5344 Résultats
Classification:
archives
Niveau de description archivistique:
Fonds
archives
Niveau de description archivistique:
Fonds
Numéro de référence:
AP009
Résumé:
The Arcop Associates Maison Alcan project records, 1979 – 1983, document Arcop’s (Architects in Co-Partnership) design and construction of Alcan’s Montreal head office, Maison Alcan. These project records consist of the following: approximately 6000 drawings (including reprographic copies), 915 photographic materials, 15 l.m. of textual records, 2 models, 2 panels, 2 plaster mouldings, 1 book, and 1 mullion extrusion.
AP009
Résumé:
The Arcop Associates Maison Alcan project records, 1979 – 1983, document Arcop’s (Architects in Co-Partnership) design and construction of Alcan’s Montreal head office, Maison Alcan. These project records consist of the following: approximately 6000 drawings (including reprographic copies), 915 photographic materials, 15 l.m. of textual records, 2 models, 2 panels, 2 plaster mouldings, 1 book, and 1 mullion extrusion.
Personnes et institutions:
Date:
1979-1983
1979-1983
Titre:
Documents d’archives d’Arcop Associates pour le projet Maison Alcan
Actions:
AP009
Résumé:
The Arcop Associates Maison Alcan project records, 1979 – 1983, document Arcop’s (Architects in Co-Partnership) design and construction of Alcan’s Montreal head office, Maison Alcan. These project records consist of the following: approximately 6000 drawings (including reprographic copies), 915 photographic materials, 15 l.m. of textual records, 2 models, 2 panels, 2 plaster mouldings, 1 book, and 1 mullion extrusion.
Documents d’archives d’Arcop Associates pour le projet Maison Alcan
Actions:
AP009
Résumé:
The Arcop Associates Maison Alcan project records, 1979 – 1983, document Arcop’s (Architects in Co-Partnership) design and construction of Alcan’s Montreal head office, Maison Alcan. These project records consist of the following: approximately 6000 drawings (including reprographic copies), 915 photographic materials, 15 l.m. of textual records, 2 models, 2 panels, 2 plaster mouldings, 1 book, and 1 mullion extrusion.
Classification:
archives
Niveau de description archivistique:
Fonds
archives
Niveau de description archivistique:
Fonds
Date:
1979-1983
1979-1983
Personnes et institutions:
Niveau de description archivistique:
Projet
Projet
Numéro de référence:
AP056.S1.1988.PR09
Description:
This project series documents renovations and additions to the Art Gallery of Ontario in Toronto from 1988-1993. The office identified the project number as 18703. This project, known as Phase 3, built upon two other major expansion projects to the art gallery, Phase I and Phase II, that were completed by the architecture firm Parkin Architects Planners in the 1970s. Phase 3 was the winning entry for a limited competition won by KPMB, with Thomas Payne as partner-in-charge, in joint venture with the firm of Barton Myers Inc. This project consisted of 100,000 square feet of additions to the building including a prints and drawings study centre, a reference library and administrative offices in the southwest corner and new vaulted galleries, a tower and pyramidal arrival hall along Dundas Street. The Dundas Street elevation was transformed by these additions and brick facades were added. A new double height sculpture atrium, connected to the Victorian Grange mansion, was also added. This project also included 190,000 square feet of renovations to the existing building including changes to galleries, circulation, vaults, staff areas, the restaurant, bookstore and volunteer shop. The goal of these changes was to create a more coherent design between old and new parts of the building and to reinforce the role of art galleries in contemporary life by increasing the scale of the building and creating new spaces for interaction and participation. This project won the Canadian Architect Award of Excellence in 1988. The project is recorded through drawings, photographic materials and accompanying notes dating from 1986-1992. The drawings include site plans and surveys, sketches, plans, elevations, sections, perspectives, details, studies, axonometric drawings, furnishing and structural drawings and some presentation drawings.
AP056.S1.1988.PR09
Description:
This project series documents renovations and additions to the Art Gallery of Ontario in Toronto from 1988-1993. The office identified the project number as 18703. This project, known as Phase 3, built upon two other major expansion projects to the art gallery, Phase I and Phase II, that were completed by the architecture firm Parkin Architects Planners in the 1970s. Phase 3 was the winning entry for a limited competition won by KPMB, with Thomas Payne as partner-in-charge, in joint venture with the firm of Barton Myers Inc. This project consisted of 100,000 square feet of additions to the building including a prints and drawings study centre, a reference library and administrative offices in the southwest corner and new vaulted galleries, a tower and pyramidal arrival hall along Dundas Street. The Dundas Street elevation was transformed by these additions and brick facades were added. A new double height sculpture atrium, connected to the Victorian Grange mansion, was also added. This project also included 190,000 square feet of renovations to the existing building including changes to galleries, circulation, vaults, staff areas, the restaurant, bookstore and volunteer shop. The goal of these changes was to create a more coherent design between old and new parts of the building and to reinforce the role of art galleries in contemporary life by increasing the scale of the building and creating new spaces for interaction and participation. This project won the Canadian Architect Award of Excellence in 1988. The project is recorded through drawings, photographic materials and accompanying notes dating from 1986-1992. The drawings include site plans and surveys, sketches, plans, elevations, sections, perspectives, details, studies, axonometric drawings, furnishing and structural drawings and some presentation drawings.
Personnes et institutions:
Date:
1986-1992
1986-1992
Titre:
Art Gallery of Ontario, Phase 3, Toronto (1988-1993)
Actions:
AP056.S1.1988.PR09
Description:
This project series documents renovations and additions to the Art Gallery of Ontario in Toronto from 1988-1993. The office identified the project number as 18703. This project, known as Phase 3, built upon two other major expansion projects to the art gallery, Phase I and Phase II, that were completed by the architecture firm Parkin Architects Planners in the 1970s. Phase 3 was the winning entry for a limited competition won by KPMB, with Thomas Payne as partner-in-charge, in joint venture with the firm of Barton Myers Inc. This project consisted of 100,000 square feet of additions to the building including a prints and drawings study centre, a reference library and administrative offices in the southwest corner and new vaulted galleries, a tower and pyramidal arrival hall along Dundas Street. The Dundas Street elevation was transformed by these additions and brick facades were added. A new double height sculpture atrium, connected to the Victorian Grange mansion, was also added. This project also included 190,000 square feet of renovations to the existing building including changes to galleries, circulation, vaults, staff areas, the restaurant, bookstore and volunteer shop. The goal of these changes was to create a more coherent design between old and new parts of the building and to reinforce the role of art galleries in contemporary life by increasing the scale of the building and creating new spaces for interaction and participation. This project won the Canadian Architect Award of Excellence in 1988. The project is recorded through drawings, photographic materials and accompanying notes dating from 1986-1992. The drawings include site plans and surveys, sketches, plans, elevations, sections, perspectives, details, studies, axonometric drawings, furnishing and structural drawings and some presentation drawings.
Art Gallery of Ontario, Phase 3, Toronto (1988-1993)
Actions:
AP056.S1.1988.PR09
Description:
This project series documents renovations and additions to the Art Gallery of Ontario in Toronto from 1988-1993. The office identified the project number as 18703. This project, known as Phase 3, built upon two other major expansion projects to the art gallery, Phase I and Phase II, that were completed by the architecture firm Parkin Architects Planners in the 1970s. Phase 3 was the winning entry for a limited competition won by KPMB, with Thomas Payne as partner-in-charge, in joint venture with the firm of Barton Myers Inc. This project consisted of 100,000 square feet of additions to the building including a prints and drawings study centre, a reference library and administrative offices in the southwest corner and new vaulted galleries, a tower and pyramidal arrival hall along Dundas Street. The Dundas Street elevation was transformed by these additions and brick facades were added. A new double height sculpture atrium, connected to the Victorian Grange mansion, was also added. This project also included 190,000 square feet of renovations to the existing building including changes to galleries, circulation, vaults, staff areas, the restaurant, bookstore and volunteer shop. The goal of these changes was to create a more coherent design between old and new parts of the building and to reinforce the role of art galleries in contemporary life by increasing the scale of the building and creating new spaces for interaction and participation. This project won the Canadian Architect Award of Excellence in 1988. The project is recorded through drawings, photographic materials and accompanying notes dating from 1986-1992. The drawings include site plans and surveys, sketches, plans, elevations, sections, perspectives, details, studies, axonometric drawings, furnishing and structural drawings and some presentation drawings.
Niveau de description archivistique:
Project
Project
Date:
1986-1992
1986-1992
Personnes et institutions:
Classification:
archives
Niveau de description archivistique:
Fonds
archives
Niveau de description archivistique:
Fonds
Numéro de référence:
AP190
Résumé:
The Preston Scott Cohen Eyebeam project records, 2001-2016, consist of 281 digital files that document the architect’s competition entry for the Eyebeam Atelier Museum in New York City, developed in 2001. The archive includes 154 digital models in Rhinoceros, 30 digital models in STL, approximately 90 digital images, one video, and a number of Illustrator, Photoshop, PDF, and Microsoft Word files.
