2662 Résultats
Classification:
événements
événements
Actions:
Description:
Après une intense période de travail au milieu des années 1970 consacrée au initiatives d’habitation lancées au Portugal après la révolution, Álvaro Siza participe dans les années 1980 à deux des plus importants programmes de renouveau urbain en Europe : l’Exposition internationale d’architecture (IBA) de Berlin et le Stadsvernieuwing als Kulturel Aktiviteit (le renouveau(...)
Après une intense période de travail au milieu des années 1970 consacrée au initiatives d’habitation lancées au Portugal après la révolution, Álvaro Siza participe dans les années 1980 à deux des plus importants programmes de renouveau urbain en Europe : l’Exposition internationale d’architecture (IBA) de Berlin et le Stadsvernieuwing als Kulturel Aktiviteit (le renouveau(...)
Date:
26 novembre 2015
26 novembre 2015
Titre:
L’archéologie de l’ordinaire d’Álvaro Siza
Actions:
Description:
Après une intense période de travail au milieu des années 1970 consacrée au initiatives d’habitation lancées au Portugal après la révolution, Álvaro Siza participe dans les années 1980 à deux des plus importants programmes de renouveau urbain en Europe : l’Exposition internationale d’architecture (IBA) de Berlin et le Stadsvernieuwing als Kulturel Aktiviteit (le renouveau(...)
L’archéologie de l’ordinaire d’Álvaro Siza
Actions:
Description:
Après une intense période de travail au milieu des années 1970 consacrée au initiatives d’habitation lancées au Portugal après la révolution, Álvaro Siza participe dans les années 1980 à deux des plus importants programmes de renouveau urbain en Europe : l’Exposition internationale d’architecture (IBA) de Berlin et le Stadsvernieuwing als Kulturel Aktiviteit (le renouveau(...)
Classification:
événements
événements
Date:
26 novembre 2015
26 novembre 2015
Classification:
né numérique
né numérique
Actions:
Numéro de référence:
AP200.S9.105.01
Description:
Only came in envelope, no manual or installation guide. Envelope labelled "Software for hardware: NEC compact- disk player, should go with manual". Floppy disk labelled "SCSI interface kit for CDROM reader - NEC for DOS from Frank Heitzman".
AP200.S9.105.01
Description:
Only came in envelope, no manual or installation guide. Envelope labelled "Software for hardware: NEC compact- disk player, should go with manual". Floppy disk labelled "SCSI interface kit for CDROM reader - NEC for DOS from Frank Heitzman".
Personnes et institutions:
Date:
circa 1990
circa 1990
Titre:
NEC Technologies, SCSI Interface kit for CD ROM reader - NEC for DOS
Actions:
AP200.S9.105.01
Description:
Only came in envelope, no manual or installation guide. Envelope labelled "Software for hardware: NEC compact- disk player, should go with manual". Floppy disk labelled "SCSI interface kit for CDROM reader - NEC for DOS from Frank Heitzman".
NEC Technologies, SCSI Interface kit for CD ROM reader - NEC for DOS
Actions:
AP200.S9.105.01
Description:
Only came in envelope, no manual or installation guide. Envelope labelled "Software for hardware: NEC compact- disk player, should go with manual". Floppy disk labelled "SCSI interface kit for CDROM reader - NEC for DOS from Frank Heitzman".
Classification:
né numérique
né numérique
Date:
circa 1990
circa 1990
Personnes et institutions:
Classification:
photographies
Quantité:
3 photograph(s)
photographies
Quantité:
3 photograph(s)
Numéro de référence:
ARCH268951
Description:
Group consists of copies of photographs of everyday life in Chandigarh or near Chandigarh, India. There a photograph of children playing in garden of a courtyard of rural home, a photograph of women and children spinning string in rural home near Chandigarh and a portrait of two girls in Shimla, India.
ARCH268951
Description:
Group consists of copies of photographs of everyday life in Chandigarh or near Chandigarh, India. There a photograph of children playing in garden of a courtyard of rural home, a photograph of women and children spinning string in rural home near Chandigarh and a portrait of two girls in Shimla, India.
Personnes et institutions:
Date:
early 1950s
early 1950s
Titre:
Copies of photographs by Jeet Malhotra of everyday life in Chandigarh before Chandigarh, India
Actions:
ARCH268951
Description:
Group consists of copies of photographs of everyday life in Chandigarh or near Chandigarh, India. There a photograph of children playing in garden of a courtyard of rural home, a photograph of women and children spinning string in rural home near Chandigarh and a portrait of two girls in Shimla, India.
Copies of photographs by Jeet Malhotra of everyday life in Chandigarh before Chandigarh, India
Actions:
ARCH268951
Description:
Group consists of copies of photographs of everyday life in Chandigarh or near Chandigarh, India. There a photograph of children playing in garden of a courtyard of rural home, a photograph of women and children spinning string in rural home near Chandigarh and a portrait of two girls in Shimla, India.
Classification:
photographies
Quantité:
3 photograph(s)
photographies
Quantité:
3 photograph(s)
Date:
early 1950s
early 1950s
Personnes et institutions:
Classification:
événements
événements
Titre:
Le rôle élargi: SITU
Le rôle élargi: SITU
Actions:
Description:
Bradley Samuels présente le travail récent de SITU Research et le rôle joué par la recherche au sein de la pratique de SITU dans son ensemble. Une série d’études de cas sera présentée, explorant le rôle élargi de la pratique architecturale et spatiale à travers un éventail de domaines, des droits humains à la politique publique, de la science de la terre au design(...)
Bradley Samuels présente le travail récent de SITU Research et le rôle joué par la recherche au sein de la pratique de SITU dans son ensemble. Une série d’études de cas sera présentée, explorant le rôle élargi de la pratique architecturale et spatiale à travers un éventail de domaines, des droits humains à la politique publique, de la science de la terre au design(...)
Localisation:
Théâtre Paul-Desmarais
Théâtre Paul-Desmarais
Date:
14 janvier 2016
14 janvier 2016
Titre:
Le rôle élargi: SITU
Actions:
Description:
Bradley Samuels présente le travail récent de SITU Research et le rôle joué par la recherche au sein de la pratique de SITU dans son ensemble. Une série d’études de cas sera présentée, explorant le rôle élargi de la pratique architecturale et spatiale à travers un éventail de domaines, des droits humains à la politique publique, de la science de la terre au design(...)
Le rôle élargi: SITU
Actions:
Description:
Bradley Samuels présente le travail récent de SITU Research et le rôle joué par la recherche au sein de la pratique de SITU dans son ensemble. Une série d’études de cas sera présentée, explorant le rôle élargi de la pratique architecturale et spatiale à travers un éventail de domaines, des droits humains à la politique publique, de la science de la terre au design(...)
Classification:
événements
événements
Date:
14 janvier 2016
14 janvier 2016
Localisation:
Théâtre Paul-Desmarais
Théâtre Paul-Desmarais
Classification:
dessins, né numérique
dessins, né numérique
Numéro de référence:
AP183.002.FM
Description:
This directory contains 6 GIFs of the renderings contained in AP183.002. In Fcheck, the original renderings played as an animation; however, still image TIFs were the only available preservation format during export. GIFs were created at the time of processing to best recreate the original experience and use of the files. Most common file formats: Graphics Interchange Format.
AP183.002.FM
Description:
This directory contains 6 GIFs of the renderings contained in AP183.002. In Fcheck, the original renderings played as an animation; however, still image TIFs were the only available preservation format during export. GIFs were created at the time of processing to best recreate the original experience and use of the files. Most common file formats: Graphics Interchange Format.
Personnes et institutions:
Date:
15 October 1995 - 17 October 1995
15 October 1995 - 17 October 1995
Titre:
Animated renderings of Chemnitz Stadium
Actions:
AP183.002.FM
Description:
This directory contains 6 GIFs of the renderings contained in AP183.002. In Fcheck, the original renderings played as an animation; however, still image TIFs were the only available preservation format during export. GIFs were created at the time of processing to best recreate the original experience and use of the files. Most common file formats: Graphics Interchange Format.
Animated renderings of Chemnitz Stadium
Actions:
AP183.002.FM
Description:
This directory contains 6 GIFs of the renderings contained in AP183.002. In Fcheck, the original renderings played as an animation; however, still image TIFs were the only available preservation format during export. GIFs were created at the time of processing to best recreate the original experience and use of the files. Most common file formats: Graphics Interchange Format.
Classification:
dessins, né numérique
dessins, né numérique
Date:
15 October 1995 - 17 October 1995
15 October 1995 - 17 October 1995
Personnes et institutions:
Classification:
né numérique
né numérique
Numéro de référence:
AP167.S1.SS3.009
Description:
This directory contains chiefly Virtools files and CAD files, including 3DS and Maya. The Virtools files in this directory include player files and supporting files for two objects. The first is titled "keep at contant distance thing," which allows the user to interact with two objects that are constantly kept at a constant distance from one another. The other player file has several versions, all titled "Virtools," which allow the user to experiment with the volume of a Muscle-like structure by moving different vertices within the structure. The Maya files contain various 3D wireframe models, and the 3DS files largely come back as "not found." Original directory name: "75 virtools muscle simulation". Most common file formats: Unidentified, Maya Binary File Format, Plain Text File, 3D Studio, Hypertext Markup Language.
AP167.S1.SS3.009
Description:
This directory contains chiefly Virtools files and CAD files, including 3DS and Maya. The Virtools files in this directory include player files and supporting files for two objects. The first is titled "keep at contant distance thing," which allows the user to interact with two objects that are constantly kept at a constant distance from one another. The other player file has several versions, all titled "Virtools," which allow the user to experiment with the volume of a Muscle-like structure by moving different vertices within the structure. The Maya files contain various 3D wireframe models, and the 3DS files largely come back as "not found." Original directory name: "75 virtools muscle simulation". Most common file formats: Unidentified, Maya Binary File Format, Plain Text File, 3D Studio, Hypertext Markup Language.
Personnes et institutions:
Date:
3 March 2003 - 25 June 2003
3 March 2003 - 25 June 2003
Titre:
Virtools experimentation with volume and constant distances
Actions:
AP167.S1.SS3.009
Description:
This directory contains chiefly Virtools files and CAD files, including 3DS and Maya. The Virtools files in this directory include player files and supporting files for two objects. The first is titled "keep at contant distance thing," which allows the user to interact with two objects that are constantly kept at a constant distance from one another. The other player file has several versions, all titled "Virtools," which allow the user to experiment with the volume of a Muscle-like structure by moving different vertices within the structure. The Maya files contain various 3D wireframe models, and the 3DS files largely come back as "not found." Original directory name: "75 virtools muscle simulation". Most common file formats: Unidentified, Maya Binary File Format, Plain Text File, 3D Studio, Hypertext Markup Language.
Virtools experimentation with volume and constant distances
Actions:
AP167.S1.SS3.009
Description:
This directory contains chiefly Virtools files and CAD files, including 3DS and Maya. The Virtools files in this directory include player files and supporting files for two objects. The first is titled "keep at contant distance thing," which allows the user to interact with two objects that are constantly kept at a constant distance from one another. The other player file has several versions, all titled "Virtools," which allow the user to experiment with the volume of a Muscle-like structure by moving different vertices within the structure. The Maya files contain various 3D wireframe models, and the 3DS files largely come back as "not found." Original directory name: "75 virtools muscle simulation". Most common file formats: Unidentified, Maya Binary File Format, Plain Text File, 3D Studio, Hypertext Markup Language.
Classification:
né numérique
né numérique
Date:
3 March 2003 - 25 June 2003
3 March 2003 - 25 June 2003
Personnes et institutions:
Classification:
photographies
photographies
Numéro de référence:
ARCH280819
Description:
Group consists of photographs of some of the nurseries and schools in Chandigarh, India. There is a photograph of the Hall of the Higher Secondary School in sector 10, of the Primary School in sector 15 (including one while the school was under construction) and a photograph of the Boy Hostel in sector 14. The group also contains three photographs of a sculpture by Pierre Jeanneret in the nursery school yard in sector 16, including one with children playing around.
ARCH280819
Description:
Group consists of photographs of some of the nurseries and schools in Chandigarh, India. There is a photograph of the Hall of the Higher Secondary School in sector 10, of the Primary School in sector 15 (including one while the school was under construction) and a photograph of the Boy Hostel in sector 14. The group also contains three photographs of a sculpture by Pierre Jeanneret in the nursery school yard in sector 16, including one with children playing around.
Personnes et institutions:
Date:
s.d.
s.d.
Titre:
Mounted photographs of nurseries and schools in Chandigarh, India
Actions:
ARCH280819
Description:
Group consists of photographs of some of the nurseries and schools in Chandigarh, India. There is a photograph of the Hall of the Higher Secondary School in sector 10, of the Primary School in sector 15 (including one while the school was under construction) and a photograph of the Boy Hostel in sector 14. The group also contains three photographs of a sculpture by Pierre Jeanneret in the nursery school yard in sector 16, including one with children playing around.
Mounted photographs of nurseries and schools in Chandigarh, India
Actions:
ARCH280819
Description:
Group consists of photographs of some of the nurseries and schools in Chandigarh, India. There is a photograph of the Hall of the Higher Secondary School in sector 10, of the Primary School in sector 15 (including one while the school was under construction) and a photograph of the Boy Hostel in sector 14. The group also contains three photographs of a sculpture by Pierre Jeanneret in the nursery school yard in sector 16, including one with children playing around.
Classification:
photographies
photographies
Date:
s.d.
s.d.
Personnes et institutions:
Classification:
photographies
photographies
Numéro de référence:
ARCH269121
Description:
Group consists of photographs of everyday life in Chandigarh, India, predominantly of streets markets. There is a photograph of the shopping area Shop-Cum-Flats II and a photograph of a street market in sector 23. There is also a photograph of inhabitants in front on the Cinema in sector 17 (designed by Pierre Jeanneret) and a photograph of another street market in sector 22. The group also includes a photograph of children playing on a playground with Houses Type 13-J in background.
ARCH269121
Description:
Group consists of photographs of everyday life in Chandigarh, India, predominantly of streets markets. There is a photograph of the shopping area Shop-Cum-Flats II and a photograph of a street market in sector 23. There is also a photograph of inhabitants in front on the Cinema in sector 17 (designed by Pierre Jeanneret) and a photograph of another street market in sector 22. The group also includes a photograph of children playing on a playground with Houses Type 13-J in background.
Personnes et institutions:
Date:
ca. 1967-1979
ca. 1967-1979
Titre:
Photographs of street markets in Chandigarh, India
Actions:
ARCH269121
Description:
Group consists of photographs of everyday life in Chandigarh, India, predominantly of streets markets. There is a photograph of the shopping area Shop-Cum-Flats II and a photograph of a street market in sector 23. There is also a photograph of inhabitants in front on the Cinema in sector 17 (designed by Pierre Jeanneret) and a photograph of another street market in sector 22. The group also includes a photograph of children playing on a playground with Houses Type 13-J in background.
Photographs of street markets in Chandigarh, India
Actions:
ARCH269121
Description:
Group consists of photographs of everyday life in Chandigarh, India, predominantly of streets markets. There is a photograph of the shopping area Shop-Cum-Flats II and a photograph of a street market in sector 23. There is also a photograph of inhabitants in front on the Cinema in sector 17 (designed by Pierre Jeanneret) and a photograph of another street market in sector 22. The group also includes a photograph of children playing on a playground with Houses Type 13-J in background.
Classification:
photographies
photographies
Date:
ca. 1967-1979
ca. 1967-1979
Personnes et institutions:
Classification:
né numérique
né numérique
Numéro de référence:
AP167.S1.SS3.005
Description:
This directory chiefly contains audio files played by the NSA Muscle, as well as Virtools composition files which coordinate these sounds. The folder also contains the audio editing softwares Sony SoundForge and Alive MP3 Converter. Original directory name: "07 muscle music". Most common file formats: Unidentified, Waveform Audio (PCMWAVEFORMAT), MPEG 1/2 Audio Layer 3, Waveform Audio (WAVEFORMATEX), Windows Portable Executable.
AP167.S1.SS3.005
Description:
This directory chiefly contains audio files played by the NSA Muscle, as well as Virtools composition files which coordinate these sounds. The folder also contains the audio editing softwares Sony SoundForge and Alive MP3 Converter. Original directory name: "07 muscle music". Most common file formats: Unidentified, Waveform Audio (PCMWAVEFORMAT), MPEG 1/2 Audio Layer 3, Waveform Audio (WAVEFORMATEX), Windows Portable Executable.
Personnes et institutions:
Date:
25 September 2002 - 30 November 2003
25 September 2002 - 30 November 2003
Titre:
Sound effects for the NSA Muscle
Actions:
AP167.S1.SS3.005
Description:
This directory chiefly contains audio files played by the NSA Muscle, as well as Virtools composition files which coordinate these sounds. The folder also contains the audio editing softwares Sony SoundForge and Alive MP3 Converter. Original directory name: "07 muscle music". Most common file formats: Unidentified, Waveform Audio (PCMWAVEFORMAT), MPEG 1/2 Audio Layer 3, Waveform Audio (WAVEFORMATEX), Windows Portable Executable.
Sound effects for the NSA Muscle
Actions:
AP167.S1.SS3.005
Description:
This directory chiefly contains audio files played by the NSA Muscle, as well as Virtools composition files which coordinate these sounds. The folder also contains the audio editing softwares Sony SoundForge and Alive MP3 Converter. Original directory name: "07 muscle music". Most common file formats: Unidentified, Waveform Audio (PCMWAVEFORMAT), MPEG 1/2 Audio Layer 3, Waveform Audio (WAVEFORMATEX), Windows Portable Executable.
Classification:
né numérique
né numérique
Date:
25 September 2002 - 30 November 2003
25 September 2002 - 30 November 2003
Personnes et institutions:
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:
