16091 Résultats
Classification:
documents textuels
documents textuels
Numéro de référence:
AP197.S3.009
Description:
The box is comprised of correspondence for the years of 1999-2000, organized in chronological order. The box documents Frampton’s career as Ware professor at the Graduate School of Architecture, Planning and Preservation, Columbia University and his related professional activities. Correspondence in this box includes: offers of teaching positions; requests to write articles, reviews, books and recommendation letters; invitations to teach, present, or attend at lectures/symposiums/conferences; and requests to serve on juries. Throughout this period, Frampton corresponded with various universities, architects, professors, publishers, and editors of various publications such as: Tadao Ando; Alvaro Siza; Norman Foster; the Architectural Society of China; and the Università della Svizzera italiana. Correspondence relates to his participation/involvement in: the Centennial Conference; the International Committee for Documentation and Conservation of Buildings, Sites and Neighbourhoods of the Modern Movement’s (do.co,mo.mo) conference in Brasilia; the Le Corbusier Seminar in France; the Aga Khan Award for Architecture; the Le Corbusier publication; Journal of Architectural Education (JAE)’s "Technology and Place;" and the English version of his essay in the publication Alvaro Siza: Complete works.
AP197.S3.009
Description:
The box is comprised of correspondence for the years of 1999-2000, organized in chronological order. The box documents Frampton’s career as Ware professor at the Graduate School of Architecture, Planning and Preservation, Columbia University and his related professional activities. Correspondence in this box includes: offers of teaching positions; requests to write articles, reviews, books and recommendation letters; invitations to teach, present, or attend at lectures/symposiums/conferences; and requests to serve on juries. Throughout this period, Frampton corresponded with various universities, architects, professors, publishers, and editors of various publications such as: Tadao Ando; Alvaro Siza; Norman Foster; the Architectural Society of China; and the Università della Svizzera italiana. Correspondence relates to his participation/involvement in: the Centennial Conference; the International Committee for Documentation and Conservation of Buildings, Sites and Neighbourhoods of the Modern Movement’s (do.co,mo.mo) conference in Brasilia; the Le Corbusier Seminar in France; the Aga Khan Award for Architecture; the Le Corbusier publication; Journal of Architectural Education (JAE)’s "Technology and Place;" and the English version of his essay in the publication Alvaro Siza: Complete works.
Personnes et institutions:
Date:
1999-2000
1999-2000
Titre:
Personal and professional correspondence from 1999-2000
Actions:
AP197.S3.009
Description:
The box is comprised of correspondence for the years of 1999-2000, organized in chronological order. The box documents Frampton’s career as Ware professor at the Graduate School of Architecture, Planning and Preservation, Columbia University and his related professional activities. Correspondence in this box includes: offers of teaching positions; requests to write articles, reviews, books and recommendation letters; invitations to teach, present, or attend at lectures/symposiums/conferences; and requests to serve on juries. Throughout this period, Frampton corresponded with various universities, architects, professors, publishers, and editors of various publications such as: Tadao Ando; Alvaro Siza; Norman Foster; the Architectural Society of China; and the Università della Svizzera italiana. Correspondence relates to his participation/involvement in: the Centennial Conference; the International Committee for Documentation and Conservation of Buildings, Sites and Neighbourhoods of the Modern Movement’s (do.co,mo.mo) conference in Brasilia; the Le Corbusier Seminar in France; the Aga Khan Award for Architecture; the Le Corbusier publication; Journal of Architectural Education (JAE)’s "Technology and Place;" and the English version of his essay in the publication Alvaro Siza: Complete works.
Personal and professional correspondence from 1999-2000
Actions:
AP197.S3.009
Description:
The box is comprised of correspondence for the years of 1999-2000, organized in chronological order. The box documents Frampton’s career as Ware professor at the Graduate School of Architecture, Planning and Preservation, Columbia University and his related professional activities. Correspondence in this box includes: offers of teaching positions; requests to write articles, reviews, books and recommendation letters; invitations to teach, present, or attend at lectures/symposiums/conferences; and requests to serve on juries. Throughout this period, Frampton corresponded with various universities, architects, professors, publishers, and editors of various publications such as: Tadao Ando; Alvaro Siza; Norman Foster; the Architectural Society of China; and the Università della Svizzera italiana. Correspondence relates to his participation/involvement in: the Centennial Conference; the International Committee for Documentation and Conservation of Buildings, Sites and Neighbourhoods of the Modern Movement’s (do.co,mo.mo) conference in Brasilia; the Le Corbusier Seminar in France; the Aga Khan Award for Architecture; the Le Corbusier publication; Journal of Architectural Education (JAE)’s "Technology and Place;" and the English version of his essay in the publication Alvaro Siza: Complete works.
Classification:
documents textuels
documents textuels
Date:
1999-2000
1999-2000
Personnes et institutions:
Classification:
archives
Niveau de description archivistique:
Fonds
archives
Niveau de description archivistique:
Fonds
Titre:
Joseph Rykwert fonds
Joseph Rykwert fonds
Numéro de référence:
AP209
Résumé:
The Joseph Rykwert fonds, 1928-2022, documents Joseph Rykwert’s career as an architectural historian, author and professor. The fonds includes the records for over a dozen monographs written between the mid-1960s and the mid-2010s as well as edited works and articles, and details his teaching and lecturing activities from the 1960s onwards in universities in Europe and the United States. The records highlight Joseph Rykwert’s multidisciplinary approach, which involved archaeology, anthropology and psychoanalysis in his study of the history and theory of architecture and of the urban form. The fonds is composed of textual records, publications and ephemera, and of photographs including multiple albums and a large number of slides; the fonds also documents Joseph Rykwert’s career as an independent designer through drawings realized between the late 1940s and the late 1970s.
AP209
Résumé:
The Joseph Rykwert fonds, 1928-2022, documents Joseph Rykwert’s career as an architectural historian, author and professor. The fonds includes the records for over a dozen monographs written between the mid-1960s and the mid-2010s as well as edited works and articles, and details his teaching and lecturing activities from the 1960s onwards in universities in Europe and the United States. The records highlight Joseph Rykwert’s multidisciplinary approach, which involved archaeology, anthropology and psychoanalysis in his study of the history and theory of architecture and of the urban form. The fonds is composed of textual records, publications and ephemera, and of photographs including multiple albums and a large number of slides; the fonds also documents Joseph Rykwert’s career as an independent designer through drawings realized between the late 1940s and the late 1970s.
Personnes et institutions:
Date:
1928-2022
1928-2022
Titre:
Joseph Rykwert fonds
Actions:
AP209
Résumé:
The Joseph Rykwert fonds, 1928-2022, documents Joseph Rykwert’s career as an architectural historian, author and professor. The fonds includes the records for over a dozen monographs written between the mid-1960s and the mid-2010s as well as edited works and articles, and details his teaching and lecturing activities from the 1960s onwards in universities in Europe and the United States. The records highlight Joseph Rykwert’s multidisciplinary approach, which involved archaeology, anthropology and psychoanalysis in his study of the history and theory of architecture and of the urban form. The fonds is composed of textual records, publications and ephemera, and of photographs including multiple albums and a large number of slides; the fonds also documents Joseph Rykwert’s career as an independent designer through drawings realized between the late 1940s and the late 1970s.
