7910 Résultats
Classification:
photographies
photographies
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Numéro de référence:
PH2018:0005:011
Description:
Photograph by Stefano Graziani of the following work: Gordon Matta-Clark, drawing n.6 from seven proposals for Documenta, 1977, 21.0 x 30.2cm, PHCON2002:0016:046:006, Gordon Matta-Clark Collection, Canadian Centre for Architecture, Gift of Estate of Gordon Matta-Clark, © Estate of Gordon Matta-Clark Questioning Pictures is a 36 photograph project commissioned by Fondazione Prada, Milan. Artist Stefano Graziani investigates archival and conservation systems in a number of museums. Through photographing museum objects, Graziani, focusing on the relationship between photographs, the museum objects and the power structures at play within institutions. The museums include the Canadian Centre for Architecture (CCA) in Montréal, Canada; Sir John Soane’s Museum in London, UK; the Kunstmuseum Basel, Switzerland; Museum Insel Hombroich in Neuss, Germany; the Museo di Castelvecchio in Verona, Italy; and the Plaster Cast Gallery at Museo Canova in Possagno, Italy.
PH2018:0005:011
Description:
Photograph by Stefano Graziani of the following work: Gordon Matta-Clark, drawing n.6 from seven proposals for Documenta, 1977, 21.0 x 30.2cm, PHCON2002:0016:046:006, Gordon Matta-Clark Collection, Canadian Centre for Architecture, Gift of Estate of Gordon Matta-Clark, © Estate of Gordon Matta-Clark Questioning Pictures is a 36 photograph project commissioned by Fondazione Prada, Milan. Artist Stefano Graziani investigates archival and conservation systems in a number of museums. Through photographing museum objects, Graziani, focusing on the relationship between photographs, the museum objects and the power structures at play within institutions. The museums include the Canadian Centre for Architecture (CCA) in Montréal, Canada; Sir John Soane’s Museum in London, UK; the Kunstmuseum Basel, Switzerland; Museum Insel Hombroich in Neuss, Germany; the Museo di Castelvecchio in Verona, Italy; and the Plaster Cast Gallery at Museo Canova in Possagno, Italy.
Personnes et institutions:
Date:
2017
2017
Titre:
Questioning Pictures: Photograph of drawing no.6 from seven proposals for Documenta by Gordon Matta-Clark, 1977
Actions:
PH2018:0005:011
Description:
Photograph by Stefano Graziani of the following work: Gordon Matta-Clark, drawing n.6 from seven proposals for Documenta, 1977, 21.0 x 30.2cm, PHCON2002:0016:046:006, Gordon Matta-Clark Collection, Canadian Centre for Architecture, Gift of Estate of Gordon Matta-Clark, © Estate of Gordon Matta-Clark Questioning Pictures is a 36 photograph project commissioned by Fondazione Prada, Milan. Artist Stefano Graziani investigates archival and conservation systems in a number of museums. Through photographing museum objects, Graziani, focusing on the relationship between photographs, the museum objects and the power structures at play within institutions. The museums include the Canadian Centre for Architecture (CCA) in Montréal, Canada; Sir John Soane’s Museum in London, UK; the Kunstmuseum Basel, Switzerland; Museum Insel Hombroich in Neuss, Germany; the Museo di Castelvecchio in Verona, Italy; and the Plaster Cast Gallery at Museo Canova in Possagno, Italy.
Questioning Pictures: Photograph of drawing no.6 from seven proposals for Documenta by Gordon Matta-Clark, 1977
Actions:
PH2018:0005:011
Description:
Photograph by Stefano Graziani of the following work: Gordon Matta-Clark, drawing n.6 from seven proposals for Documenta, 1977, 21.0 x 30.2cm, PHCON2002:0016:046:006, Gordon Matta-Clark Collection, Canadian Centre for Architecture, Gift of Estate of Gordon Matta-Clark, © Estate of Gordon Matta-Clark Questioning Pictures is a 36 photograph project commissioned by Fondazione Prada, Milan. Artist Stefano Graziani investigates archival and conservation systems in a number of museums. Through photographing museum objects, Graziani, focusing on the relationship between photographs, the museum objects and the power structures at play within institutions. The museums include the Canadian Centre for Architecture (CCA) in Montréal, Canada; Sir John Soane’s Museum in London, UK; the Kunstmuseum Basel, Switzerland; Museum Insel Hombroich in Neuss, Germany; the Museo di Castelvecchio in Verona, Italy; and the Plaster Cast Gallery at Museo Canova in Possagno, Italy.
Classification:
photographies
photographies
Date:
2017
2017
Personnes et institutions:
Classification:
photographies
photographies
Actions:
Numéro de référence:
PH2018:0005:012
Description:
Photograph by Stefano Graziani of the following work: James Stirling, Michael Wilford and Associates, study model for the east elevation, Clore Gallery, London, 1978-1986, 12.0 x 30.3 x 8.2 cm, AP140.S2.SS1.D60.SD1.P127, James Stirling / Michael Wilford Fonds, Canadian Centre for Architecture, Montréal Questioning Pictures is a 36 photograph project commissioned by Fondazione Prada, Milan. Artist Stefano Graziani investigates archival and conservation systems in a number of museums. Through photographing museum objects, Graziani, focusing on the relationship between photographs, the museum objects and the power structures at play within institutions. The museums include the Canadian Centre for Architecture (CCA) in Montréal, Canada; Sir John Soane’s Museum in London, UK; the Kunstmuseum Basel, Switzerland; Museum Insel Hombroich in Neuss, Germany; the Museo di Castelvecchio in Verona, Italy; and the Plaster Cast Gallery at Museo Canova in Possagno, Italy.
PH2018:0005:012
Description:
Photograph by Stefano Graziani of the following work: James Stirling, Michael Wilford and Associates, study model for the east elevation, Clore Gallery, London, 1978-1986, 12.0 x 30.3 x 8.2 cm, AP140.S2.SS1.D60.SD1.P127, James Stirling / Michael Wilford Fonds, Canadian Centre for Architecture, Montréal Questioning Pictures is a 36 photograph project commissioned by Fondazione Prada, Milan. Artist Stefano Graziani investigates archival and conservation systems in a number of museums. Through photographing museum objects, Graziani, focusing on the relationship between photographs, the museum objects and the power structures at play within institutions. The museums include the Canadian Centre for Architecture (CCA) in Montréal, Canada; Sir John Soane’s Museum in London, UK; the Kunstmuseum Basel, Switzerland; Museum Insel Hombroich in Neuss, Germany; the Museo di Castelvecchio in Verona, Italy; and the Plaster Cast Gallery at Museo Canova in Possagno, Italy.
Personnes et institutions:
Date:
2017
2017
Titre:
Questioning Pictures: Photograph of study model for the east elevation by James Stirling, Michael Wilford and Associates, 1978-1986
Actions:
PH2018:0005:012
Description:
Photograph by Stefano Graziani of the following work: James Stirling, Michael Wilford and Associates, study model for the east elevation, Clore Gallery, London, 1978-1986, 12.0 x 30.3 x 8.2 cm, AP140.S2.SS1.D60.SD1.P127, James Stirling / Michael Wilford Fonds, Canadian Centre for Architecture, Montréal Questioning Pictures is a 36 photograph project commissioned by Fondazione Prada, Milan. Artist Stefano Graziani investigates archival and conservation systems in a number of museums. Through photographing museum objects, Graziani, focusing on the relationship between photographs, the museum objects and the power structures at play within institutions. The museums include the Canadian Centre for Architecture (CCA) in Montréal, Canada; Sir John Soane’s Museum in London, UK; the Kunstmuseum Basel, Switzerland; Museum Insel Hombroich in Neuss, Germany; the Museo di Castelvecchio in Verona, Italy; and the Plaster Cast Gallery at Museo Canova in Possagno, Italy.
Questioning Pictures: Photograph of study model for the east elevation by James Stirling, Michael Wilford and Associates, 1978-1986
Actions:
PH2018:0005:012
Description:
Photograph by Stefano Graziani of the following work: James Stirling, Michael Wilford and Associates, study model for the east elevation, Clore Gallery, London, 1978-1986, 12.0 x 30.3 x 8.2 cm, AP140.S2.SS1.D60.SD1.P127, James Stirling / Michael Wilford Fonds, Canadian Centre for Architecture, Montréal Questioning Pictures is a 36 photograph project commissioned by Fondazione Prada, Milan. Artist Stefano Graziani investigates archival and conservation systems in a number of museums. Through photographing museum objects, Graziani, focusing on the relationship between photographs, the museum objects and the power structures at play within institutions. The museums include the Canadian Centre for Architecture (CCA) in Montréal, Canada; Sir John Soane’s Museum in London, UK; the Kunstmuseum Basel, Switzerland; Museum Insel Hombroich in Neuss, Germany; the Museo di Castelvecchio in Verona, Italy; and the Plaster Cast Gallery at Museo Canova in Possagno, Italy.
Classification:
photographies
photographies
Date:
2017
2017
Personnes et institutions:
Classification:
photographies
photographies
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Numéro de référence:
PH2018:0005:024
Description:
Photograph by Stefano Graziani of the following work: Charles Rohault de Fleury, design development drawings for a «Galerie de zoologie», Museum national d'historie naturelle, Paris, mid 19th century, from Album Museum national d'historie naturelle, Charles de Rohault de Fleury collection, DR1974:0002:024:001-079, Canadian Centre for Architecture, Montréal Questioning Pictures is a 36 photograph project commissioned by Fondazione Prada, Milan. Artist Stefano Graziani investigates archival and conservation systems in a number of museums. Through photographing museum objects, Graziani, focusing on the relationship between photographs, the museum objects and the power structures at play within institutions. The museums include the Canadian Centre for Architecture (CCA) in Montréal, Canada; Sir John Soane’s Museum in London, UK; the Kunstmuseum Basel, Switzerland; Museum Insel Hombroich in Neuss, Germany; the Museo di Castelvecchio in Verona, Italy; and the Plaster Cast Gallery at Museo Canova in Possagno, Italy.
PH2018:0005:024
Description:
Photograph by Stefano Graziani of the following work: Charles Rohault de Fleury, design development drawings for a «Galerie de zoologie», Museum national d'historie naturelle, Paris, mid 19th century, from Album Museum national d'historie naturelle, Charles de Rohault de Fleury collection, DR1974:0002:024:001-079, Canadian Centre for Architecture, Montréal Questioning Pictures is a 36 photograph project commissioned by Fondazione Prada, Milan. Artist Stefano Graziani investigates archival and conservation systems in a number of museums. Through photographing museum objects, Graziani, focusing on the relationship between photographs, the museum objects and the power structures at play within institutions. The museums include the Canadian Centre for Architecture (CCA) in Montréal, Canada; Sir John Soane’s Museum in London, UK; the Kunstmuseum Basel, Switzerland; Museum Insel Hombroich in Neuss, Germany; the Museo di Castelvecchio in Verona, Italy; and the Plaster Cast Gallery at Museo Canova in Possagno, Italy.
Personnes et institutions:
Date:
2017
2017
Titre:
Questioning Pictures: Photograph of design development drawings for a «Galerie de zoologie» by Charles Rohault de Fleury, mid 19th century
Actions:
PH2018:0005:024
Description:
Photograph by Stefano Graziani of the following work: Charles Rohault de Fleury, design development drawings for a «Galerie de zoologie», Museum national d'historie naturelle, Paris, mid 19th century, from Album Museum national d'historie naturelle, Charles de Rohault de Fleury collection, DR1974:0002:024:001-079, Canadian Centre for Architecture, Montréal Questioning Pictures is a 36 photograph project commissioned by Fondazione Prada, Milan. Artist Stefano Graziani investigates archival and conservation systems in a number of museums. Through photographing museum objects, Graziani, focusing on the relationship between photographs, the museum objects and the power structures at play within institutions. The museums include the Canadian Centre for Architecture (CCA) in Montréal, Canada; Sir John Soane’s Museum in London, UK; the Kunstmuseum Basel, Switzerland; Museum Insel Hombroich in Neuss, Germany; the Museo di Castelvecchio in Verona, Italy; and the Plaster Cast Gallery at Museo Canova in Possagno, Italy.
Questioning Pictures: Photograph of design development drawings for a «Galerie de zoologie» by Charles Rohault de Fleury, mid 19th century
Actions:
PH2018:0005:024
Description:
Photograph by Stefano Graziani of the following work: Charles Rohault de Fleury, design development drawings for a «Galerie de zoologie», Museum national d'historie naturelle, Paris, mid 19th century, from Album Museum national d'historie naturelle, Charles de Rohault de Fleury collection, DR1974:0002:024:001-079, Canadian Centre for Architecture, Montréal Questioning Pictures is a 36 photograph project commissioned by Fondazione Prada, Milan. Artist Stefano Graziani investigates archival and conservation systems in a number of museums. Through photographing museum objects, Graziani, focusing on the relationship between photographs, the museum objects and the power structures at play within institutions. The museums include the Canadian Centre for Architecture (CCA) in Montréal, Canada; Sir John Soane’s Museum in London, UK; the Kunstmuseum Basel, Switzerland; Museum Insel Hombroich in Neuss, Germany; the Museo di Castelvecchio in Verona, Italy; and the Plaster Cast Gallery at Museo Canova in Possagno, Italy.
Classification:
photographies
photographies
Date:
2017
2017
Personnes et institutions:
Classification:
photographies
photographies
Actions:
Numéro de référence:
PH2018:0005:031
Description:
Photograph by Stefano Graziani of the following work: Gordon Matta-Clark, floor plan for Office Baroque, 1977, blue ballpoint pen on graph paper, 42 x 59.5 cm, PHCON2002:0016:059, Gordon Matta-Clark collection, Canadian Centre of Architecture, Gift of Estate of Gordon Matta-Clark, © Estate of Gordon Matta-Clark Questioning Pictures is a 36 photograph project commissioned by Fondazione Prada, Milan. Artist Stefano Graziani investigates archival and conservation systems in a number of museums. Through photographing museum objects, Graziani, focusing on the relationship between photographs, the museum objects and the power structures at play within institutions. The museums include the Canadian Centre for Architecture (CCA) in Montréal, Canada; Sir John Soane’s Museum in London, UK; the Kunstmuseum Basel, Switzerland; Museum Insel Hombroich in Neuss, Germany; the Museo di Castelvecchio in Verona, Italy; and the Plaster Cast Gallery at Museo Canova in Possagno, Italy.
PH2018:0005:031
Description:
Photograph by Stefano Graziani of the following work: Gordon Matta-Clark, floor plan for Office Baroque, 1977, blue ballpoint pen on graph paper, 42 x 59.5 cm, PHCON2002:0016:059, Gordon Matta-Clark collection, Canadian Centre of Architecture, Gift of Estate of Gordon Matta-Clark, © Estate of Gordon Matta-Clark Questioning Pictures is a 36 photograph project commissioned by Fondazione Prada, Milan. Artist Stefano Graziani investigates archival and conservation systems in a number of museums. Through photographing museum objects, Graziani, focusing on the relationship between photographs, the museum objects and the power structures at play within institutions. The museums include the Canadian Centre for Architecture (CCA) in Montréal, Canada; Sir John Soane’s Museum in London, UK; the Kunstmuseum Basel, Switzerland; Museum Insel Hombroich in Neuss, Germany; the Museo di Castelvecchio in Verona, Italy; and the Plaster Cast Gallery at Museo Canova in Possagno, Italy.
Personnes et institutions:
Date:
2017
2017
Titre:
Questioning Pictures: Photograph of floor plan for Office Baroque, blue pen on graph paper by Gordon Matta-Clark, 1977
Actions:
PH2018:0005:031
Description:
Photograph by Stefano Graziani of the following work: Gordon Matta-Clark, floor plan for Office Baroque, 1977, blue ballpoint pen on graph paper, 42 x 59.5 cm, PHCON2002:0016:059, Gordon Matta-Clark collection, Canadian Centre of Architecture, Gift of Estate of Gordon Matta-Clark, © Estate of Gordon Matta-Clark Questioning Pictures is a 36 photograph project commissioned by Fondazione Prada, Milan. Artist Stefano Graziani investigates archival and conservation systems in a number of museums. Through photographing museum objects, Graziani, focusing on the relationship between photographs, the museum objects and the power structures at play within institutions. The museums include the Canadian Centre for Architecture (CCA) in Montréal, Canada; Sir John Soane’s Museum in London, UK; the Kunstmuseum Basel, Switzerland; Museum Insel Hombroich in Neuss, Germany; the Museo di Castelvecchio in Verona, Italy; and the Plaster Cast Gallery at Museo Canova in Possagno, Italy.
Questioning Pictures: Photograph of floor plan for Office Baroque, blue pen on graph paper by Gordon Matta-Clark, 1977
Actions:
PH2018:0005:031
Description:
Photograph by Stefano Graziani of the following work: Gordon Matta-Clark, floor plan for Office Baroque, 1977, blue ballpoint pen on graph paper, 42 x 59.5 cm, PHCON2002:0016:059, Gordon Matta-Clark collection, Canadian Centre of Architecture, Gift of Estate of Gordon Matta-Clark, © Estate of Gordon Matta-Clark Questioning Pictures is a 36 photograph project commissioned by Fondazione Prada, Milan. Artist Stefano Graziani investigates archival and conservation systems in a number of museums. Through photographing museum objects, Graziani, focusing on the relationship between photographs, the museum objects and the power structures at play within institutions. The museums include the Canadian Centre for Architecture (CCA) in Montréal, Canada; Sir John Soane’s Museum in London, UK; the Kunstmuseum Basel, Switzerland; Museum Insel Hombroich in Neuss, Germany; the Museo di Castelvecchio in Verona, Italy; and the Plaster Cast Gallery at Museo Canova in Possagno, Italy.
Classification:
photographies
photographies
Date:
2017
2017
Personnes et institutions:
Classification:
photographies
photographies
Actions:
Numéro de référence:
PH2018:0005:033
Description:
Photograph by Stefano Graziani of the following work: Gordon Matta-Clark, floor plan for Office Baroque, 1977, blue ballpoint pen on graph paper, 42 x 59.5 cm, PHCON2002:0016:058, Gordon Matta-Clark collection, Canadian Centre of Architecture, Gift of Estate of Gordon Matta-Clark, © Estate of Gordon Matta-Clark Questioning Pictures is a 36 photograph project commissioned by Fondazione Prada, Milan. Artist Stefano Graziani investigates archival and conservation systems in a number of museums. Through photographing museum objects, Graziani, focusing on the relationship between photographs, the museum objects and the power structures at play within institutions. The museums include the Canadian Centre for Architecture (CCA) in Montréal, Canada; Sir John Soane’s Museum in London, UK; the Kunstmuseum Basel, Switzerland; Museum Insel Hombroich in Neuss, Germany; the Museo di Castelvecchio in Verona, Italy; and the Plaster Cast Gallery at Museo Canova in Possagno, Italy.
PH2018:0005:033
Description:
Photograph by Stefano Graziani of the following work: Gordon Matta-Clark, floor plan for Office Baroque, 1977, blue ballpoint pen on graph paper, 42 x 59.5 cm, PHCON2002:0016:058, Gordon Matta-Clark collection, Canadian Centre of Architecture, Gift of Estate of Gordon Matta-Clark, © Estate of Gordon Matta-Clark Questioning Pictures is a 36 photograph project commissioned by Fondazione Prada, Milan. Artist Stefano Graziani investigates archival and conservation systems in a number of museums. Through photographing museum objects, Graziani, focusing on the relationship between photographs, the museum objects and the power structures at play within institutions. The museums include the Canadian Centre for Architecture (CCA) in Montréal, Canada; Sir John Soane’s Museum in London, UK; the Kunstmuseum Basel, Switzerland; Museum Insel Hombroich in Neuss, Germany; the Museo di Castelvecchio in Verona, Italy; and the Plaster Cast Gallery at Museo Canova in Possagno, Italy.
Personnes et institutions:
Date:
2017
2017
Titre:
Questioning Pictures: Photograph of floor plan for office Baroque, blue pen on graph paper by Gordon Matta-Clark, 1977
Actions:
PH2018:0005:033
Description:
Photograph by Stefano Graziani of the following work: Gordon Matta-Clark, floor plan for Office Baroque, 1977, blue ballpoint pen on graph paper, 42 x 59.5 cm, PHCON2002:0016:058, Gordon Matta-Clark collection, Canadian Centre of Architecture, Gift of Estate of Gordon Matta-Clark, © Estate of Gordon Matta-Clark Questioning Pictures is a 36 photograph project commissioned by Fondazione Prada, Milan. Artist Stefano Graziani investigates archival and conservation systems in a number of museums. Through photographing museum objects, Graziani, focusing on the relationship between photographs, the museum objects and the power structures at play within institutions. The museums include the Canadian Centre for Architecture (CCA) in Montréal, Canada; Sir John Soane’s Museum in London, UK; the Kunstmuseum Basel, Switzerland; Museum Insel Hombroich in Neuss, Germany; the Museo di Castelvecchio in Verona, Italy; and the Plaster Cast Gallery at Museo Canova in Possagno, Italy.
Questioning Pictures: Photograph of floor plan for office Baroque, blue pen on graph paper by Gordon Matta-Clark, 1977
Actions:
PH2018:0005:033
Description:
Photograph by Stefano Graziani of the following work: Gordon Matta-Clark, floor plan for Office Baroque, 1977, blue ballpoint pen on graph paper, 42 x 59.5 cm, PHCON2002:0016:058, Gordon Matta-Clark collection, Canadian Centre of Architecture, Gift of Estate of Gordon Matta-Clark, © Estate of Gordon Matta-Clark Questioning Pictures is a 36 photograph project commissioned by Fondazione Prada, Milan. Artist Stefano Graziani investigates archival and conservation systems in a number of museums. Through photographing museum objects, Graziani, focusing on the relationship between photographs, the museum objects and the power structures at play within institutions. The museums include the Canadian Centre for Architecture (CCA) in Montréal, Canada; Sir John Soane’s Museum in London, UK; the Kunstmuseum Basel, Switzerland; Museum Insel Hombroich in Neuss, Germany; the Museo di Castelvecchio in Verona, Italy; and the Plaster Cast Gallery at Museo Canova in Possagno, Italy.
Classification:
photographies
photographies
Date:
2017
2017
Personnes et institutions:
Classification:
archives
Niveau de description archivistique:
Fonds
archives
Niveau de description archivistique:
Fonds
Titre:
Jean-Louis Cohen fonds
Jean-Louis Cohen fonds
Numéro de référence:
AP210
Résumé:
The Jean-Louis Cohen fonds, 1968 – 2023, documents the projects and activities of historian, curator, professor, and architect Jean-Louis Cohen (1949 – 2023). Cohen’s research focus was largely modern architecture and transnational architectural exchange, particularly between and among the United States, Europe, and the former Soviet Union in the 20th century. Through physical and digital records, this fonds documents his academic, publishing, and curatorial work along with his professional activities within architectural research and heritage organizations, as well as his architectural practice.
AP210
Résumé:
The Jean-Louis Cohen fonds, 1968 – 2023, documents the projects and activities of historian, curator, professor, and architect Jean-Louis Cohen (1949 – 2023). Cohen’s research focus was largely modern architecture and transnational architectural exchange, particularly between and among the United States, Europe, and the former Soviet Union in the 20th century. Through physical and digital records, this fonds documents his academic, publishing, and curatorial work along with his professional activities within architectural research and heritage organizations, as well as his architectural practice.
Personnes et institutions:
Date:
1968 - 2023
1968 - 2023
Titre:
Jean-Louis Cohen fonds
Actions:
AP210
Résumé:
The Jean-Louis Cohen fonds, 1968 – 2023, documents the projects and activities of historian, curator, professor, and architect Jean-Louis Cohen (1949 – 2023). Cohen’s research focus was largely modern architecture and transnational architectural exchange, particularly between and among the United States, Europe, and the former Soviet Union in the 20th century. Through physical and digital records, this fonds documents his academic, publishing, and curatorial work along with his professional activities within architectural research and heritage organizations, as well as his architectural practice.
Jean-Louis Cohen fonds
Actions:
AP210
Résumé:
The Jean-Louis Cohen fonds, 1968 – 2023, documents the projects and activities of historian, curator, professor, and architect Jean-Louis Cohen (1949 – 2023). Cohen’s research focus was largely modern architecture and transnational architectural exchange, particularly between and among the United States, Europe, and the former Soviet Union in the 20th century. Through physical and digital records, this fonds documents his academic, publishing, and curatorial work along with his professional activities within architectural research and heritage organizations, as well as his architectural practice.
Classification:
archives
Niveau de description archivistique:
Fonds
archives
Niveau de description archivistique:
Fonds
Date:
1968 - 2023
1968 - 2023
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:
Classification:
dessins, documents textuels, né numérique
dessins, documents textuels, né numérique
Numéro de référence:
AP181.S1.005
Description:
Original directory name: "04_Planung". File shows plans, drawings, renderings, project specifications, lists of plans and their circulation among consultants for design planning. These include PRO-Elektroplan GmbH, Bollinger+Grohmann, Dr. Pfeiler GmbH, Kersken + Kirchner GmbH., KBP Beratende Ingenieure GmbH, pbb planungsbüro balke, Ingenieurgemeinschaft BDP, a.g Licht, bfm, Realgruen Landschaftsarchitekten, Lang + Burkhardt Verkehrsplanung und Städtebau, Emmer Pfenninger Partner AG, IB Rüdiger Schönenberg, Thomas A. Weisse + Partner. Consultant Schmitt Stumpf Frühauf und partner (SSF) also facilitated some of the documentation’s organization and exchange. Bulk dates run from 2003-2006. Over a third of the records are under the “CAD” directory. They are DWG data models, layouts, templates, fonts, line types and plot styles, and act as reference materials for the project. More elaborate files show drawings and plans of the roof, the double cone, the restaurants, the hall, etc. A handbook is included to guide the usage of CAD tools for the BMW Welt project, and can be found in “b_CAD\06_Handbuecher”. It provides an understanding of the firm’s methodology for the development of the project into a building. Furthermore, the “Archiv” directory contains an earlier version of the "b_CAD/01_Datenmodell" directory. Its “Transfer” sub-directory has records showing how COOP HIMMELB(L)AU sent plans to the project's stakeholders. An additional third of the records are part of the “3D-Modell” directory which reflects the use of a diversity of software and formats (Rhino, Maya, DWG, JPG, TIFF, IGES, MAX, etc.) for plans of the various parts of the building, such as the facade, hall, roof, and double cone. The “Raumbuch” directory includes files showing the detailed planning for all parts of a given room: plumbing, heat and ventilation, refrigeration systems, building automation, etc. Related Access and FileMaker databases can be found in file AP181.S1.006 under "b_KBP_Haustechnik\D_Berichte\Raumbuch" and "c_PRO_Elektro_Foerdertechnik\I_Raumbuch_Elektro". Under “Valid plans” (gueltige plaene) are specific sets of plans organized under directories dated between June 2005 and April 2007. Those subdirectories also indicate the building area they concern. Most plans were saved here in PDF, although there are some AutoCAD and Rhino files too. "Dokumentation" records are divided under three directories: design (entwurf), approval planning (genehmigungsplanung), and specifications (baubeschreibung). The first two contain plans, organized by date and building area or stakeholder. The third one contains textual records of various early scenarios of specifications for the project. Specific and smaller sets of records in other directories include: scheduling and circulation of plans to stakeholders in “Lieferscheine_Planlisten”; early documentation on program planning in “Flaechenlisten”; reference documentation and concept presentations for the choice of materials, such as lights and facade materials, in “Materialen”; drawings and plans for the steel structure in “ZBV”; engineering data for parts of the building (basement, facade, double cone, etc.) in “Bauteilkatalog”; and stock material from the client in “3D-Modelle-BMWs”. Most common file formats: JPEG File Interchange Format, AutoCAD Drawing, 3DM, Exchangeable Image File Format (Compressed), Acrobat PDF 1.4 - Portable Document Format
AP181.S1.005
Description:
Original directory name: "04_Planung". File shows plans, drawings, renderings, project specifications, lists of plans and their circulation among consultants for design planning. These include PRO-Elektroplan GmbH, Bollinger+Grohmann, Dr. Pfeiler GmbH, Kersken + Kirchner GmbH., KBP Beratende Ingenieure GmbH, pbb planungsbüro balke, Ingenieurgemeinschaft BDP, a.g Licht, bfm, Realgruen Landschaftsarchitekten, Lang + Burkhardt Verkehrsplanung und Städtebau, Emmer Pfenninger Partner AG, IB Rüdiger Schönenberg, Thomas A. Weisse + Partner. Consultant Schmitt Stumpf Frühauf und partner (SSF) also facilitated some of the documentation’s organization and exchange. Bulk dates run from 2003-2006. Over a third of the records are under the “CAD” directory. They are DWG data models, layouts, templates, fonts, line types and plot styles, and act as reference materials for the project. More elaborate files show drawings and plans of the roof, the double cone, the restaurants, the hall, etc. A handbook is included to guide the usage of CAD tools for the BMW Welt project, and can be found in “b_CAD\06_Handbuecher”. It provides an understanding of the firm’s methodology for the development of the project into a building. Furthermore, the “Archiv” directory contains an earlier version of the "b_CAD/01_Datenmodell" directory. Its “Transfer” sub-directory has records showing how COOP HIMMELB(L)AU sent plans to the project's stakeholders. An additional third of the records are part of the “3D-Modell” directory which reflects the use of a diversity of software and formats (Rhino, Maya, DWG, JPG, TIFF, IGES, MAX, etc.) for plans of the various parts of the building, such as the facade, hall, roof, and double cone. The “Raumbuch” directory includes files showing the detailed planning for all parts of a given room: plumbing, heat and ventilation, refrigeration systems, building automation, etc. Related Access and FileMaker databases can be found in file AP181.S1.006 under "b_KBP_Haustechnik\D_Berichte\Raumbuch" and "c_PRO_Elektro_Foerdertechnik\I_Raumbuch_Elektro". Under “Valid plans” (gueltige plaene) are specific sets of plans organized under directories dated between June 2005 and April 2007. Those subdirectories also indicate the building area they concern. Most plans were saved here in PDF, although there are some AutoCAD and Rhino files too. "Dokumentation" records are divided under three directories: design (entwurf), approval planning (genehmigungsplanung), and specifications (baubeschreibung). The first two contain plans, organized by date and building area or stakeholder. The third one contains textual records of various early scenarios of specifications for the project. Specific and smaller sets of records in other directories include: scheduling and circulation of plans to stakeholders in “Lieferscheine_Planlisten”; early documentation on program planning in “Flaechenlisten”; reference documentation and concept presentations for the choice of materials, such as lights and facade materials, in “Materialen”; drawings and plans for the steel structure in “ZBV”; engineering data for parts of the building (basement, facade, double cone, etc.) in “Bauteilkatalog”; and stock material from the client in “3D-Modelle-BMWs”. Most common file formats: JPEG File Interchange Format, AutoCAD Drawing, 3DM, Exchangeable Image File Format (Compressed), Acrobat PDF 1.4 - Portable Document Format
Personnes et institutions:
Date:
1994-2013
1994-2013
Titre:
Design planning, BMW Welt, Munich
Actions:
AP181.S1.005
Description:
Original directory name: "04_Planung". File shows plans, drawings, renderings, project specifications, lists of plans and their circulation among consultants for design planning. These include PRO-Elektroplan GmbH, Bollinger+Grohmann, Dr. Pfeiler GmbH, Kersken + Kirchner GmbH., KBP Beratende Ingenieure GmbH, pbb planungsbüro balke, Ingenieurgemeinschaft BDP, a.g Licht, bfm, Realgruen Landschaftsarchitekten, Lang + Burkhardt Verkehrsplanung und Städtebau, Emmer Pfenninger Partner AG, IB Rüdiger Schönenberg, Thomas A. Weisse + Partner. Consultant Schmitt Stumpf Frühauf und partner (SSF) also facilitated some of the documentation’s organization and exchange. Bulk dates run from 2003-2006. Over a third of the records are under the “CAD” directory. They are DWG data models, layouts, templates, fonts, line types and plot styles, and act as reference materials for the project. More elaborate files show drawings and plans of the roof, the double cone, the restaurants, the hall, etc. A handbook is included to guide the usage of CAD tools for the BMW Welt project, and can be found in “b_CAD\06_Handbuecher”. It provides an understanding of the firm’s methodology for the development of the project into a building. Furthermore, the “Archiv” directory contains an earlier version of the "b_CAD/01_Datenmodell" directory. Its “Transfer” sub-directory has records showing how COOP HIMMELB(L)AU sent plans to the project's stakeholders. An additional third of the records are part of the “3D-Modell” directory which reflects the use of a diversity of software and formats (Rhino, Maya, DWG, JPG, TIFF, IGES, MAX, etc.) for plans of the various parts of the building, such as the facade, hall, roof, and double cone. The “Raumbuch” directory includes files showing the detailed planning for all parts of a given room: plumbing, heat and ventilation, refrigeration systems, building automation, etc. Related Access and FileMaker databases can be found in file AP181.S1.006 under "b_KBP_Haustechnik\D_Berichte\Raumbuch" and "c_PRO_Elektro_Foerdertechnik\I_Raumbuch_Elektro". Under “Valid plans” (gueltige plaene) are specific sets of plans organized under directories dated between June 2005 and April 2007. Those subdirectories also indicate the building area they concern. Most plans were saved here in PDF, although there are some AutoCAD and Rhino files too. "Dokumentation" records are divided under three directories: design (entwurf), approval planning (genehmigungsplanung), and specifications (baubeschreibung). The first two contain plans, organized by date and building area or stakeholder. The third one contains textual records of various early scenarios of specifications for the project. Specific and smaller sets of records in other directories include: scheduling and circulation of plans to stakeholders in “Lieferscheine_Planlisten”; early documentation on program planning in “Flaechenlisten”; reference documentation and concept presentations for the choice of materials, such as lights and facade materials, in “Materialen”; drawings and plans for the steel structure in “ZBV”; engineering data for parts of the building (basement, facade, double cone, etc.) in “Bauteilkatalog”; and stock material from the client in “3D-Modelle-BMWs”. Most common file formats: JPEG File Interchange Format, AutoCAD Drawing, 3DM, Exchangeable Image File Format (Compressed), Acrobat PDF 1.4 - Portable Document Format
Design planning, BMW Welt, Munich
Actions:
AP181.S1.005
Description:
Original directory name: "04_Planung". File shows plans, drawings, renderings, project specifications, lists of plans and their circulation among consultants for design planning. These include PRO-Elektroplan GmbH, Bollinger+Grohmann, Dr. Pfeiler GmbH, Kersken + Kirchner GmbH., KBP Beratende Ingenieure GmbH, pbb planungsbüro balke, Ingenieurgemeinschaft BDP, a.g Licht, bfm, Realgruen Landschaftsarchitekten, Lang + Burkhardt Verkehrsplanung und Städtebau, Emmer Pfenninger Partner AG, IB Rüdiger Schönenberg, Thomas A. Weisse + Partner. Consultant Schmitt Stumpf Frühauf und partner (SSF) also facilitated some of the documentation’s organization and exchange. Bulk dates run from 2003-2006. Over a third of the records are under the “CAD” directory. They are DWG data models, layouts, templates, fonts, line types and plot styles, and act as reference materials for the project. More elaborate files show drawings and plans of the roof, the double cone, the restaurants, the hall, etc. A handbook is included to guide the usage of CAD tools for the BMW Welt project, and can be found in “b_CAD\06_Handbuecher”. It provides an understanding of the firm’s methodology for the development of the project into a building. Furthermore, the “Archiv” directory contains an earlier version of the "b_CAD/01_Datenmodell" directory. Its “Transfer” sub-directory has records showing how COOP HIMMELB(L)AU sent plans to the project's stakeholders. An additional third of the records are part of the “3D-Modell” directory which reflects the use of a diversity of software and formats (Rhino, Maya, DWG, JPG, TIFF, IGES, MAX, etc.) for plans of the various parts of the building, such as the facade, hall, roof, and double cone. The “Raumbuch” directory includes files showing the detailed planning for all parts of a given room: plumbing, heat and ventilation, refrigeration systems, building automation, etc. Related Access and FileMaker databases can be found in file AP181.S1.006 under "b_KBP_Haustechnik\D_Berichte\Raumbuch" and "c_PRO_Elektro_Foerdertechnik\I_Raumbuch_Elektro". Under “Valid plans” (gueltige plaene) are specific sets of plans organized under directories dated between June 2005 and April 2007. Those subdirectories also indicate the building area they concern. Most plans were saved here in PDF, although there are some AutoCAD and Rhino files too. "Dokumentation" records are divided under three directories: design (entwurf), approval planning (genehmigungsplanung), and specifications (baubeschreibung). The first two contain plans, organized by date and building area or stakeholder. The third one contains textual records of various early scenarios of specifications for the project. Specific and smaller sets of records in other directories include: scheduling and circulation of plans to stakeholders in “Lieferscheine_Planlisten”; early documentation on program planning in “Flaechenlisten”; reference documentation and concept presentations for the choice of materials, such as lights and facade materials, in “Materialen”; drawings and plans for the steel structure in “ZBV”; engineering data for parts of the building (basement, facade, double cone, etc.) in “Bauteilkatalog”; and stock material from the client in “3D-Modelle-BMWs”. Most common file formats: JPEG File Interchange Format, AutoCAD Drawing, 3DM, Exchangeable Image File Format (Compressed), Acrobat PDF 1.4 - Portable Document Format
Classification:
dessins, documents textuels, né numérique
dessins, documents textuels, né numérique
Date:
1994-2013
1994-2013
Personnes et institutions:
Classification:
périodiques
périodiques
Titre:
Archives and records.
Archives and records.
Actions:
Description:
1 online resource.
Auteur:
Sujet:
Publication:
Abingdon, Oxordshire, UK : Routledge, [2013-]
Abingdon, Oxordshire, UK : Routledge, [2013-]
Classification:
périodiques
périodiques
Publication:
Abingdon, Oxordshire, UK : Routledge, [2013-]
Abingdon, Oxordshire, UK : Routledge, [2013-]
Auteur:
Sujet:
Classification:
livres
livres
Actions:
Exemplaires:
Description:
vii, 127, 139, vii pages : graphs ; 23 cm
Description:
vii, 127, 139, vii pages : graphs ; 23 cm
Auteur:
Sujet:
Publication:
Ottawa : The Council, 1980.
Ottawa : The Council, 1980.
Titre:
Canadian archives : report to the Social Sciences and Humanities Research Council of Canada / by the Consultative Group on Canadian Archives.
Actions:
Exemplaires:
Description:
vii, 127, 139, vii pages : graphs ; 23 cm
Canadian archives : report to the Social Sciences and Humanities Research Council of Canada / by the Consultative Group on Canadian Archives.
Actions:
Exemplaires:
Description:
vii, 127, 139, vii pages : graphs ; 23 cm
Classification:
livres
livres
Publication:
Ottawa : The Council, 1980.
Ottawa : The Council, 1980.
Auteur:
Sujet:
