802). This process is readily apparent in both Hubert's "Concours d'emulation" drawings, and, more completely, in the drawings for the Grand Prix competitions. The studies for Hubert's winning 1802 Grand Prix entry for a'Foire' indicate that he isolated and studied different building types before combining them into the unified complex evident in his final renderings. The original final renderings of the Grand Prix winners were kept by the École des beaux-arts. Album DR1974:0002:012:001-049 contains only the prints of the final renderings. The success of Hubert in the Grand Prix competitions is not surprising. His large wash final renderings for the 1800 and 1801 competitions (DR1974:0002:013:001-008) indicate that the neo-classical simplicity then favoured by the judges at the École des beaux-arts dovetailed with the notions of economy implicit in Durand's functionalist approach to design. (1) Barry Bergdoll, "Hubert Rohault de Fleury: Architectural Education", 'CCA Research Report', n.d.
Education
CI001.S1.D1
Description:
Hubert Rohault de Fleury studied under Jean-Nicolas-Louis Durand at the École polytechnique and with Julien-David Leroy at the École des beaux-arts. The confluence of their respective pedagogies is evident in albums DR1974:0002:012:001-049 and DR1974:0002:013:001-008 where Durand's` "rationalized" methodology of design is applied to Leroy's vocabulary of antiquity(1). Hubert's two albums of student drawings for the École des Beaux-Arts (DR1974:0002:012:001-049 and DR1974:0002:013:001-008) are complimentary. The former contains competition drawings and programmes for the monthly competitions (Concours d'emulation) as well as drawing, prints, and programmes for the 1800 (2e), 1801, and 1802 (1er) Grand Prix competitions, each of which trace the entire process from "Concours d'essai" and "esquisse", up to and including, studies for final renderings. The latter album contains large-scale final renderings for the 1800, 1801, and possibly the 1798 Grand prix competitions. As in Durand's "mecanisme de la composition", Hubert proceeds from the simple to the complex, often utilizing the graph paper or hand drawn grid particular to Durand's design methodology (codified in his book 'Precis des Lecons' 1802). This process is readily apparent in both Hubert's "Concours d'emulation" drawings, and, more completely, in the drawings for the Grand Prix competitions. The studies for Hubert's winning 1802 Grand Prix entry for a'Foire' indicate that he isolated and studied different building types before combining them into the unified complex evident in his final renderings. The original final renderings of the Grand Prix winners were kept by the École des beaux-arts. Album DR1974:0002:012:001-049 contains only the prints of the final renderings. The success of Hubert in the Grand Prix competitions is not surprising. His large wash final renderings for the 1800 and 1801 competitions (DR1974:0002:013:001-008) indicate that the neo-classical simplicity then favoured by the judges at the École des beaux-arts dovetailed with the notions of economy implicit in Durand's functionalist approach to design. (1) Barry Bergdoll, "Hubert Rohault de Fleury: Architectural Education", 'CCA Research Report', n.d.
Niveau de description archivistique:
File 1
File 1
Date:
1800-1807
1800-1807
Personnes et institutions:
Classification:
oeuvres d'art
Quantité:
20 print(s)
oeuvres d'art
Quantité:
20 print(s)
Titre:
Détails d'architecture
Détails d'architecture
Actions:
Numéro de référence:
DR1990:0047:001-020
Description:
The etchings in this set include designs for various parts of architectural orders including column bases, capitals, and entablatures. There is some overlap with prints in Du Cerceau’s 'Détails d’ordres antiques' (notably elements on Plates 007 and 011), however most of the etchings include novel elements drawn from the type of ornament in use in works produced by the First School of Fontainebleau such as armor, musical instruments, and fruit. In purportedly representing architectural elements drawn from antiquity, Du Cerceau introduces a high level of variation and innovation. Some of these details are whimsical, for example a small detail of a dog on the entablature of Plate 002. Each plate is organized to accommodate the greatest number of variations possible. For example, Plate 12 includes two friezes, one with a series of musical instruments and the other with instruments of war – suggesting that the designs could be adapted to suit each patron’s particular interests.