Joseph Rykwert fonds
Actions:
AP209
Résumé:
The Joseph Rykwert fonds, 1928-2022, documents Joseph Rykwert’s career as an architectural historian, author and professor. The fonds includes the records for over a dozen monographs written between the mid-1960s and the mid-2010s as well as edited works and articles, and details his teaching and lecturing activities from the 1960s onwards in universities in Europe and the United States. The records highlight Joseph Rykwert’s multidisciplinary approach, which involved archaeology, anthropology and psychoanalysis in his study of the history and theory of architecture and of the urban form. The fonds is composed of textual records, publications and ephemera, and of photographs including multiple albums and a large number of slides; the fonds also documents Joseph Rykwert’s career as an independent designer through drawings realized between the late 1940s and the late 1970s.
Classification:
archives
Niveau de description archivistique:
Fonds
archives
Niveau de description archivistique:
Fonds
Date:
1928-2022
1928-2022
Personnes et institutions:
Classification:
oeuvres d'art
oeuvres d'art
Numéro de référence:
DR1987:0113
Description:
- This lithograph, possibly printed at the Bauhaus, is based on one of seven axonometric drawings for the Maison Particulière first exhibited in Paris at Léonce Rosenburg's Galerie L'Effort Moderne in 1923 (Architecture & Its Image, p. 186, cat. no. 22, fig. 22).
DR1987:0113
Description:
- This lithograph, possibly printed at the Bauhaus, is based on one of seven axonometric drawings for the Maison Particulière first exhibited in Paris at Léonce Rosenburg's Galerie L'Effort Moderne in 1923 (Architecture & Its Image, p. 186, cat. no. 22, fig. 22).
Personnes et institutions:
Sujet:
architecture
architecture
Date:
printed after 1923
printed after 1923
Titre:
Bird's-eye axonometric for the Maison Particulière
Actions:
DR1987:0113
Description:
- This lithograph, possibly printed at the Bauhaus, is based on one of seven axonometric drawings for the Maison Particulière first exhibited in Paris at Léonce Rosenburg's Galerie L'Effort Moderne in 1923 (Architecture & Its Image, p. 186, cat. no. 22, fig. 22).
Bird's-eye axonometric for the Maison Particulière
Actions:
DR1987:0113
Description:
- This lithograph, possibly printed at the Bauhaus, is based on one of seven axonometric drawings for the Maison Particulière first exhibited in Paris at Léonce Rosenburg's Galerie L'Effort Moderne in 1923 (Architecture & Its Image, p. 186, cat. no. 22, fig. 22).
Classification:
oeuvres d'art
oeuvres d'art
Date:
printed after 1923
printed after 1923
Personnes et institutions:
Sujet:
architecture
architecture
Niveau de description archivistique:
Sous-série
Sous-série
Numéro de référence:
CI001.S2.D5
Description:
Charles Rohault de Fleury was architect for the Muséum national d'histoire naturelle from 1833 to 1862. His work for the Muséum is represented in the CCA collection by a diverse group of prints and drawings. In addition to documenting his built and unbuilt projects, the inclusion of prints and drawings of museum and zoo buildings by other architects record, if only partially, the resources available to Charles in designing his buildings. This reference material provides insight into the influences on Charles' work as well as the nature of the design process itself. His built works, with the exception of the 1854 addition to the greenhouses, are illustrated in a book of prints with a brief accompanying text - "Muséum d'histoire naturelle: serres chaudes, galeries de minéralogie, etc. etc." (published 1837) (DR1974:0002:004:001; a second copy is held by the CCA library) (1). While prints are included for the Galerie de minéralogie et de géologie, the monkey house and the reservoirs, the majority of the prints are of the greenhouses (serres chaudes) begun 1833 (2). Known for their technological innovations in iron construction, these greenhouses utilized the first multi-storey load-bearing cast-iron façades for the central pavilions as well as space frame roof structures and prefabricated parts. This structural system is well documented in the prints in the CCA collection. The design was apparently inspired by the English greenhouses - a plate of which are included in the book - that Charles saw on a tour of England. The use of prestressed beams and curved roofs in the lateral wings attest to this influence. Charles' greenhouses, in turn, influenced the design of other greenhouses in Europe especially those at the Jardins Botanique in Liège and Ghent, Belgium (3). Although Joseph Paxton saw the greenhouses in 1833, it is unclear if they had an impact on the design of the Crystal Palace constructed 1850-1851 (4). The innovations of Charles' greenhouses continued to be acknowledged into the 20th century. Giedion in "Space, Time and Architecture", while erroneously attributing them to Rouhault (5)(6), refers to the greenhouses as "the prototype of all large iron-framed conservatories" (7). In addition to the greenhouses for the Muséum, the CCA collection includes three proposals (dated 1841) for a private greenhouse designed by Charles Rohault de Fleury (DR1974:0002:002:008 - DR1974:0002:002:013). The designs utilize the same curved roofs as the wings of the greenhouses at the Muséum combined with classically detailed stonework. An different aspect of Charles' work for the Muséum national d'histoire naturelle is represented in the album of unexecuted proposals -the only design drawings for the Muséum in the collection - for a Galerie de zoologie (DR1974:0002:024:001-079). Building on the typology of his earlier classical Galerie de minéralogie et de géologie (constructed 1833 -1841), the proposals, which date from between 1838 and 1862, illustrate a gradual enrichment of Charles' classical architectural vocabulary (8). They vary in their spatial configurations and façade treatments ranging from austere colonnaded designs with little ornament to more elaborate ones with richly encrusted facades, complex rooflines and more dramatic interior spaces characteristic of the Second Empire. The majority of the proposals consist of preliminary drawings illustrating the essential formal, spatial and ornamental aspects of the building. One proposal, dated January 1846, is substantially more developed than the others; in addition to general plans, sections and elevations, more detailed drawings are included for the layout of spaces, the elaboration of the facades, the configuration of the structure and even the designs for the specimen display cases. It is also worth noting that this album includes several plans outlining Rohault de Fleury's ideas for the overall development of the Muséum national d'histoire naturelle. In 1846, an album of prints of the Museo di fiscia e storia naturelle in Florence (DR1974:0002:005:001-018) was presented to Charles by the Grand Duke of Tuscany in response to his request for tracings of that building. These prints were probably used as reference material for the design of the new Galerie de zoologie described above. The portfolio of record drawings (ca. 1862) of the zoos in Antwerp, Brussels, Marseille and Amsterdam (DR1974:0002:018:001-027) is probably a dummy for a publication on zoological gardens as well as background documentation for the renovation and expansion of the zoo at the Muséum national d'histoire naturelle in Paris. Both drawings of the facilities for the animals and visitors and general plans of the zoological gardens are included. The Paris zoo project was apparently never undertaken. (1) These prints were reused in the "Oeuvre de C. Rohault de Fleury, architecte" (published 1884) (DR1974:0002:029:001-044). (2) Rohault de Fleury's greenhouses were destroyed in the Prussian bombardments of 1870. The greenhouses, which now stand in their place, are similar in layout and appearance to the original design, but their structural system is different. (3) John Hix, 'The Glass House' (Cambridge, Mass.: The MIT Press, 1981), p. 115. (4) Ibid., p. 115. (5) This error has been repeated by other authors including Henry-Russell Hitchcock, 'Architecture: Nineteenth and Twentieth Centuries' (Baltimore, Maryland: Penguin Books, 1968), p. 120. (6) Leonardo Benevolo, 'History of Modern Architecture' Volume 1: The tradition of modern architecture (Cambridge, Mass.: The M.I.T. Press, 1971), p. 22. (7) Sigfried Giedion, 'Space, Time and Architecture; the growth of a new tradition' (Cambridge: Harvard University Press, 1941), p. 181. (8) Barry Bergdoll, "Charles Rohault de Fleury: Part two: Muséum d'Histoire Naturelle and Studies on analogous Constructions in Europe", 'CCA Research Report", n.d., p. 1.
CI001.S2.D5
Description:
Charles Rohault de Fleury was architect for the Muséum national d'histoire naturelle from 1833 to 1862. His work for the Muséum is represented in the CCA collection by a diverse group of prints and drawings. In addition to documenting his built and unbuilt projects, the inclusion of prints and drawings of museum and zoo buildings by other architects record, if only partially, the resources available to Charles in designing his buildings. This reference material provides insight into the influences on Charles' work as well as the nature of the design process itself. His built works, with the exception of the 1854 addition to the greenhouses, are illustrated in a book of prints with a brief accompanying text - "Muséum d'histoire naturelle: serres chaudes, galeries de minéralogie, etc. etc." (published 1837) (DR1974:0002:004:001; a second copy is held by the CCA library) (1). While prints are included for the Galerie de minéralogie et de géologie, the monkey house and the reservoirs, the majority of the prints are of the greenhouses (serres chaudes) begun 1833 (2). Known for their technological innovations in iron construction, these greenhouses utilized the first multi-storey load-bearing cast-iron façades for the central pavilions as well as space frame roof structures and prefabricated parts. This structural system is well documented in the prints in the CCA collection. The design was apparently inspired by the English greenhouses - a plate of which are included in the book - that Charles saw on a tour of England. The use of prestressed beams and curved roofs in the lateral wings attest to this influence. Charles' greenhouses, in turn, influenced the design of other greenhouses in Europe especially those at the Jardins Botanique in Liège and Ghent, Belgium (3). Although Joseph Paxton saw the greenhouses in 1833, it is unclear if they had an impact on the design of the Crystal Palace constructed 1850-1851 (4). The innovations of Charles' greenhouses continued to be acknowledged into the 20th century. Giedion in "Space, Time and Architecture", while erroneously attributing them to Rouhault (5)(6), refers to the greenhouses as "the prototype of all large iron-framed conservatories" (7). In addition to the greenhouses for the Muséum, the CCA collection includes three proposals (dated 1841) for a private greenhouse designed by Charles Rohault de Fleury (DR1974:0002:002:008 - DR1974:0002:002:013). The designs utilize the same curved roofs as the wings of the greenhouses at the Muséum combined with classically detailed stonework. An different aspect of Charles' work for the Muséum national d'histoire naturelle is represented in the album of unexecuted proposals -the only design drawings for the Muséum in the collection - for a Galerie de zoologie (DR1974:0002:024:001-079). Building on the typology of his earlier classical Galerie de minéralogie et de géologie (constructed 1833 -1841), the proposals, which date from between 1838 and 1862, illustrate a gradual enrichment of Charles' classical architectural vocabulary (8). They vary in their spatial configurations and façade treatments ranging from austere colonnaded designs with little ornament to more elaborate ones with richly encrusted facades, complex rooflines and more dramatic interior spaces characteristic of the Second Empire. The majority of the proposals consist of preliminary drawings illustrating the essential formal, spatial and ornamental aspects of the building. One proposal, dated January 1846, is substantially more developed than the others; in addition to general plans, sections and elevations, more detailed drawings are included for the layout of spaces, the elaboration of the facades, the configuration of the structure and even the designs for the specimen display cases. It is also worth noting that this album includes several plans outlining Rohault de Fleury's ideas for the overall development of the Muséum national d'histoire naturelle. In 1846, an album of prints of the Museo di fiscia e storia naturelle in Florence (DR1974:0002:005:001-018) was presented to Charles by the Grand Duke of Tuscany in response to his request for tracings of that building. These prints were probably used as reference material for the design of the new Galerie de zoologie described above. The portfolio of record drawings (ca. 1862) of the zoos in Antwerp, Brussels, Marseille and Amsterdam (DR1974:0002:018:001-027) is probably a dummy for a publication on zoological gardens as well as background documentation for the renovation and expansion of the zoo at the Muséum national d'histoire naturelle in Paris. Both drawings of the facilities for the animals and visitors and general plans of the zoological gardens are included. The Paris zoo project was apparently never undertaken. (1) These prints were reused in the "Oeuvre de C. Rohault de Fleury, architecte" (published 1884) (DR1974:0002:029:001-044). (2) Rohault de Fleury's greenhouses were destroyed in the Prussian bombardments of 1870. The greenhouses, which now stand in their place, are similar in layout and appearance to the original design, but their structural system is different. (3) John Hix, 'The Glass House' (Cambridge, Mass.: The MIT Press, 1981), p. 115. (4) Ibid., p. 115. (5) This error has been repeated by other authors including Henry-Russell Hitchcock, 'Architecture: Nineteenth and Twentieth Centuries' (Baltimore, Maryland: Penguin Books, 1968), p. 120. (6) Leonardo Benevolo, 'History of Modern Architecture' Volume 1: The tradition of modern architecture (Cambridge, Mass.: The M.I.T. Press, 1971), p. 22. (7) Sigfried Giedion, 'Space, Time and Architecture; the growth of a new tradition' (Cambridge: Harvard University Press, 1941), p. 181. (8) Barry Bergdoll, "Charles Rohault de Fleury: Part two: Muséum d'Histoire Naturelle and Studies on analogous Constructions in Europe", 'CCA Research Report", n.d., p. 1.
Personnes et institutions:
Date:
[1837-ca. 1862]
[1837-ca. 1862]
Titre:
Muséum nationale d'histoire naturelle
CI001.S2.D5
Description:
Charles Rohault de Fleury was architect for the Muséum national d'histoire naturelle from 1833 to 1862. His work for the Muséum is represented in the CCA collection by a diverse group of prints and drawings. In addition to documenting his built and unbuilt projects, the inclusion of prints and drawings of museum and zoo buildings by other architects record, if only partially, the resources available to Charles in designing his buildings. This reference material provides insight into the influences on Charles' work as well as the nature of the design process itself. His built works, with the exception of the 1854 addition to the greenhouses, are illustrated in a book of prints with a brief accompanying text - "Muséum d'histoire naturelle: serres chaudes, galeries de minéralogie, etc. etc." (published 1837) (DR1974:0002:004:001; a second copy is held by the CCA library) (1). While prints are included for the Galerie de minéralogie et de géologie, the monkey house and the reservoirs, the majority of the prints are of the greenhouses (serres chaudes) begun 1833 (2). Known for their technological innovations in iron construction, these greenhouses utilized the first multi-storey load-bearing cast-iron façades for the central pavilions as well as space frame roof structures and prefabricated parts. This structural system is well documented in the prints in the CCA collection. The design was apparently inspired by the English greenhouses - a plate of which are included in the book - that Charles saw on a tour of England. The use of prestressed beams and curved roofs in the lateral wings attest to this influence. Charles' greenhouses, in turn, influenced the design of other greenhouses in Europe especially those at the Jardins Botanique in Liège and Ghent, Belgium (3). Although Joseph Paxton saw the greenhouses in 1833, it is unclear if they had an impact on the design of the Crystal Palace constructed 1850-1851 (4). The innovations of Charles' greenhouses continued to be acknowledged into the 20th century. Giedion in "Space, Time and Architecture", while erroneously attributing them to Rouhault (5)(6), refers to the greenhouses as "the prototype of all large iron-framed conservatories" (7). In addition to the greenhouses for the Muséum, the CCA collection includes three proposals (dated 1841) for a private greenhouse designed by Charles Rohault de Fleury (DR1974:0002:002:008 - DR1974:0002:002:013). The designs utilize the same curved roofs as the wings of the greenhouses at the Muséum combined with classically detailed stonework. An different aspect of Charles' work for the Muséum national d'histoire naturelle is represented in the album of unexecuted proposals -the only design drawings for the Muséum in the collection - for a Galerie de zoologie (DR1974:0002:024:001-079). Building on the typology of his earlier classical Galerie de minéralogie et de géologie (constructed 1833 -1841), the proposals, which date from between 1838 and 1862, illustrate a gradual enrichment of Charles' classical architectural vocabulary (8). They vary in their spatial configurations and façade treatments ranging from austere colonnaded designs with little ornament to more elaborate ones with richly encrusted facades, complex rooflines and more dramatic interior spaces characteristic of the Second Empire. The majority of the proposals consist of preliminary drawings illustrating the essential formal, spatial and ornamental aspects of the building. One proposal, dated January 1846, is substantially more developed than the others; in addition to general plans, sections and elevations, more detailed drawings are included for the layout of spaces, the elaboration of the facades, the configuration of the structure and even the designs for the specimen display cases. It is also worth noting that this album includes several plans outlining Rohault de Fleury's ideas for the overall development of the Muséum national d'histoire naturelle. In 1846, an album of prints of the Museo di fiscia e storia naturelle in Florence (DR1974:0002:005:001-018) was presented to Charles by the Grand Duke of Tuscany in response to his request for tracings of that building. These prints were probably used as reference material for the design of the new Galerie de zoologie described above. The portfolio of record drawings (ca. 1862) of the zoos in Antwerp, Brussels, Marseille and Amsterdam (DR1974:0002:018:001-027) is probably a dummy for a publication on zoological gardens as well as background documentation for the renovation and expansion of the zoo at the Muséum national d'histoire naturelle in Paris. Both drawings of the facilities for the animals and visitors and general plans of the zoological gardens are included. The Paris zoo project was apparently never undertaken. (1) These prints were reused in the "Oeuvre de C. Rohault de Fleury, architecte" (published 1884) (DR1974:0002:029:001-044). (2) Rohault de Fleury's greenhouses were destroyed in the Prussian bombardments of 1870. The greenhouses, which now stand in their place, are similar in layout and appearance to the original design, but their structural system is different. (3) John Hix, 'The Glass House' (Cambridge, Mass.: The MIT Press, 1981), p. 115. (4) Ibid., p. 115. (5) This error has been repeated by other authors including Henry-Russell Hitchcock, 'Architecture: Nineteenth and Twentieth Centuries' (Baltimore, Maryland: Penguin Books, 1968), p. 120. (6) Leonardo Benevolo, 'History of Modern Architecture' Volume 1: The tradition of modern architecture (Cambridge, Mass.: The M.I.T. Press, 1971), p. 22. (7) Sigfried Giedion, 'Space, Time and Architecture; the growth of a new tradition' (Cambridge: Harvard University Press, 1941), p. 181. (8) Barry Bergdoll, "Charles Rohault de Fleury: Part two: Muséum d'Histoire Naturelle and Studies on analogous Constructions in Europe", 'CCA Research Report", n.d., p. 1.
Muséum nationale d'histoire naturelle
CI001.S2.D5
Description:
Charles Rohault de Fleury was architect for the Muséum national d'histoire naturelle from 1833 to 1862. His work for the Muséum is represented in the CCA collection by a diverse group of prints and drawings. In addition to documenting his built and unbuilt projects, the inclusion of prints and drawings of museum and zoo buildings by other architects record, if only partially, the resources available to Charles in designing his buildings. This reference material provides insight into the influences on Charles' work as well as the nature of the design process itself. His built works, with the exception of the 1854 addition to the greenhouses, are illustrated in a book of prints with a brief accompanying text - "Muséum d'histoire naturelle: serres chaudes, galeries de minéralogie, etc. etc." (published 1837) (DR1974:0002:004:001; a second copy is held by the CCA library) (1). While prints are included for the Galerie de minéralogie et de géologie, the monkey house and the reservoirs, the majority of the prints are of the greenhouses (serres chaudes) begun 1833 (2). Known for their technological innovations in iron construction, these greenhouses utilized the first multi-storey load-bearing cast-iron façades for the central pavilions as well as space frame roof structures and prefabricated parts. This structural system is well documented in the prints in the CCA collection. The design was apparently inspired by the English greenhouses - a plate of which are included in the book - that Charles saw on a tour of England. The use of prestressed beams and curved roofs in the lateral wings attest to this influence. Charles' greenhouses, in turn, influenced the design of other greenhouses in Europe especially those at the Jardins Botanique in Liège and Ghent, Belgium (3). Although Joseph Paxton saw the greenhouses in 1833, it is unclear if they had an impact on the design of the Crystal Palace constructed 1850-1851 (4). The innovations of Charles' greenhouses continued to be acknowledged into the 20th century. Giedion in "Space, Time and Architecture", while erroneously attributing them to Rouhault (5)(6), refers to the greenhouses as "the prototype of all large iron-framed conservatories" (7). In addition to the greenhouses for the Muséum, the CCA collection includes three proposals (dated 1841) for a private greenhouse designed by Charles Rohault de Fleury (DR1974:0002:002:008 - DR1974:0002:002:013). The designs utilize the same curved roofs as the wings of the greenhouses at the Muséum combined with classically detailed stonework. An different aspect of Charles' work for the Muséum national d'histoire naturelle is represented in the album of unexecuted proposals -the only design drawings for the Muséum in the collection - for a Galerie de zoologie (DR1974:0002:024:001-079). Building on the typology of his earlier classical Galerie de minéralogie et de géologie (constructed 1833 -1841), the proposals, which date from between 1838 and 1862, illustrate a gradual enrichment of Charles' classical architectural vocabulary (8). They vary in their spatial configurations and façade treatments ranging from austere colonnaded designs with little ornament to more elaborate ones with richly encrusted facades, complex rooflines and more dramatic interior spaces characteristic of the Second Empire. The majority of the proposals consist of preliminary drawings illustrating the essential formal, spatial and ornamental aspects of the building. One proposal, dated January 1846, is substantially more developed than the others; in addition to general plans, sections and elevations, more detailed drawings are included for the layout of spaces, the elaboration of the facades, the configuration of the structure and even the designs for the specimen display cases. It is also worth noting that this album includes several plans outlining Rohault de Fleury's ideas for the overall development of the Muséum national d'histoire naturelle. In 1846, an album of prints of the Museo di fiscia e storia naturelle in Florence (DR1974:0002:005:001-018) was presented to Charles by the Grand Duke of Tuscany in response to his request for tracings of that building. These prints were probably used as reference material for the design of the new Galerie de zoologie described above. The portfolio of record drawings (ca. 1862) of the zoos in Antwerp, Brussels, Marseille and Amsterdam (DR1974:0002:018:001-027) is probably a dummy for a publication on zoological gardens as well as background documentation for the renovation and expansion of the zoo at the Muséum national d'histoire naturelle in Paris. Both drawings of the facilities for the animals and visitors and general plans of the zoological gardens are included. The Paris zoo project was apparently never undertaken. (1) These prints were reused in the "Oeuvre de C. Rohault de Fleury, architecte" (published 1884) (DR1974:0002:029:001-044). (2) Rohault de Fleury's greenhouses were destroyed in the Prussian bombardments of 1870. The greenhouses, which now stand in their place, are similar in layout and appearance to the original design, but their structural system is different. (3) John Hix, 'The Glass House' (Cambridge, Mass.: The MIT Press, 1981), p. 115. (4) Ibid., p. 115. (5) This error has been repeated by other authors including Henry-Russell Hitchcock, 'Architecture: Nineteenth and Twentieth Centuries' (Baltimore, Maryland: Penguin Books, 1968), p. 120. (6) Leonardo Benevolo, 'History of Modern Architecture' Volume 1: The tradition of modern architecture (Cambridge, Mass.: The M.I.T. Press, 1971), p. 22. (7) Sigfried Giedion, 'Space, Time and Architecture; the growth of a new tradition' (Cambridge: Harvard University Press, 1941), p. 181. (8) Barry Bergdoll, "Charles Rohault de Fleury: Part two: Muséum d'Histoire Naturelle and Studies on analogous Constructions in Europe", 'CCA Research Report", n.d., p. 1.
Niveau de description archivistique:
File 5
File 5
Date:
[1837-ca. 1862]
[1837-ca. 1862]
Personnes et institutions:
Niveau de description archivistique:
Projet
Projet
Numéro de référence:
AP075.S1.1992.PR01
Description:
Project series documents Cornelia Hahn Oberlander’s project for the landscape design for Library Square, the new central branch of the Vancouver’s public library on West Georgia Street. Oberlander worked on this project in 1992-1995 with architect Moshe Safdie and architectural firm Downs/Archambault & Patners. Oberlander landscape design included a roof garden, planned to be accessible by the public, and terraces with integral planting of cascading roses of the southeast edge of the building. She was also consulted for the landscape for the street-level spaces: “Along the streets bordering the site, Oberlander selected tulip trees, except on W. Georgia Street where the city required maples.” [1] The project was completed in 1995. The project series contains sketches, design development drawings, including planting plans, landscape plans for the green roof and the plaza, working drawings, such as site plans, planting plans, irrigation plans, landscape sections and elevations, and drawings of the building used as reference. The project is also recorded through textual records, such as concept notes by Oberlander, research material, specifications, including landscape specifications, correspondence, including correspondence with architects, client and contractors, contract, financial documents, documents for plan selection, and press and articles on the project. The project series also includes photographs of the construction and landscaping work, and photographs of the completed project. Source: [1] Herrington, Susan. Cornelia Hahn Oberlander: Making the Modern Landscape, University of Virginia Press, 2014, 304 pages. p. 176.
AP075.S1.1992.PR01
Description:
Project series documents Cornelia Hahn Oberlander’s project for the landscape design for Library Square, the new central branch of the Vancouver’s public library on West Georgia Street. Oberlander worked on this project in 1992-1995 with architect Moshe Safdie and architectural firm Downs/Archambault & Patners. Oberlander landscape design included a roof garden, planned to be accessible by the public, and terraces with integral planting of cascading roses of the southeast edge of the building. She was also consulted for the landscape for the street-level spaces: “Along the streets bordering the site, Oberlander selected tulip trees, except on W. Georgia Street where the city required maples.” [1] The project was completed in 1995. The project series contains sketches, design development drawings, including planting plans, landscape plans for the green roof and the plaza, working drawings, such as site plans, planting plans, irrigation plans, landscape sections and elevations, and drawings of the building used as reference. The project is also recorded through textual records, such as concept notes by Oberlander, research material, specifications, including landscape specifications, correspondence, including correspondence with architects, client and contractors, contract, financial documents, documents for plan selection, and press and articles on the project. The project series also includes photographs of the construction and landscaping work, and photographs of the completed project. Source: [1] Herrington, Susan. Cornelia Hahn Oberlander: Making the Modern Landscape, University of Virginia Press, 2014, 304 pages. p. 176.
Personnes et institutions:
Date:
1989-2009
1989-2009
Titre:
Library Square, Vancouver, British Columbia (1992-1995)
Actions:
AP075.S1.1992.PR01
Description:
Project series documents Cornelia Hahn Oberlander’s project for the landscape design for Library Square, the new central branch of the Vancouver’s public library on West Georgia Street. Oberlander worked on this project in 1992-1995 with architect Moshe Safdie and architectural firm Downs/Archambault & Patners. Oberlander landscape design included a roof garden, planned to be accessible by the public, and terraces with integral planting of cascading roses of the southeast edge of the building. She was also consulted for the landscape for the street-level spaces: “Along the streets bordering the site, Oberlander selected tulip trees, except on W. Georgia Street where the city required maples.” [1] The project was completed in 1995. The project series contains sketches, design development drawings, including planting plans, landscape plans for the green roof and the plaza, working drawings, such as site plans, planting plans, irrigation plans, landscape sections and elevations, and drawings of the building used as reference. The project is also recorded through textual records, such as concept notes by Oberlander, research material, specifications, including landscape specifications, correspondence, including correspondence with architects, client and contractors, contract, financial documents, documents for plan selection, and press and articles on the project. The project series also includes photographs of the construction and landscaping work, and photographs of the completed project. Source: [1] Herrington, Susan. Cornelia Hahn Oberlander: Making the Modern Landscape, University of Virginia Press, 2014, 304 pages. p. 176.
Library Square, Vancouver, British Columbia (1992-1995)
Actions:
AP075.S1.1992.PR01
Description:
Project series documents Cornelia Hahn Oberlander’s project for the landscape design for Library Square, the new central branch of the Vancouver’s public library on West Georgia Street. Oberlander worked on this project in 1992-1995 with architect Moshe Safdie and architectural firm Downs/Archambault & Patners. Oberlander landscape design included a roof garden, planned to be accessible by the public, and terraces with integral planting of cascading roses of the southeast edge of the building. She was also consulted for the landscape for the street-level spaces: “Along the streets bordering the site, Oberlander selected tulip trees, except on W. Georgia Street where the city required maples.” [1] The project was completed in 1995. The project series contains sketches, design development drawings, including planting plans, landscape plans for the green roof and the plaza, working drawings, such as site plans, planting plans, irrigation plans, landscape sections and elevations, and drawings of the building used as reference. The project is also recorded through textual records, such as concept notes by Oberlander, research material, specifications, including landscape specifications, correspondence, including correspondence with architects, client and contractors, contract, financial documents, documents for plan selection, and press and articles on the project. The project series also includes photographs of the construction and landscaping work, and photographs of the completed project. Source: [1] Herrington, Susan. Cornelia Hahn Oberlander: Making the Modern Landscape, University of Virginia Press, 2014, 304 pages. p. 176.
Niveau de description archivistique:
Project
Project
Date:
1989-2009
1989-2009
Personnes et institutions:
Classification:
archives
Niveau de description archivistique:
Collection
archives
Niveau de description archivistique:
Collection
Titre:
Futurecasting collection
Futurecasting collection
Numéro de référence:
CD048
Résumé:
This collection documents the activities of the “Futurecasting: Indigenous-led Architecture and Design in the Arctic” group formed by Jenni Hakovirta, Naomi Ratte, Nicole Luke, Magnus Antaris Tuolja, Andrea McIntosh, Robyn Adams, Berit Kristine Andersen Guvsám, Laila Susanna Kuhmunen, Johanna Minde, and Reanna Merasty. It contains materials related to the planning of seminars and workshops, and the creative process and projects created by its participants in 2022-2023 that were later presented in the Canadian Centre for Architecture’s exhibition and related publication “ᐊᖏᕐᕋᒧᑦ / Ruovttu Guvlui / Towards home” (2022-2023).
CD048
Résumé:
This collection documents the activities of the “Futurecasting: Indigenous-led Architecture and Design in the Arctic” group formed by Jenni Hakovirta, Naomi Ratte, Nicole Luke, Magnus Antaris Tuolja, Andrea McIntosh, Robyn Adams, Berit Kristine Andersen Guvsám, Laila Susanna Kuhmunen, Johanna Minde, and Reanna Merasty. It contains materials related to the planning of seminars and workshops, and the creative process and projects created by its participants in 2022-2023 that were later presented in the Canadian Centre for Architecture’s exhibition and related publication “ᐊᖏᕐᕋᒧᑦ / Ruovttu Guvlui / Towards home” (2022-2023).
Personnes et institutions:
Date:
2008-2023
2008-2023
Titre:
Futurecasting collection
Actions:
CD048
Résumé:
This collection documents the activities of the “Futurecasting: Indigenous-led Architecture and Design in the Arctic” group formed by Jenni Hakovirta, Naomi Ratte, Nicole Luke, Magnus Antaris Tuolja, Andrea McIntosh, Robyn Adams, Berit Kristine Andersen Guvsám, Laila Susanna Kuhmunen, Johanna Minde, and Reanna Merasty. It contains materials related to the planning of seminars and workshops, and the creative process and projects created by its participants in 2022-2023 that were later presented in the Canadian Centre for Architecture’s exhibition and related publication “ᐊᖏᕐᕋᒧᑦ / Ruovttu Guvlui / Towards home” (2022-2023).
Futurecasting collection
Actions:
CD048
Résumé:
This collection documents the activities of the “Futurecasting: Indigenous-led Architecture and Design in the Arctic” group formed by Jenni Hakovirta, Naomi Ratte, Nicole Luke, Magnus Antaris Tuolja, Andrea McIntosh, Robyn Adams, Berit Kristine Andersen Guvsám, Laila Susanna Kuhmunen, Johanna Minde, and Reanna Merasty. It contains materials related to the planning of seminars and workshops, and the creative process and projects created by its participants in 2022-2023 that were later presented in the Canadian Centre for Architecture’s exhibition and related publication “ᐊᖏᕐᕋᒧᑦ / Ruovttu Guvlui / Towards home” (2022-2023).
Classification:
archives
Niveau de description archivistique:
Collection
archives
Niveau de description archivistique:
Collection
Date:
2008-2023
2008-2023
Personnes et institutions:
Classification:
archives
Niveau de description archivistique:
Fonds
archives
Niveau de description archivistique:
Fonds
Numéro de référence:
AP075
Résumé:
The Cornelia Hahn Oberlander fonds documents Oberlander's professional activities as a landscape architect. It contains over 203 projects that span from 1950 to 2018 predominantly in Canada and in the United States, but also in Germany. The fonds is a complete record of Oberlander's work, and comprises her playground projects, roof gardens, and public space landscapes, as well as landscape designs for private residences, as well as administrative records from her practice, her professional engagements, and her research materials. The material in this fonds is dated from 1936 to 2021.
AP075
Résumé:
The Cornelia Hahn Oberlander fonds documents Oberlander's professional activities as a landscape architect. It contains over 203 projects that span from 1950 to 2018 predominantly in Canada and in the United States, but also in Germany. The fonds is a complete record of Oberlander's work, and comprises her playground projects, roof gardens, and public space landscapes, as well as landscape designs for private residences, as well as administrative records from her practice, her professional engagements, and her research materials. The material in this fonds is dated from 1936 to 2021.
Personnes et institutions:
Date:
1936-2021
1936-2021
Titre:
Fonds Cornelia Hahn Oberlander
Actions:
AP075
Résumé:
The Cornelia Hahn Oberlander fonds documents Oberlander's professional activities as a landscape architect. It contains over 203 projects that span from 1950 to 2018 predominantly in Canada and in the United States, but also in Germany. The fonds is a complete record of Oberlander's work, and comprises her playground projects, roof gardens, and public space landscapes, as well as landscape designs for private residences, as well as administrative records from her practice, her professional engagements, and her research materials. The material in this fonds is dated from 1936 to 2021.
Fonds Cornelia Hahn Oberlander
Actions:
AP075
Résumé:
The Cornelia Hahn Oberlander fonds documents Oberlander's professional activities as a landscape architect. It contains over 203 projects that span from 1950 to 2018 predominantly in Canada and in the United States, but also in Germany. The fonds is a complete record of Oberlander's work, and comprises her playground projects, roof gardens, and public space landscapes, as well as landscape designs for private residences, as well as administrative records from her practice, her professional engagements, and her research materials. The material in this fonds is dated from 1936 to 2021.
Classification:
archives
Niveau de description archivistique:
Fonds
archives
Niveau de description archivistique:
Fonds
Date:
1936-2021
1936-2021
Personnes et institutions:
Classification:
expositions
expositions
Actions:
Description:
La maquette d’architecture gagna une visibilité nouvelle lorsqu’elle devint un outil populaire de l’enseignement et de la pratique du design au début du XXe siècle. Ce renouveau est habituellement associé à un tournant vers l’objectivité et la recherche de moyens d’expression destinés à traduire les idées en trois dimensions, posant la question de la transformation du(...)
La maquette d’architecture gagna une visibilité nouvelle lorsqu’elle devint un outil populaire de l’enseignement et de la pratique du design au début du XXe siècle. Ce renouveau est habituellement associé à un tournant vers l’objectivité et la recherche de moyens d’expression destinés à traduire les idées en trois dimensions, posant la question de la transformation du(...)
Localisation:
Salle octogonale
Salle octogonale
Date:
22 septembre 2011 au 8 janvier 2012
22 septembre 2011 au 8 janvier 2012
Titre:
Modernisme en miniature : Points de vue
Actions:
Description:
La maquette d’architecture gagna une visibilité nouvelle lorsqu’elle devint un outil populaire de l’enseignement et de la pratique du design au début du XXe siècle. Ce renouveau est habituellement associé à un tournant vers l’objectivité et la recherche de moyens d’expression destinés à traduire les idées en trois dimensions, posant la question de la transformation du(...)
Modernisme en miniature : Points de vue
Actions:
Description:
La maquette d’architecture gagna une visibilité nouvelle lorsqu’elle devint un outil populaire de l’enseignement et de la pratique du design au début du XXe siècle. Ce renouveau est habituellement associé à un tournant vers l’objectivité et la recherche de moyens d’expression destinés à traduire les idées en trois dimensions, posant la question de la transformation du(...)
Classification:
expositions
expositions
Date:
22 septembre 2011 au
8 janvier 2012
22 septembre 2011 au
8 janvier 2012
Localisation:
Salle octogonale
Salle octogonale
Niveau de description archivistique:
Projet
Projet
Numéro de référence:
AP075.S1.1997.PR02
Description:
Project series documents Cornelia Hahn Oberlander's landscape project for the Waterfall Building on West 2nd Avenue, near the entrance of Granville Island, in Vancouver, British Columbia. Oberlander worked on this project in 1998-2001 with architect Arthur Erickson and architectural firm Nick Milkovich Architects, who designed the building. The building consists in five separated structures to accomodate studios spaces as well as split-level residences. It also included a courtyard and roof gardens on all five building structures for which Oberlander was responsible of the design. The courtyard, formed by in the roof of the underground parking space, consists "a simple tapestry of pavers, ground cover, trees and a small reflecting basin [...]." [1] The roofs garden included planting of white roses at the edge of the building and ornemental grass. The rooftops serve as communal patio for the residents and was accesible to the public. The project was completed in 2001. The Waterfall Building was the last project Oberlander realized in collaboration with Arthur Erickson. The project series includes sketches, design development drawings, including planting plans for the courtyard and the rooftops, working drawings, such as landscape plans for the courtyard and planting plans. The drawings in this series also includes drawings of the building used as reference. The project is also documented through research material for the project, specifications, plant lists, correspondence, including correspondence with architects and client, meeting notes, reports, financial document, a promotional poster on the project, and photographs of the landscaping work and plant selection. Source: [1] Herrington, Susan. Cornelia Hahn Oberlander: Making the Modern Landscape, University of Virginia Press, 2014, 304 pages. p. 142.
AP075.S1.1997.PR02
Description:
Project series documents Cornelia Hahn Oberlander's landscape project for the Waterfall Building on West 2nd Avenue, near the entrance of Granville Island, in Vancouver, British Columbia. Oberlander worked on this project in 1998-2001 with architect Arthur Erickson and architectural firm Nick Milkovich Architects, who designed the building. The building consists in five separated structures to accomodate studios spaces as well as split-level residences. It also included a courtyard and roof gardens on all five building structures for which Oberlander was responsible of the design. The courtyard, formed by in the roof of the underground parking space, consists "a simple tapestry of pavers, ground cover, trees and a small reflecting basin [...]." [1] The roofs garden included planting of white roses at the edge of the building and ornemental grass. The rooftops serve as communal patio for the residents and was accesible to the public. The project was completed in 2001. The Waterfall Building was the last project Oberlander realized in collaboration with Arthur Erickson. The project series includes sketches, design development drawings, including planting plans for the courtyard and the rooftops, working drawings, such as landscape plans for the courtyard and planting plans. The drawings in this series also includes drawings of the building used as reference. The project is also documented through research material for the project, specifications, plant lists, correspondence, including correspondence with architects and client, meeting notes, reports, financial document, a promotional poster on the project, and photographs of the landscaping work and plant selection. Source: [1] Herrington, Susan. Cornelia Hahn Oberlander: Making the Modern Landscape, University of Virginia Press, 2014, 304 pages. p. 142.
Personnes et institutions:
Date:
1997-2001
1997-2001
Titre:
The Waterfall Building, Vancouver, British Columbia (1997)
Actions:
AP075.S1.1997.PR02
Description:
Project series documents Cornelia Hahn Oberlander's landscape project for the Waterfall Building on West 2nd Avenue, near the entrance of Granville Island, in Vancouver, British Columbia. Oberlander worked on this project in 1998-2001 with architect Arthur Erickson and architectural firm Nick Milkovich Architects, who designed the building. The building consists in five separated structures to accomodate studios spaces as well as split-level residences. It also included a courtyard and roof gardens on all five building structures for which Oberlander was responsible of the design. The courtyard, formed by in the roof of the underground parking space, consists "a simple tapestry of pavers, ground cover, trees and a small reflecting basin [...]." [1] The roofs garden included planting of white roses at the edge of the building and ornemental grass. The rooftops serve as communal patio for the residents and was accesible to the public. The project was completed in 2001. The Waterfall Building was the last project Oberlander realized in collaboration with Arthur Erickson. The project series includes sketches, design development drawings, including planting plans for the courtyard and the rooftops, working drawings, such as landscape plans for the courtyard and planting plans. The drawings in this series also includes drawings of the building used as reference. The project is also documented through research material for the project, specifications, plant lists, correspondence, including correspondence with architects and client, meeting notes, reports, financial document, a promotional poster on the project, and photographs of the landscaping work and plant selection. Source: [1] Herrington, Susan. Cornelia Hahn Oberlander: Making the Modern Landscape, University of Virginia Press, 2014, 304 pages. p. 142.
The Waterfall Building, Vancouver, British Columbia (1997)
Actions:
AP075.S1.1997.PR02
Description:
Project series documents Cornelia Hahn Oberlander's landscape project for the Waterfall Building on West 2nd Avenue, near the entrance of Granville Island, in Vancouver, British Columbia. Oberlander worked on this project in 1998-2001 with architect Arthur Erickson and architectural firm Nick Milkovich Architects, who designed the building. The building consists in five separated structures to accomodate studios spaces as well as split-level residences. It also included a courtyard and roof gardens on all five building structures for which Oberlander was responsible of the design. The courtyard, formed by in the roof of the underground parking space, consists "a simple tapestry of pavers, ground cover, trees and a small reflecting basin [...]." [1] The roofs garden included planting of white roses at the edge of the building and ornemental grass. The rooftops serve as communal patio for the residents and was accesible to the public. The project was completed in 2001. The Waterfall Building was the last project Oberlander realized in collaboration with Arthur Erickson. The project series includes sketches, design development drawings, including planting plans for the courtyard and the rooftops, working drawings, such as landscape plans for the courtyard and planting plans. The drawings in this series also includes drawings of the building used as reference. The project is also documented through research material for the project, specifications, plant lists, correspondence, including correspondence with architects and client, meeting notes, reports, financial document, a promotional poster on the project, and photographs of the landscaping work and plant selection. Source: [1] Herrington, Susan. Cornelia Hahn Oberlander: Making the Modern Landscape, University of Virginia Press, 2014, 304 pages. p. 142.
Niveau de description archivistique:
Project
Project
Date:
1997-2001
1997-2001
Personnes et institutions:
Niveau de description archivistique:
Projet
Projet
Numéro de référence:
AP018.S1.1982.PR19
Description:
This project series documents the design and construction of the Hôtel de la Délégation in Algiers, Algeria from 1982-1985. The office identified the project number as 8220. This hotel was designed with inspiration from traditional Maghrebian and Middle Eastern architecture but made in the modern style. The site for the project consisted of the hotel, a neighbouring villa, a separate office complex, a roundabout at the entrance, two pools, tennis courts, gardens and, an arcade. The project proposed several variations on the design for the hotel, including an eight-level option and a ten-level option, the latter adding two levels of parking to the bottom of the building. The hotel was built into a hill so floors that were subterranean on one side of the building were above ground on the other. This latter side had terraced pergolas at every level with views over the pool. The hotel had a multi-level atrium that contained elaborate indoor gardens and trees. While the ground floor was made up of conference rooms, banquet halls and the reception area, the other levels mostly contained hotel rooms. This project was commissioned by Lavalin International Inc. for the Algerian government, who are referred to in the records as the Présidence de la République, République Algérienne, Démocratique et Populaire. The project is also referred to as Hôtel Alger in the project documentation. The project is recorded through drawings, photographic materials and textual records dating from 1982-1985. Almost all of the records are in French, with the exception of a few interoffice communications. While there are construction drawings in the project materials, there are also a large number of design drawings showing different schemes and ideas for the hotel. The photographic materials include construction progress photos of the hotel. The textual records consist of correspondence, meeting reports, pre-design records and the project scope, financial documentation, schedules, interoffice letters, construction and detail planning records, specifications and progress reports. Box AP018.S1.1982.PR19.041 in this project series includes an index to the textual materials, which was created by the office.
AP018.S1.1982.PR19
Description:
This project series documents the design and construction of the Hôtel de la Délégation in Algiers, Algeria from 1982-1985. The office identified the project number as 8220. This hotel was designed with inspiration from traditional Maghrebian and Middle Eastern architecture but made in the modern style. The site for the project consisted of the hotel, a neighbouring villa, a separate office complex, a roundabout at the entrance, two pools, tennis courts, gardens and, an arcade. The project proposed several variations on the design for the hotel, including an eight-level option and a ten-level option, the latter adding two levels of parking to the bottom of the building. The hotel was built into a hill so floors that were subterranean on one side of the building were above ground on the other. This latter side had terraced pergolas at every level with views over the pool. The hotel had a multi-level atrium that contained elaborate indoor gardens and trees. While the ground floor was made up of conference rooms, banquet halls and the reception area, the other levels mostly contained hotel rooms. This project was commissioned by Lavalin International Inc. for the Algerian government, who are referred to in the records as the Présidence de la République, République Algérienne, Démocratique et Populaire. The project is also referred to as Hôtel Alger in the project documentation. The project is recorded through drawings, photographic materials and textual records dating from 1982-1985. Almost all of the records are in French, with the exception of a few interoffice communications. While there are construction drawings in the project materials, there are also a large number of design drawings showing different schemes and ideas for the hotel. The photographic materials include construction progress photos of the hotel. The textual records consist of correspondence, meeting reports, pre-design records and the project scope, financial documentation, schedules, interoffice letters, construction and detail planning records, specifications and progress reports. Box AP018.S1.1982.PR19.041 in this project series includes an index to the textual materials, which was created by the office.
Personnes et institutions:
Date:
1982-1985
1982-1985
Titre:
Hôtel de la Délégation, Algiers, Algeria (1982-1985)
Actions:
AP018.S1.1982.PR19
Description:
This project series documents the design and construction of the Hôtel de la Délégation in Algiers, Algeria from 1982-1985. The office identified the project number as 8220. This hotel was designed with inspiration from traditional Maghrebian and Middle Eastern architecture but made in the modern style. The site for the project consisted of the hotel, a neighbouring villa, a separate office complex, a roundabout at the entrance, two pools, tennis courts, gardens and, an arcade. The project proposed several variations on the design for the hotel, including an eight-level option and a ten-level option, the latter adding two levels of parking to the bottom of the building. The hotel was built into a hill so floors that were subterranean on one side of the building were above ground on the other. This latter side had terraced pergolas at every level with views over the pool. The hotel had a multi-level atrium that contained elaborate indoor gardens and trees. While the ground floor was made up of conference rooms, banquet halls and the reception area, the other levels mostly contained hotel rooms. This project was commissioned by Lavalin International Inc. for the Algerian government, who are referred to in the records as the Présidence de la République, République Algérienne, Démocratique et Populaire. The project is also referred to as Hôtel Alger in the project documentation. The project is recorded through drawings, photographic materials and textual records dating from 1982-1985. Almost all of the records are in French, with the exception of a few interoffice communications. While there are construction drawings in the project materials, there are also a large number of design drawings showing different schemes and ideas for the hotel. The photographic materials include construction progress photos of the hotel. The textual records consist of correspondence, meeting reports, pre-design records and the project scope, financial documentation, schedules, interoffice letters, construction and detail planning records, specifications and progress reports. Box AP018.S1.1982.PR19.041 in this project series includes an index to the textual materials, which was created by the office.
Hôtel de la Délégation, Algiers, Algeria (1982-1985)
Actions:
AP018.S1.1982.PR19
Description:
This project series documents the design and construction of the Hôtel de la Délégation in Algiers, Algeria from 1982-1985. The office identified the project number as 8220. This hotel was designed with inspiration from traditional Maghrebian and Middle Eastern architecture but made in the modern style. The site for the project consisted of the hotel, a neighbouring villa, a separate office complex, a roundabout at the entrance, two pools, tennis courts, gardens and, an arcade. The project proposed several variations on the design for the hotel, including an eight-level option and a ten-level option, the latter adding two levels of parking to the bottom of the building. The hotel was built into a hill so floors that were subterranean on one side of the building were above ground on the other. This latter side had terraced pergolas at every level with views over the pool. The hotel had a multi-level atrium that contained elaborate indoor gardens and trees. While the ground floor was made up of conference rooms, banquet halls and the reception area, the other levels mostly contained hotel rooms. This project was commissioned by Lavalin International Inc. for the Algerian government, who are referred to in the records as the Présidence de la République, République Algérienne, Démocratique et Populaire. The project is also referred to as Hôtel Alger in the project documentation. The project is recorded through drawings, photographic materials and textual records dating from 1982-1985. Almost all of the records are in French, with the exception of a few interoffice communications. While there are construction drawings in the project materials, there are also a large number of design drawings showing different schemes and ideas for the hotel. The photographic materials include construction progress photos of the hotel. The textual records consist of correspondence, meeting reports, pre-design records and the project scope, financial documentation, schedules, interoffice letters, construction and detail planning records, specifications and progress reports. Box AP018.S1.1982.PR19.041 in this project series includes an index to the textual materials, which was created by the office.
Niveau de description archivistique:
Project
Project
Date:
1982-1985
1982-1985
Personnes et institutions:
