447 Résultats
Classification:
archives
Niveau de description archivistique:
Fonds
archives
Niveau de description archivistique:
Fonds
Numéro de référence:
CP138
Résumé:
The Gordon Matta-Clark collection documents the personal and professional activities of Gordon Matta-Clark through his correspondence, texts, library, artwork and films, created predominantly between 1969 and 1978. Additionally the collection contains correspondence and photographs collected by Anne Alpert, Matta-Clark's mother, and documentation on his work collected by his widow Jane Crawford following his death.
CP138
Résumé:
The Gordon Matta-Clark collection documents the personal and professional activities of Gordon Matta-Clark through his correspondence, texts, library, artwork and films, created predominantly between 1969 and 1978. Additionally the collection contains correspondence and photographs collected by Anne Alpert, Matta-Clark's mother, and documentation on his work collected by his widow Jane Crawford following his death.
Personnes et institutions:
Date:
1914-2008
1914-2008
Titre:
Collection Gordon Matta-Clark
Actions:
CP138
Résumé:
The Gordon Matta-Clark collection documents the personal and professional activities of Gordon Matta-Clark through his correspondence, texts, library, artwork and films, created predominantly between 1969 and 1978. Additionally the collection contains correspondence and photographs collected by Anne Alpert, Matta-Clark's mother, and documentation on his work collected by his widow Jane Crawford following his death.
Collection Gordon Matta-Clark
Actions:
CP138
Résumé:
The Gordon Matta-Clark collection documents the personal and professional activities of Gordon Matta-Clark through his correspondence, texts, library, artwork and films, created predominantly between 1969 and 1978. Additionally the collection contains correspondence and photographs collected by Anne Alpert, Matta-Clark's mother, and documentation on his work collected by his widow Jane Crawford following his death.
Classification:
archives
Niveau de description archivistique:
Collection
archives
Niveau de description archivistique:
Collection
Date:
1914-2008
1914-2008
Personnes et institutions:
Classification:
événements
événements
Titre:
L’enseignement de… Toronto
L’enseignement de… Toronto
Actions:
Description:
Ian Chodikoff, architecte, urbaniste et rédacteur en chef du magazine Canadian Architect, présente ses recherches sur la banlieue contemporaine, et sur les influences qu’exercent la diversité ethnique et le multiculturalisme sur l’architecture et l’esthétique urbaine dans les paysages suburbains de la région du Grand Toronto (RGT). Les banlieues d’aujourd’hui sont plus(...)
Ian Chodikoff, architecte, urbaniste et rédacteur en chef du magazine Canadian Architect, présente ses recherches sur la banlieue contemporaine, et sur les influences qu’exercent la diversité ethnique et le multiculturalisme sur l’architecture et l’esthétique urbaine dans les paysages suburbains de la région du Grand Toronto (RGT). Les banlieues d’aujourd’hui sont plus(...)
Localisation:
Théâtre Paul-Desmarais
Théâtre Paul-Desmarais
Date:
4 mars 2010 , 19h
4 mars 2010 , 19h
Titre:
L’enseignement de… Toronto
Actions:
Description:
Ian Chodikoff, architecte, urbaniste et rédacteur en chef du magazine Canadian Architect, présente ses recherches sur la banlieue contemporaine, et sur les influences qu’exercent la diversité ethnique et le multiculturalisme sur l’architecture et l’esthétique urbaine dans les paysages suburbains de la région du Grand Toronto (RGT). Les banlieues d’aujourd’hui sont plus(...)
L’enseignement de… Toronto
Actions:
Description:
Ian Chodikoff, architecte, urbaniste et rédacteur en chef du magazine Canadian Architect, présente ses recherches sur la banlieue contemporaine, et sur les influences qu’exercent la diversité ethnique et le multiculturalisme sur l’architecture et l’esthétique urbaine dans les paysages suburbains de la région du Grand Toronto (RGT). Les banlieues d’aujourd’hui sont plus(...)
Classification:
événements
événements
Date:
4 mars 2010
19h
4 mars 2010
19h
Localisation:
Théâtre Paul-Desmarais
Théâtre Paul-Desmarais
Classification:
photographies
photographies
Numéro de référence:
AP149.S1.1972.PR03.009
Description:
Group consists of photographs for the Minimum Cost Housing Group's publication "Use it Again, Sam", including a photograph of a fiber glass mold used for making the interlocking gallon bottles and a photograph of an gallon bottle and a gallon built-a-bottle, bottle made with reused material. The group includes also the enveloppe that was containing the photographs.
AP149.S1.1972.PR03.009
Description:
Group consists of photographs for the Minimum Cost Housing Group's publication "Use it Again, Sam", including a photograph of a fiber glass mold used for making the interlocking gallon bottles and a photograph of an gallon bottle and a gallon built-a-bottle, bottle made with reused material. The group includes also the enveloppe that was containing the photographs.
Personnes et institutions:
Date:
ca. 1975
ca. 1975
Titre:
Photographs for the Minimum Cost Housing Group's publication "Use it Again
Actions:
AP149.S1.1972.PR03.009
Description:
Group consists of photographs for the Minimum Cost Housing Group's publication "Use it Again, Sam", including a photograph of a fiber glass mold used for making the interlocking gallon bottles and a photograph of an gallon bottle and a gallon built-a-bottle, bottle made with reused material. The group includes also the enveloppe that was containing the photographs.
Photographs for the Minimum Cost Housing Group's publication "Use it Again
Actions:
AP149.S1.1972.PR03.009
Description:
Group consists of photographs for the Minimum Cost Housing Group's publication "Use it Again, Sam", including a photograph of a fiber glass mold used for making the interlocking gallon bottles and a photograph of an gallon bottle and a gallon built-a-bottle, bottle made with reused material. The group includes also the enveloppe that was containing the photographs.
Classification:
photographies
photographies
Date:
ca. 1975
ca. 1975
Personnes et institutions:
Classification:
archives
Niveau de description archivistique:
Fonds
archives
Niveau de description archivistique:
Fonds
Numéro de référence:
AP167
Résumé:
The ONL [Oosterhuis_Lénárd] NSA Muscle project records, 1995-2013, contain approximately 5,000 digital working files for the NSA Muscle, a built prototype commissioned for the Non-Standard Architecture exhibition at the Centre George Pompidou in Paris in 2003. The NSA Muscle is a programmable structure that changes its shape and content in real time. The records are entirely digital, and include administrative files, CAD files, Virtools files, publicity materials and photographs. They document the planning, design development, construction and exhibition of the NSA Muscle and related projects.
AP167
Résumé:
The ONL [Oosterhuis_Lénárd] NSA Muscle project records, 1995-2013, contain approximately 5,000 digital working files for the NSA Muscle, a built prototype commissioned for the Non-Standard Architecture exhibition at the Centre George Pompidou in Paris in 2003. The NSA Muscle is a programmable structure that changes its shape and content in real time. The records are entirely digital, and include administrative files, CAD files, Virtools files, publicity materials and photographs. They document the planning, design development, construction and exhibition of the NSA Muscle and related projects.
Personnes et institutions:
Date:
1995-2013
1995-2013
Titre:
Documents d’archives de ONL [Oosterhuis_Lénárd] pour le projet NSA Muscle
Actions:
AP167
Résumé:
The ONL [Oosterhuis_Lénárd] NSA Muscle project records, 1995-2013, contain approximately 5,000 digital working files for the NSA Muscle, a built prototype commissioned for the Non-Standard Architecture exhibition at the Centre George Pompidou in Paris in 2003. The NSA Muscle is a programmable structure that changes its shape and content in real time. The records are entirely digital, and include administrative files, CAD files, Virtools files, publicity materials and photographs. They document the planning, design development, construction and exhibition of the NSA Muscle and related projects.
Documents d’archives de ONL [Oosterhuis_Lénárd] pour le projet NSA Muscle
Actions:
AP167
Résumé:
The ONL [Oosterhuis_Lénárd] NSA Muscle project records, 1995-2013, contain approximately 5,000 digital working files for the NSA Muscle, a built prototype commissioned for the Non-Standard Architecture exhibition at the Centre George Pompidou in Paris in 2003. The NSA Muscle is a programmable structure that changes its shape and content in real time. The records are entirely digital, and include administrative files, CAD files, Virtools files, publicity materials and photographs. They document the planning, design development, construction and exhibition of the NSA Muscle and related projects.
Classification:
archives
Niveau de description archivistique:
Fonds
archives
Niveau de description archivistique:
Fonds
Date:
1995-2013
1995-2013
Personnes et institutions:
Classification:
dessins
dessins
Actions:
Numéro de référence:
DR1988:0270:005
Description:
- The large plan taking up most of the sheet seems to be for the same project as the other drawings in the album, while the four small drawings - plan, elevations, and cross section - are an alternate proposal. According to the inscription, yellow wash on the main plan signifies those elements of the existing structure which were to be demolished, black indicates the parts of the earlier structure which would be reused, while pink indicates proposed construction.
DR1988:0270:005
Description:
- The large plan taking up most of the sheet seems to be for the same project as the other drawings in the album, while the four small drawings - plan, elevations, and cross section - are an alternate proposal. According to the inscription, yellow wash on the main plan signifies those elements of the existing structure which were to be demolished, black indicates the parts of the earlier structure which would be reused, while pink indicates proposed construction.
Personnes et institutions:
Sujet:
architecture
architecture
Date:
after 20 December 1806
after 20 December 1806
Titre:
Projet de monument sur l'emplacement de l'église de la Madeleine: Plan, observations, et projet alternatif
Actions:
DR1988:0270:005
Description:
- The large plan taking up most of the sheet seems to be for the same project as the other drawings in the album, while the four small drawings - plan, elevations, and cross section - are an alternate proposal. According to the inscription, yellow wash on the main plan signifies those elements of the existing structure which were to be demolished, black indicates the parts of the earlier structure which would be reused, while pink indicates proposed construction.
Projet de monument sur l'emplacement de l'église de la Madeleine: Plan, observations, et projet alternatif
Actions:
DR1988:0270:005
Description:
- The large plan taking up most of the sheet seems to be for the same project as the other drawings in the album, while the four small drawings - plan, elevations, and cross section - are an alternate proposal. According to the inscription, yellow wash on the main plan signifies those elements of the existing structure which were to be demolished, black indicates the parts of the earlier structure which would be reused, while pink indicates proposed construction.
Classification:
dessins
dessins
Date:
after 20 December 1806
after 20 December 1806
Personnes et institutions:
Sujet:
architecture
architecture
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.
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File 5
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[1837-ca. 1862]
[1837-ca. 1862]
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Providence, RI : Dept. of Interior Architecture, Rhode Island School of Design
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144 pages : illustrations (some colour) ; 19 cm
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London : Canalside Press, [2021], ©2021
London : Canalside Press, [2021], ©2021
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50 50 words for reuse / Graeme Brooker.
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144 pages : illustrations (some colour) ; 19 cm
50 50 words for reuse / Graeme Brooker.
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x, 139 pages : illustrations ; 25 cm
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New York : Van Nostrand Reinhold, ©1987.
New York : Van Nostrand Reinhold, ©1987.
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Adaptive reuse : issues and case studies in building preservation / compiled by Richard L. Austin ; edited by David G. Woodstock, W. Cecil Steward, R. Alan Forrester.
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Adaptive reuse : issues and case studies in building preservation / compiled by Richard L. Austin ; edited by David G. Woodstock, W. Cecil Steward, R. Alan Forrester.
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