DR1990:0047:001-020
Description:
The etchings in this set include designs for various parts of architectural orders including column bases, capitals, and entablatures. There is some overlap with prints in Du Cerceau’s 'Détails d’ordres antiques' (notably elements on Plates 007 and 011), however most of the etchings include novel elements drawn from the type of ornament in use in works produced by the First School of Fontainebleau such as armor, musical instruments, and fruit. In purportedly representing architectural elements drawn from antiquity, Du Cerceau introduces a high level of variation and innovation. Some of these details are whimsical, for example a small detail of a dog on the entablature of Plate 002. Each plate is organized to accommodate the greatest number of variations possible. For example, Plate 12 includes two friezes, one with a series of musical instruments and the other with instruments of war – suggesting that the designs could be adapted to suit each patron’s particular interests.
Personnes et institutions:
Sujet:
architecture
architecture
Date:
engraved circa 1566-1570
engraved circa 1566-1570
Titre:
Détails d'architecture
Actions:
DR1990:0047:001-020
Description:
The etchings in this set include designs for various parts of architectural orders including column bases, capitals, and entablatures. There is some overlap with prints in Du Cerceau’s 'Détails d’ordres antiques' (notably elements on Plates 007 and 011), however most of the etchings include novel elements drawn from the type of ornament in use in works produced by the First School of Fontainebleau such as armor, musical instruments, and fruit. In purportedly representing architectural elements drawn from antiquity, Du Cerceau introduces a high level of variation and innovation. Some of these details are whimsical, for example a small detail of a dog on the entablature of Plate 002. Each plate is organized to accommodate the greatest number of variations possible. For example, Plate 12 includes two friezes, one with a series of musical instruments and the other with instruments of war – suggesting that the designs could be adapted to suit each patron’s particular interests.
Détails d'architecture
Actions:
DR1990:0047:001-020
Description:
The etchings in this set include designs for various parts of architectural orders including column bases, capitals, and entablatures. There is some overlap with prints in Du Cerceau’s 'Détails d’ordres antiques' (notably elements on Plates 007 and 011), however most of the etchings include novel elements drawn from the type of ornament in use in works produced by the First School of Fontainebleau such as armor, musical instruments, and fruit. In purportedly representing architectural elements drawn from antiquity, Du Cerceau introduces a high level of variation and innovation. Some of these details are whimsical, for example a small detail of a dog on the entablature of Plate 002. Each plate is organized to accommodate the greatest number of variations possible. For example, Plate 12 includes two friezes, one with a series of musical instruments and the other with instruments of war – suggesting that the designs could be adapted to suit each patron’s particular interests.
Classification:
oeuvres d'art
Quantité:
20 print(s)
oeuvres d'art
Quantité:
20 print(s)
Date:
engraved circa 1566-1570
engraved circa 1566-1570
Personnes et institutions:
Sujet:
architecture
architecture
Classification:
expositions
expositions
Description:
Rome était un centre important de l’art italien où convergeaient les artistes européens qui, attirés tant par l’architecture, l’art et la statuaire antiques que par les chefs-d’oeuvre du Baroque, de la Renaissance et du XVIIIe siècle, venaient y faire leurs études. L’exposition À la découverte de Rome : Piranèse et ses contemporains porte sur les artistes, collectionneurs(...)
Rome était un centre important de l’art italien où convergeaient les artistes européens qui, attirés tant par l’architecture, l’art et la statuaire antiques que par les chefs-d’oeuvre du Baroque, de la Renaissance et du XVIIIe siècle, venaient y faire leurs études. L’exposition À la découverte de Rome : Piranèse et ses contemporains porte sur les artistes, collectionneurs(...)
Localisation:
Salles principales
Salles principales
Date:
18 août 1993 au 2 janvier 1994
18 août 1993 au 2 janvier 1994
Titre:
À la découverte de Rome : Piranèse et ses contemporains
Actions:
Description:
Rome était un centre important de l’art italien où convergeaient les artistes européens qui, attirés tant par l’architecture, l’art et la statuaire antiques que par les chefs-d’oeuvre du Baroque, de la Renaissance et du XVIIIe siècle, venaient y faire leurs études. L’exposition À la découverte de Rome : Piranèse et ses contemporains porte sur les artistes, collectionneurs(...)
À la découverte de Rome : Piranèse et ses contemporains
Actions:
Description:
Rome était un centre important de l’art italien où convergeaient les artistes européens qui, attirés tant par l’architecture, l’art et la statuaire antiques que par les chefs-d’oeuvre du Baroque, de la Renaissance et du XVIIIe siècle, venaient y faire leurs études. L’exposition À la découverte de Rome : Piranèse et ses contemporains porte sur les artistes, collectionneurs(...)
Classification:
expositions
expositions
Date:
18 août 1993 au
2 janvier 1994
18 août 1993 au
2 janvier 1994
Localisation:
Salles principales
Salles principales
Niveau de description archivistique:
Sous-série
Sous-série
Titre:
Education
Education
Numéro de référence:
CI001.S2.D1
Description:
Like his father Hubert, Charles Rohault de Fleury also studied at the École polytechnique with Jean-Nicolas-Louis Durand (1820-1821), and at the École des Beaux-Arts (1823-1825), Charles studied under his father and Louis Hippolyte Lebas. The CCA collection contains his printed exercise book from the École polytechnique and an album of drawings of the orders executed at both schools. The printed exercise book (DR1974:0002:001:001-105), primarily dated to 1821, provides an overview of the first year curriculum at the École polytechnique reflecting the emphasis placed on the course in descriptive geometry. The exercises proceed from the simple to the complex; from the analysis of simple shapes to the interpretation of basic architectural elements. Many of the problems have been solved by Charles, and carry the approval seal of his professor. A large engraving included in the album provides a succinct table recording the career paths of graduating students in the various Écoles d'application, a description of the core curriculum, and a historical and chronological outline of the École polytechnique from its inception to 1828. Charles' studies of the architectural orders (DR1974:0002:019:001-033), many of which are copied directly from Charles Normand's 'Nouveau parallele des ordres d'architecture...,' demonstrate the continued application of Durand's methodology applied to typical Beaux-Arts studies. The orders executed at the École polytechnique are pared down to their essential form and porticos are abstracted and grouped according to their tetrastyle, hexastyle, or octastyle configurations, whereas the orders completed at the École des beaux-arts are simplified, but still reflect the traditional mimetic interpretation of classical antiquity, with its fidelity to mouldings and details. The conspicous abscence of the composite order and the addition of the 'Dorique Romain and Moderne', attest to the continued influence of Durand's ''Precis'. The information regarding George's architectural career is limited to twelve drawings for architectural ornament and sculpture (1858-1859) submitted to a newly introduced, and obligatory, 'dessin' Concours d'emulation at the École des beaux-arts (1). (1) R. Chaffe, "The teaching of architecture at the École des Beaux-Arts" in Arthur Drexler ed., 'The Architecture of the École des Beaux-Arts' (New York: MOMA, 1975), p.84 and fn. 120.)
CI001.S2.D1
Description:
Like his father Hubert, Charles Rohault de Fleury also studied at the École polytechnique with Jean-Nicolas-Louis Durand (1820-1821), and at the École des Beaux-Arts (1823-1825), Charles studied under his father and Louis Hippolyte Lebas. The CCA collection contains his printed exercise book from the École polytechnique and an album of drawings of the orders executed at both schools. The printed exercise book (DR1974:0002:001:001-105), primarily dated to 1821, provides an overview of the first year curriculum at the École polytechnique reflecting the emphasis placed on the course in descriptive geometry. The exercises proceed from the simple to the complex; from the analysis of simple shapes to the interpretation of basic architectural elements. Many of the problems have been solved by Charles, and carry the approval seal of his professor. A large engraving included in the album provides a succinct table recording the career paths of graduating students in the various Écoles d'application, a description of the core curriculum, and a historical and chronological outline of the École polytechnique from its inception to 1828. Charles' studies of the architectural orders (DR1974:0002:019:001-033), many of which are copied directly from Charles Normand's 'Nouveau parallele des ordres d'architecture...,' demonstrate the continued application of Durand's methodology applied to typical Beaux-Arts studies. The orders executed at the École polytechnique are pared down to their essential form and porticos are abstracted and grouped according to their tetrastyle, hexastyle, or octastyle configurations, whereas the orders completed at the École des beaux-arts are simplified, but still reflect the traditional mimetic interpretation of classical antiquity, with its fidelity to mouldings and details. The conspicous abscence of the composite order and the addition of the 'Dorique Romain and Moderne', attest to the continued influence of Durand's ''Precis'. The information regarding George's architectural career is limited to twelve drawings for architectural ornament and sculpture (1858-1859) submitted to a newly introduced, and obligatory, 'dessin' Concours d'emulation at the École des beaux-arts (1). (1) R. Chaffe, "The teaching of architecture at the École des Beaux-Arts" in Arthur Drexler ed., 'The Architecture of the École des Beaux-Arts' (New York: MOMA, 1975), p.84 and fn. 120.)
Personnes et institutions:
Date:
[1776?]-1868
[1776?]-1868
Titre:
Education
CI001.S2.D1
Description:
Like his father Hubert, Charles Rohault de Fleury also studied at the École polytechnique with Jean-Nicolas-Louis Durand (1820-1821), and at the École des Beaux-Arts (1823-1825), Charles studied under his father and Louis Hippolyte Lebas. The CCA collection contains his printed exercise book from the École polytechnique and an album of drawings of the orders executed at both schools. The printed exercise book (DR1974:0002:001:001-105), primarily dated to 1821, provides an overview of the first year curriculum at the École polytechnique reflecting the emphasis placed on the course in descriptive geometry. The exercises proceed from the simple to the complex; from the analysis of simple shapes to the interpretation of basic architectural elements. Many of the problems have been solved by Charles, and carry the approval seal of his professor. A large engraving included in the album provides a succinct table recording the career paths of graduating students in the various Écoles d'application, a description of the core curriculum, and a historical and chronological outline of the École polytechnique from its inception to 1828. Charles' studies of the architectural orders (DR1974:0002:019:001-033), many of which are copied directly from Charles Normand's 'Nouveau parallele des ordres d'architecture...,' demonstrate the continued application of Durand's methodology applied to typical Beaux-Arts studies. The orders executed at the École polytechnique are pared down to their essential form and porticos are abstracted and grouped according to their tetrastyle, hexastyle, or octastyle configurations, whereas the orders completed at the École des beaux-arts are simplified, but still reflect the traditional mimetic interpretation of classical antiquity, with its fidelity to mouldings and details. The conspicous abscence of the composite order and the addition of the 'Dorique Romain and Moderne', attest to the continued influence of Durand's ''Precis'. The information regarding George's architectural career is limited to twelve drawings for architectural ornament and sculpture (1858-1859) submitted to a newly introduced, and obligatory, 'dessin' Concours d'emulation at the École des beaux-arts (1). (1) R. Chaffe, "The teaching of architecture at the École des Beaux-Arts" in Arthur Drexler ed., 'The Architecture of the École des Beaux-Arts' (New York: MOMA, 1975), p.84 and fn. 120.)
Education
CI001.S2.D1
Description:
Like his father Hubert, Charles Rohault de Fleury also studied at the École polytechnique with Jean-Nicolas-Louis Durand (1820-1821), and at the École des Beaux-Arts (1823-1825), Charles studied under his father and Louis Hippolyte Lebas. The CCA collection contains his printed exercise book from the École polytechnique and an album of drawings of the orders executed at both schools. The printed exercise book (DR1974:0002:001:001-105), primarily dated to 1821, provides an overview of the first year curriculum at the École polytechnique reflecting the emphasis placed on the course in descriptive geometry. The exercises proceed from the simple to the complex; from the analysis of simple shapes to the interpretation of basic architectural elements. Many of the problems have been solved by Charles, and carry the approval seal of his professor. A large engraving included in the album provides a succinct table recording the career paths of graduating students in the various Écoles d'application, a description of the core curriculum, and a historical and chronological outline of the École polytechnique from its inception to 1828. Charles' studies of the architectural orders (DR1974:0002:019:001-033), many of which are copied directly from Charles Normand's 'Nouveau parallele des ordres d'architecture...,' demonstrate the continued application of Durand's methodology applied to typical Beaux-Arts studies. The orders executed at the École polytechnique are pared down to their essential form and porticos are abstracted and grouped according to their tetrastyle, hexastyle, or octastyle configurations, whereas the orders completed at the École des beaux-arts are simplified, but still reflect the traditional mimetic interpretation of classical antiquity, with its fidelity to mouldings and details. The conspicous abscence of the composite order and the addition of the 'Dorique Romain and Moderne', attest to the continued influence of Durand's ''Precis'. The information regarding George's architectural career is limited to twelve drawings for architectural ornament and sculpture (1858-1859) submitted to a newly introduced, and obligatory, 'dessin' Concours d'emulation at the École des beaux-arts (1). (1) R. Chaffe, "The teaching of architecture at the École des Beaux-Arts" in Arthur Drexler ed., 'The Architecture of the École des Beaux-Arts' (New York: MOMA, 1975), p.84 and fn. 120.)
Niveau de description archivistique:
File 1
File 1
Date:
[1776?]-1868
[1776?]-1868
Personnes et institutions:
Classification:
recherche
recherche
Actions:
Description:
Thème : Le phénomène de changements de paradigmes en architecture depuis l’Antiquité : Brigitte Desrochers, Musée des Beaux-Arts du Canada, Ottawa, Canada Sujet : Au-delà du style. Naissance du classicisme structurel dans les ruines de Pompei Joseph Disponzio, Graduate School of Design, Harvard University, Cambridge, États-Unis Sujet : Jean-Marie Morel and the Invention(...)
Thème : Le phénomène de changements de paradigmes en architecture depuis l’Antiquité : Brigitte Desrochers, Musée des Beaux-Arts du Canada, Ottawa, Canada Sujet : Au-delà du style. Naissance du classicisme structurel dans les ruines de Pompei Joseph Disponzio, Graduate School of Design, Harvard University, Cambridge, États-Unis Sujet : Jean-Marie Morel and the Invention(...)
Date:
septembre 2001 au août 2002
septembre 2001 au août 2002
Titre:
Chercheurs en résidence 2001-2002
Actions:
Description:
Thème : Le phénomène de changements de paradigmes en architecture depuis l’Antiquité : Brigitte Desrochers, Musée des Beaux-Arts du Canada, Ottawa, Canada Sujet : Au-delà du style. Naissance du classicisme structurel dans les ruines de Pompei Joseph Disponzio, Graduate School of Design, Harvard University, Cambridge, États-Unis Sujet : Jean-Marie Morel and the Invention(...)
Chercheurs en résidence 2001-2002
Actions:
Description:
Thème : Le phénomène de changements de paradigmes en architecture depuis l’Antiquité : Brigitte Desrochers, Musée des Beaux-Arts du Canada, Ottawa, Canada Sujet : Au-delà du style. Naissance du classicisme structurel dans les ruines de Pompei Joseph Disponzio, Graduate School of Design, Harvard University, Cambridge, États-Unis Sujet : Jean-Marie Morel and the Invention(...)
Classification:
recherche
recherche
Date:
septembre 2001 au
août 2002
septembre 2001 au
août 2002
Classification:
articles
articles
Actions:
Dossier:
Désenchantements technologiques
Désenchantements technologiques
Mot(s)-clé(s):
Antiquité, antiquité, Antiquity, Buffon, Charles de Wailly, Charles-François Viel, Claude-Nicolas Ledoux, dessin, drawing, Etienne-Louis Boullée, Étienne-Louis Boullée, France, French Revolution, Grèce, Greece, hôpital, hospital, Jacques-Germain Soufflot, Jean-Louis Viel de Saint-Maux, Jean-Nicolas-Louis Durand, Lettres d’architecture des anciens et celle des moderns, Panthéon, Paris, Paul Holmquist, Principes de l’ordonnance et de la construction des bâtimens, Renaissance, Révolution française, Rome, Sainte-Geneviève, Vitruve,
Antiquité, antiquité, Antiquity, Buffon, Charles de Wailly, Charles-François Viel, Claude-Nicolas Ledoux, dessin, drawing, Etienne-Louis Boullée, Étienne-Louis Boullée, France, French Revolution, Grèce, Greece, hôpital, hospital, Jacques-Germain Soufflot, Jean-Louis Viel de Saint-Maux, Jean-Nicolas-Louis Durand, Lettres d’architecture des anciens et celle des moderns, Panthéon, Paris, Paul Holmquist, Principes de l’ordonnance et de la construction des bâtimens, Renaissance, Révolution française, Rome, Sainte-Geneviève, Vitruve,
Publié:
28 novembre 2011
28 novembre 2011
Dossier:
Désenchantements technologiques
Désenchantements technologiques
Classification:
recherche
recherche
Actions:
Description:
Thème : Le phénomène de changements de paradigmes en architecture depuis l’Antiquité : Oliver Botar, École d’art, Université du Manitoba, Winnipeg, Canada Sujet : On Biocentrism and Modernism in Weimar German Architecture and Art Fabrizio Nevola, School of Architecture, Syracuse University Florence, Italie Sujet : Siena, 1450-1520: From ‘Medieval’ to ‘Renaissance’(...)
Thème : Le phénomène de changements de paradigmes en architecture depuis l’Antiquité : Oliver Botar, École d’art, Université du Manitoba, Winnipeg, Canada Sujet : On Biocentrism and Modernism in Weimar German Architecture and Art Fabrizio Nevola, School of Architecture, Syracuse University Florence, Italie Sujet : Siena, 1450-1520: From ‘Medieval’ to ‘Renaissance’(...)
Date:
septembre 2000 au août 2001
septembre 2000 au août 2001
Titre:
Chercheurs en résidence 2000-2001
Actions:
Description:
Thème : Le phénomène de changements de paradigmes en architecture depuis l’Antiquité : Oliver Botar, École d’art, Université du Manitoba, Winnipeg, Canada Sujet : On Biocentrism and Modernism in Weimar German Architecture and Art Fabrizio Nevola, School of Architecture, Syracuse University Florence, Italie Sujet : Siena, 1450-1520: From ‘Medieval’ to ‘Renaissance’(...)
Chercheurs en résidence 2000-2001
Actions:
Description:
Thème : Le phénomène de changements de paradigmes en architecture depuis l’Antiquité : Oliver Botar, École d’art, Université du Manitoba, Winnipeg, Canada Sujet : On Biocentrism and Modernism in Weimar German Architecture and Art Fabrizio Nevola, School of Architecture, Syracuse University Florence, Italie Sujet : Siena, 1450-1520: From ‘Medieval’ to ‘Renaissance’(...)
Classification:
recherche
recherche
Date:
septembre 2000 au
août 2001
septembre 2000 au
août 2001