AP190
Résumé:
The Preston Scott Cohen Eyebeam project records, 2001-2016, consist of 281 digital files that document the architect’s competition entry for the Eyebeam Atelier Museum in New York City, developed in 2001. The archive includes 154 digital models in Rhinoceros, 30 digital models in STL, approximately 90 digital images, one video, and a number of Illustrator, Photoshop, PDF, and Microsoft Word files.
Personnes et institutions:
Date:
2001-2016
2001-2016
Titre:
Documents d’archives de Preston Scott Cohen pour le projet Eyebeam
Actions:
AP190
Résumé:
The Preston Scott Cohen Eyebeam project records, 2001-2016, consist of 281 digital files that document the architect’s competition entry for the Eyebeam Atelier Museum in New York City, developed in 2001. The archive includes 154 digital models in Rhinoceros, 30 digital models in STL, approximately 90 digital images, one video, and a number of Illustrator, Photoshop, PDF, and Microsoft Word files.
Documents d’archives de Preston Scott Cohen pour le projet Eyebeam
Actions:
AP190
Résumé:
The Preston Scott Cohen Eyebeam project records, 2001-2016, consist of 281 digital files that document the architect’s competition entry for the Eyebeam Atelier Museum in New York City, developed in 2001. The archive includes 154 digital models in Rhinoceros, 30 digital models in STL, approximately 90 digital images, one video, and a number of Illustrator, Photoshop, PDF, and Microsoft Word files.
Classification:
archives
Niveau de description archivistique:
Fonds
archives
Niveau de description archivistique:
Fonds
Date:
2001-2016
2001-2016
Personnes et institutions:
Classification:
archives
Niveau de description archivistique:
Fonds
archives
Niveau de description archivistique:
Fonds
Titre:
Fonds Peter Rose
Fonds Peter Rose
Numéro de référence:
AP046
Résumé:
The Peter Rose fonds, documents the design and construction of the Canadian Centre for Architecture (1989) and a design for the redevelopment of the Old Port of Montréal, Master Plan (1992) by architect Peter Rose. Both projects include drawings, textual records, models and photographs.
AP046
Résumé:
The Peter Rose fonds, documents the design and construction of the Canadian Centre for Architecture (1989) and a design for the redevelopment of the Old Port of Montréal, Master Plan (1992) by architect Peter Rose. Both projects include drawings, textual records, models and photographs.
Personnes et institutions:
Date:
1983-1989
1983-1989
Titre:
Fonds Peter Rose
Actions:
AP046
Résumé:
The Peter Rose fonds, documents the design and construction of the Canadian Centre for Architecture (1989) and a design for the redevelopment of the Old Port of Montréal, Master Plan (1992) by architect Peter Rose. Both projects include drawings, textual records, models and photographs.
Fonds Peter Rose
Actions:
AP046
Résumé:
The Peter Rose fonds, documents the design and construction of the Canadian Centre for Architecture (1989) and a design for the redevelopment of the Old Port of Montréal, Master Plan (1992) by architect Peter Rose. Both projects include drawings, textual records, models and photographs.
Classification:
archives
Niveau de description archivistique:
Fonds
archives
Niveau de description archivistique:
Fonds
Date:
1983-1989
1983-1989
Personnes et institutions:
Classification:
archives
Niveau de description archivistique:
Fonds
archives
Niveau de description archivistique:
Fonds
Titre:
Fonds Ernest Cormier
Fonds Ernest Cormier
Numéro de référence:
AP001
Résumé:
Le Fonds Ernest Cormier documente la vie personnelle, artistique et professionnelle d'Ernest Cormier. Le fonds compte près de 30 000 dessins et reproductions ainsi que les dossier administratif relatifs à plus de 110 projets architecturaux réalisés par Cormier entre 1919 et 1964, environ 14 000 documents photographiques, incluant les photographies par Ernest Cormier, sa correspondance et documents personnels, ses oeuvres d'arts, et de nombreux outils et objets utilisés par Cormier pour ses projets artistiques et architecturaux.
AP001
Résumé:
Le Fonds Ernest Cormier documente la vie personnelle, artistique et professionnelle d'Ernest Cormier. Le fonds compte près de 30 000 dessins et reproductions ainsi que les dossier administratif relatifs à plus de 110 projets architecturaux réalisés par Cormier entre 1919 et 1964, environ 14 000 documents photographiques, incluant les photographies par Ernest Cormier, sa correspondance et documents personnels, ses oeuvres d'arts, et de nombreux outils et objets utilisés par Cormier pour ses projets artistiques et architecturaux.
Personnes et institutions:
Date:
1857-1980
1857-1980
Titre:
Fonds Ernest Cormier
Actions:
AP001
Résumé:
Le Fonds Ernest Cormier documente la vie personnelle, artistique et professionnelle d'Ernest Cormier. Le fonds compte près de 30 000 dessins et reproductions ainsi que les dossier administratif relatifs à plus de 110 projets architecturaux réalisés par Cormier entre 1919 et 1964, environ 14 000 documents photographiques, incluant les photographies par Ernest Cormier, sa correspondance et documents personnels, ses oeuvres d'arts, et de nombreux outils et objets utilisés par Cormier pour ses projets artistiques et architecturaux.
Fonds Ernest Cormier
Actions:
AP001
Résumé:
Le Fonds Ernest Cormier documente la vie personnelle, artistique et professionnelle d'Ernest Cormier. Le fonds compte près de 30 000 dessins et reproductions ainsi que les dossier administratif relatifs à plus de 110 projets architecturaux réalisés par Cormier entre 1919 et 1964, environ 14 000 documents photographiques, incluant les photographies par Ernest Cormier, sa correspondance et documents personnels, ses oeuvres d'arts, et de nombreux outils et objets utilisés par Cormier pour ses projets artistiques et architecturaux.
Classification:
archives
Niveau de description archivistique:
Fonds
archives
Niveau de description archivistique:
Fonds
Date:
1857-1980
1857-1980
Personnes et institutions:
Classification:
archives
Niveau de description archivistique:
Fonds
archives
Niveau de description archivistique:
Fonds
Numéro de référence:
AP128
Résumé:
The Harold Ship Alexis Nihon Plaza and Nuns’ Island Master Plan project records, (1956- 1973), document architect Harold Ship’s design and plan for the Alexis Nihon Plaza (1956-1965) and the Nun’s Island Master Plan (1959-1973). Materials in these project records consist of 1 619 drawings (including reprographic copies), 330 photographs, 5 l.m. of textual records, 5 models and 2 panels.
AP128
Résumé:
The Harold Ship Alexis Nihon Plaza and Nuns’ Island Master Plan project records, (1956- 1973), document architect Harold Ship’s design and plan for the Alexis Nihon Plaza (1956-1965) and the Nun’s Island Master Plan (1959-1973). Materials in these project records consist of 1 619 drawings (including reprographic copies), 330 photographs, 5 l.m. of textual records, 5 models and 2 panels.
Personnes et institutions:
Date:
1956-1973
1956-1973
Titre:
Documents d’archives de Harold Ship pour les projets de la Place Alexis Nihon Plaza et du plan directeur de L’Île-des-Sœurs
Actions:
AP128
Résumé:
The Harold Ship Alexis Nihon Plaza and Nuns’ Island Master Plan project records, (1956- 1973), document architect Harold Ship’s design and plan for the Alexis Nihon Plaza (1956-1965) and the Nun’s Island Master Plan (1959-1973). Materials in these project records consist of 1 619 drawings (including reprographic copies), 330 photographs, 5 l.m. of textual records, 5 models and 2 panels.
Documents d’archives de Harold Ship pour les projets de la Place Alexis Nihon Plaza et du plan directeur de L’Île-des-Sœurs
Actions:
AP128
Résumé:
The Harold Ship Alexis Nihon Plaza and Nuns’ Island Master Plan project records, (1956- 1973), document architect Harold Ship’s design and plan for the Alexis Nihon Plaza (1956-1965) and the Nun’s Island Master Plan (1959-1973). Materials in these project records consist of 1 619 drawings (including reprographic copies), 330 photographs, 5 l.m. of textual records, 5 models and 2 panels.
Classification:
archives
Niveau de description archivistique:
Fonds
archives
Niveau de description archivistique:
Fonds
Date:
1956-1973
1956-1973
Personnes et institutions:
Classification:
archives
Niveau de description archivistique:
Fonds
archives
Niveau de description archivistique:
Fonds
Titre:
Fonds Umberto Riva
Fonds Umberto Riva
Numéro de référence:
AP180
Résumé:
The Umberto Riva fonds documents Riva’s work as an architect and designer, predominantly in Italy, between the 1960s to the early 2010s. Included are drawings related to over 80 architectural projects, furniture designs, and exhibition designs.
AP180
Résumé:
The Umberto Riva fonds documents Riva’s work as an architect and designer, predominantly in Italy, between the 1960s to the early 2010s. Included are drawings related to over 80 architectural projects, furniture designs, and exhibition designs.
Personnes et institutions:
Date:
1959-2012
1959-2012
Titre:
Fonds Umberto Riva
Actions:
AP180
Résumé:
The Umberto Riva fonds documents Riva’s work as an architect and designer, predominantly in Italy, between the 1960s to the early 2010s. Included are drawings related to over 80 architectural projects, furniture designs, and exhibition designs.
Fonds Umberto Riva
Actions:
AP180
Résumé:
The Umberto Riva fonds documents Riva’s work as an architect and designer, predominantly in Italy, between the 1960s to the early 2010s. Included are drawings related to over 80 architectural projects, furniture designs, and exhibition designs.
Classification:
archives
Niveau de description archivistique:
Fonds
archives
Niveau de description archivistique:
Fonds
Date:
1959-2012
1959-2012
Personnes et institutions:
Classification:
audio
audio
Titre:
Lectures
Lectures
Numéro de référence:
DR1999:0361
Description:
audiocassettes include: 1986 (X1) August 4th: PDE & J. H - House I & House II; 1987 (X2) October 13th: Grotesque II Cooper; October 27th - Cooper: Grotesque III; 1988 (X8) April: 15th - Arizona State, Grotesque; September: 12th - P.E. at Cooper Union; 20th , 26th - P.E. at Cooper on Terragni; October: 4th ,10th - P.E. at Cooper on Terragni; 14th - P.E/Kipnis at OSU; 17th - Asilo Infantile/Terragni at Cooper; 1989 (X50) March: 6th - Cooper; April: 6th & 13th - OSU; 12th - University of California, Irvine (X2); 13th - OSU May: 4th - Texas Tech " Weak Image"; 25th - OSU (X3); August: 22nd - Kip & Eisenman; September: 11th , 12th - Cooper; 13th - Kip & Johnson on PDE; 28th - Cooper; 28th , 29th- OSU; October: 2nd , 3rd , 9th , 10th - Cooper; 13th - OSU (X6); 16th , 18th - Cooper; 20th - OSU; 23rd , 31st - Cooper; November: 2nd - Cooper; 3rd - Cooper (X2); 9th - Cooper; 10th - OSU (X2); 17th - OSU (X2); 20th - Cooper; December: 4th - OSU; Undated: All School Lecture Series Fall 1989; Eisenman/Hejduk; Wexner Center for the Visual Arts, 1989; 1990 (X36) February: 5th, 12th , 20th, 26th, 27th - Cooper; March: 1st - Cincinnati Presentation; 5th, 19th, 20th, 26th - Cooper; lecture on Guardiola House (Sintra Portugal); April: 3rd - Cooper; 5th , 11th- Chicago; 16th - Cooper; 19th - Eisenman/R.M.; 24th - Cooper; 25th - Chicago; May: 1st - Cooper; 2nd - Chicago; 7th - Cooper; 10th & 11th , 18th, 29th - Chicago; June: 16th - Any: One Etc. Meeting June 14, 1990; 18th - summer seminar (X2); July: 3rd - Koizumi lecture; 18th - summer seminar (X2); August: 15th - seminar # 4; 22nd - seminar; September: 20th - PDE & Yatsuka; October: 15th - Cooper (Yale essays introduction); December: 18th , 19th - Frankfurt Competition; 1991 (X4) April: 22nd - Cooper/Blanchard; May: 7th - Cooper/Blanchard; June: 12th - Gehry/Eisenman; July: 30th - P.E. seminar #3; 1992 (X15) January: 9th - Philip Johnson; March ?: Rice University Kennon Memorial (X2); May: 7th - Empay; July: 2nd - PDE seminar #2; 10th - seminar #2; 24th - seminar #3; 24th - seminar #4; 31st - seminar; August: 31st - Düsseldorf; December: 15th - Max Reinhardt Haus; 29th - WOSU FM Columbus; 1992 - 1993 (X3) Proust; 1993 (X8) summer lecture '93 Derrida Conference (X3); August: 6th , 13th, 20th, 27th - summer seminar; September: 22nd - Inside: The Difference; UNDATED (X32): Cooper/Blanchard 3; Blanchot; The Sea; Cooper/Blanchard; Eisenman Pt. 3; Hejduk & Eisenman House I & House II; Blanchot; Eisenman #1; "The Writing of the Disaster"; PDE & Isozaki July 10th; Banyoles staff meeting 10/5; DAAP project meeting; Alberti; German interview; Cooper/Blanchot 2; Nakamura & P. Johnson on PDE; P.E. Heimrod 9/16; Eisenman/Hejduk #3; Eisenman/Hejduk #4; unidentified; lecture on pinchin; unidentified; lecture on classicism - architecture; Eisenman & Hejduk #2; Cooper Bataille; Folding in Architecture; unidentified; Alcatraz; PDE seminar #3; PDE seminar #6; Eisenman #4; Eisenman #2;
DR1999:0361
Description:
audiocassettes include: 1986 (X1) August 4th: PDE & J. H - House I & House II; 1987 (X2) October 13th: Grotesque II Cooper; October 27th - Cooper: Grotesque III; 1988 (X8) April: 15th - Arizona State, Grotesque; September: 12th - P.E. at Cooper Union; 20th , 26th - P.E. at Cooper on Terragni; October: 4th ,10th - P.E. at Cooper on Terragni; 14th - P.E/Kipnis at OSU; 17th - Asilo Infantile/Terragni at Cooper; 1989 (X50) March: 6th - Cooper; April: 6th & 13th - OSU; 12th - University of California, Irvine (X2); 13th - OSU May: 4th - Texas Tech " Weak Image"; 25th - OSU (X3); August: 22nd - Kip & Eisenman; September: 11th , 12th - Cooper; 13th - Kip & Johnson on PDE; 28th - Cooper; 28th , 29th- OSU; October: 2nd , 3rd , 9th , 10th - Cooper; 13th - OSU (X6); 16th , 18th - Cooper; 20th - OSU; 23rd , 31st - Cooper; November: 2nd - Cooper; 3rd - Cooper (X2); 9th - Cooper; 10th - OSU (X2); 17th - OSU (X2); 20th - Cooper; December: 4th - OSU; Undated: All School Lecture Series Fall 1989; Eisenman/Hejduk; Wexner Center for the Visual Arts, 1989; 1990 (X36) February: 5th, 12th , 20th, 26th, 27th - Cooper; March: 1st - Cincinnati Presentation; 5th, 19th, 20th, 26th - Cooper; lecture on Guardiola House (Sintra Portugal); April: 3rd - Cooper; 5th , 11th- Chicago; 16th - Cooper; 19th - Eisenman/R.M.; 24th - Cooper; 25th - Chicago; May: 1st - Cooper; 2nd - Chicago; 7th - Cooper; 10th & 11th , 18th, 29th - Chicago; June: 16th - Any: One Etc. Meeting June 14, 1990; 18th - summer seminar (X2); July: 3rd - Koizumi lecture; 18th - summer seminar (X2); August: 15th - seminar # 4; 22nd - seminar; September: 20th - PDE & Yatsuka; October: 15th - Cooper (Yale essays introduction); December: 18th , 19th - Frankfurt Competition; 1991 (X4) April: 22nd - Cooper/Blanchard; May: 7th - Cooper/Blanchard; June: 12th - Gehry/Eisenman; July: 30th - P.E. seminar #3; 1992 (X15) January: 9th - Philip Johnson; March ?: Rice University Kennon Memorial (X2); May: 7th - Empay; July: 2nd - PDE seminar #2; 10th - seminar #2; 24th - seminar #3; 24th - seminar #4; 31st - seminar; August: 31st - Düsseldorf; December: 15th - Max Reinhardt Haus; 29th - WOSU FM Columbus; 1992 - 1993 (X3) Proust; 1993 (X8) summer lecture '93 Derrida Conference (X3); August: 6th , 13th, 20th, 27th - summer seminar; September: 22nd - Inside: The Difference; UNDATED (X32): Cooper/Blanchard 3; Blanchot; The Sea; Cooper/Blanchard; Eisenman Pt. 3; Hejduk & Eisenman House I & House II; Blanchot; Eisenman #1; "The Writing of the Disaster"; PDE & Isozaki July 10th; Banyoles staff meeting 10/5; DAAP project meeting; Alberti; German interview; Cooper/Blanchot 2; Nakamura & P. Johnson on PDE; P.E. Heimrod 9/16; Eisenman/Hejduk #3; Eisenman/Hejduk #4; unidentified; lecture on pinchin; unidentified; lecture on classicism - architecture; Eisenman & Hejduk #2; Cooper Bataille; Folding in Architecture; unidentified; Alcatraz; PDE seminar #3; PDE seminar #6; Eisenman #4; Eisenman #2;
Personnes et institutions:
Titre:
Lectures
Actions:
DR1999:0361
Description:
audiocassettes include: 1986 (X1) August 4th: PDE & J. H - House I & House II; 1987 (X2) October 13th: Grotesque II Cooper; October 27th - Cooper: Grotesque III; 1988 (X8) April: 15th - Arizona State, Grotesque; September: 12th - P.E. at Cooper Union; 20th , 26th - P.E. at Cooper on Terragni; October: 4th ,10th - P.E. at Cooper on Terragni; 14th - P.E/Kipnis at OSU; 17th - Asilo Infantile/Terragni at Cooper; 1989 (X50) March: 6th - Cooper; April: 6th & 13th - OSU; 12th - University of California, Irvine (X2); 13th - OSU May: 4th - Texas Tech " Weak Image"; 25th - OSU (X3); August: 22nd - Kip & Eisenman; September: 11th , 12th - Cooper; 13th - Kip & Johnson on PDE; 28th - Cooper; 28th , 29th- OSU; October: 2nd , 3rd , 9th , 10th - Cooper; 13th - OSU (X6); 16th , 18th - Cooper; 20th - OSU; 23rd , 31st - Cooper; November: 2nd - Cooper; 3rd - Cooper (X2); 9th - Cooper; 10th - OSU (X2); 17th - OSU (X2); 20th - Cooper; December: 4th - OSU; Undated: All School Lecture Series Fall 1989; Eisenman/Hejduk; Wexner Center for the Visual Arts, 1989; 1990 (X36) February: 5th, 12th , 20th, 26th, 27th - Cooper; March: 1st - Cincinnati Presentation; 5th, 19th, 20th, 26th - Cooper; lecture on Guardiola House (Sintra Portugal); April: 3rd - Cooper; 5th , 11th- Chicago; 16th - Cooper; 19th - Eisenman/R.M.; 24th - Cooper; 25th - Chicago; May: 1st - Cooper; 2nd - Chicago; 7th - Cooper; 10th & 11th , 18th, 29th - Chicago; June: 16th - Any: One Etc. Meeting June 14, 1990; 18th - summer seminar (X2); July: 3rd - Koizumi lecture; 18th - summer seminar (X2); August: 15th - seminar # 4; 22nd - seminar; September: 20th - PDE & Yatsuka; October: 15th - Cooper (Yale essays introduction); December: 18th , 19th - Frankfurt Competition; 1991 (X4) April: 22nd - Cooper/Blanchard; May: 7th - Cooper/Blanchard; June: 12th - Gehry/Eisenman; July: 30th - P.E. seminar #3; 1992 (X15) January: 9th - Philip Johnson; March ?: Rice University Kennon Memorial (X2); May: 7th - Empay; July: 2nd - PDE seminar #2; 10th - seminar #2; 24th - seminar #3; 24th - seminar #4; 31st - seminar; August: 31st - Düsseldorf; December: 15th - Max Reinhardt Haus; 29th - WOSU FM Columbus; 1992 - 1993 (X3) Proust; 1993 (X8) summer lecture '93 Derrida Conference (X3); August: 6th , 13th, 20th, 27th - summer seminar; September: 22nd - Inside: The Difference; UNDATED (X32): Cooper/Blanchard 3; Blanchot; The Sea; Cooper/Blanchard; Eisenman Pt. 3; Hejduk & Eisenman House I & House II; Blanchot; Eisenman #1; "The Writing of the Disaster"; PDE & Isozaki July 10th; Banyoles staff meeting 10/5; DAAP project meeting; Alberti; German interview; Cooper/Blanchot 2; Nakamura & P. Johnson on PDE; P.E. Heimrod 9/16; Eisenman/Hejduk #3; Eisenman/Hejduk #4; unidentified; lecture on pinchin; unidentified; lecture on classicism - architecture; Eisenman & Hejduk #2; Cooper Bataille; Folding in Architecture; unidentified; Alcatraz; PDE seminar #3; PDE seminar #6; Eisenman #4; Eisenman #2;
Lectures
Actions:
DR1999:0361
Description:
audiocassettes include: 1986 (X1) August 4th: PDE & J. H - House I & House II; 1987 (X2) October 13th: Grotesque II Cooper; October 27th - Cooper: Grotesque III; 1988 (X8) April: 15th - Arizona State, Grotesque; September: 12th - P.E. at Cooper Union; 20th , 26th - P.E. at Cooper on Terragni; October: 4th ,10th - P.E. at Cooper on Terragni; 14th - P.E/Kipnis at OSU; 17th - Asilo Infantile/Terragni at Cooper; 1989 (X50) March: 6th - Cooper; April: 6th & 13th - OSU; 12th - University of California, Irvine (X2); 13th - OSU May: 4th - Texas Tech " Weak Image"; 25th - OSU (X3); August: 22nd - Kip & Eisenman; September: 11th , 12th - Cooper; 13th - Kip & Johnson on PDE; 28th - Cooper; 28th , 29th- OSU; October: 2nd , 3rd , 9th , 10th - Cooper; 13th - OSU (X6); 16th , 18th - Cooper; 20th - OSU; 23rd , 31st - Cooper; November: 2nd - Cooper; 3rd - Cooper (X2); 9th - Cooper; 10th - OSU (X2); 17th - OSU (X2); 20th - Cooper; December: 4th - OSU; Undated: All School Lecture Series Fall 1989; Eisenman/Hejduk; Wexner Center for the Visual Arts, 1989; 1990 (X36) February: 5th, 12th , 20th, 26th, 27th - Cooper; March: 1st - Cincinnati Presentation; 5th, 19th, 20th, 26th - Cooper; lecture on Guardiola House (Sintra Portugal); April: 3rd - Cooper; 5th , 11th- Chicago; 16th - Cooper; 19th - Eisenman/R.M.; 24th - Cooper; 25th - Chicago; May: 1st - Cooper; 2nd - Chicago; 7th - Cooper; 10th & 11th , 18th, 29th - Chicago; June: 16th - Any: One Etc. Meeting June 14, 1990; 18th - summer seminar (X2); July: 3rd - Koizumi lecture; 18th - summer seminar (X2); August: 15th - seminar # 4; 22nd - seminar; September: 20th - PDE & Yatsuka; October: 15th - Cooper (Yale essays introduction); December: 18th , 19th - Frankfurt Competition; 1991 (X4) April: 22nd - Cooper/Blanchard; May: 7th - Cooper/Blanchard; June: 12th - Gehry/Eisenman; July: 30th - P.E. seminar #3; 1992 (X15) January: 9th - Philip Johnson; March ?: Rice University Kennon Memorial (X2); May: 7th - Empay; July: 2nd - PDE seminar #2; 10th - seminar #2; 24th - seminar #3; 24th - seminar #4; 31st - seminar; August: 31st - Düsseldorf; December: 15th - Max Reinhardt Haus; 29th - WOSU FM Columbus; 1992 - 1993 (X3) Proust; 1993 (X8) summer lecture '93 Derrida Conference (X3); August: 6th , 13th, 20th, 27th - summer seminar; September: 22nd - Inside: The Difference; UNDATED (X32): Cooper/Blanchard 3; Blanchot; The Sea; Cooper/Blanchard; Eisenman Pt. 3; Hejduk & Eisenman House I & House II; Blanchot; Eisenman #1; "The Writing of the Disaster"; PDE & Isozaki July 10th; Banyoles staff meeting 10/5; DAAP project meeting; Alberti; German interview; Cooper/Blanchot 2; Nakamura & P. Johnson on PDE; P.E. Heimrod 9/16; Eisenman/Hejduk #3; Eisenman/Hejduk #4; unidentified; lecture on pinchin; unidentified; lecture on classicism - architecture; Eisenman & Hejduk #2; Cooper Bataille; Folding in Architecture; unidentified; Alcatraz; PDE seminar #3; PDE seminar #6; Eisenman #4; Eisenman #2;
Classification:
audio
audio
Personnes et institutions:
Classification:
archives
Niveau de description archivistique:
Collection
archives
Niveau de description archivistique:
Collection
Titre:
Collection Eva Hollo Vecsei
Collection Eva Hollo Vecsei
Numéro de référence:
CD041
Résumé:
The Eva Hollo Vecsei collection documents the career of Hungarian-Canadian architect Eva Hollo Vecsei with a few materials from her husband’s, Andrei Vecsei, work. Records in this collection, ranging from 1959 to 2019, document key elements of several of Vecsei’s projects, including built and unbuilt designs.
CD041
Résumé:
The Eva Hollo Vecsei collection documents the career of Hungarian-Canadian architect Eva Hollo Vecsei with a few materials from her husband’s, Andrei Vecsei, work. Records in this collection, ranging from 1959 to 2019, document key elements of several of Vecsei’s projects, including built and unbuilt designs.
Personnes et institutions:
Date:
1959-2019
1959-2019
Titre:
Collection Eva Hollo Vecsei
Actions:
CD041
Résumé:
The Eva Hollo Vecsei collection documents the career of Hungarian-Canadian architect Eva Hollo Vecsei with a few materials from her husband’s, Andrei Vecsei, work. Records in this collection, ranging from 1959 to 2019, document key elements of several of Vecsei’s projects, including built and unbuilt designs.
Collection Eva Hollo Vecsei
Actions:
CD041
Résumé:
The Eva Hollo Vecsei collection documents the career of Hungarian-Canadian architect Eva Hollo Vecsei with a few materials from her husband’s, Andrei Vecsei, work. Records in this collection, ranging from 1959 to 2019, document key elements of several of Vecsei’s projects, including built and unbuilt designs.
Classification:
archives
Niveau de description archivistique:
Collection
archives
Niveau de description archivistique:
Collection
Date:
1959-2019
1959-2019
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:
