118952 Résultats
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:
photographies
Quantité:
288 slide(s)
photographies
Quantité:
288 slide(s)
Titre:
Aucun titre
Aucun titre
Actions:
Numéro de référence:
PH1979:0627:001-288
Description:
- The group consists of photomicrographs and architectural views from the Netherlands, Germany, France and England. There is a large group of architectural views of York Minster, York, North Yorkshire, England. The group also includes architectural views of Gloucester Cathedral, Gloucester, Gloucestershire, England; Kelmscott Manor, Kelmscott, Oxfordshire, England; Château d'Anet, Anet, France; Saint-Trophime, Arles, France; Château du Chambord, Chambord, Loir-et-Cher, France; Château du Fontaine-Henry, Normandy, France; Château d'Ussé, Rigny-Ussé, France; cathedral and ampitheater in Nîmes, France; cathedral in Rouen, France; Notre-Dame de Reims (Cathedral), Reims, France; Ducal Palace, Nancy, France; Saint-Pierre Abbey, Moissac, Tarn-et-Garonne, France; church in Longstanton, Cambridgeshire, England; Le Puy, Haute-Loire, France; Winchester Cathedral, Winchester, Hampshire, England; Château de Valençay, Valençay, France; St. Davids Cathedral, St. David's, Wales; and Tours Cathedral, Tours, Indre-et-Loire, France. There are also architectural views from Anger, France; Nuremburg, Germany; and Middelburg and Veere, Netherlands.
PH1979:0627:001-288
Description:
- The group consists of photomicrographs and architectural views from the Netherlands, Germany, France and England. There is a large group of architectural views of York Minster, York, North Yorkshire, England. The group also includes architectural views of Gloucester Cathedral, Gloucester, Gloucestershire, England; Kelmscott Manor, Kelmscott, Oxfordshire, England; Château d'Anet, Anet, France; Saint-Trophime, Arles, France; Château du Chambord, Chambord, Loir-et-Cher, France; Château du Fontaine-Henry, Normandy, France; Château d'Ussé, Rigny-Ussé, France; cathedral and ampitheater in Nîmes, France; cathedral in Rouen, France; Notre-Dame de Reims (Cathedral), Reims, France; Ducal Palace, Nancy, France; Saint-Pierre Abbey, Moissac, Tarn-et-Garonne, France; church in Longstanton, Cambridgeshire, England; Le Puy, Haute-Loire, France; Winchester Cathedral, Winchester, Hampshire, England; Château de Valençay, Valençay, France; St. Davids Cathedral, St. David's, Wales; and Tours Cathedral, Tours, Indre-et-Loire, France. There are also architectural views from Anger, France; Nuremburg, Germany; and Middelburg and Veere, Netherlands.
Personnes et institutions:
Date:
1883-1930
1883-1930
Titre:
Aucun titre
Actions:
PH1979:0627:001-288
Description:
- The group consists of photomicrographs and architectural views from the Netherlands, Germany, France and England. There is a large group of architectural views of York Minster, York, North Yorkshire, England. The group also includes architectural views of Gloucester Cathedral, Gloucester, Gloucestershire, England; Kelmscott Manor, Kelmscott, Oxfordshire, England; Château d'Anet, Anet, France; Saint-Trophime, Arles, France; Château du Chambord, Chambord, Loir-et-Cher, France; Château du Fontaine-Henry, Normandy, France; Château d'Ussé, Rigny-Ussé, France; cathedral and ampitheater in Nîmes, France; cathedral in Rouen, France; Notre-Dame de Reims (Cathedral), Reims, France; Ducal Palace, Nancy, France; Saint-Pierre Abbey, Moissac, Tarn-et-Garonne, France; church in Longstanton, Cambridgeshire, England; Le Puy, Haute-Loire, France; Winchester Cathedral, Winchester, Hampshire, England; Château de Valençay, Valençay, France; St. Davids Cathedral, St. David's, Wales; and Tours Cathedral, Tours, Indre-et-Loire, France. There are also architectural views from Anger, France; Nuremburg, Germany; and Middelburg and Veere, Netherlands.
Aucun titre
Actions:
PH1979:0627:001-288
Description:
- The group consists of photomicrographs and architectural views from the Netherlands, Germany, France and England. There is a large group of architectural views of York Minster, York, North Yorkshire, England. The group also includes architectural views of Gloucester Cathedral, Gloucester, Gloucestershire, England; Kelmscott Manor, Kelmscott, Oxfordshire, England; Château d'Anet, Anet, France; Saint-Trophime, Arles, France; Château du Chambord, Chambord, Loir-et-Cher, France; Château du Fontaine-Henry, Normandy, France; Château d'Ussé, Rigny-Ussé, France; cathedral and ampitheater in Nîmes, France; cathedral in Rouen, France; Notre-Dame de Reims (Cathedral), Reims, France; Ducal Palace, Nancy, France; Saint-Pierre Abbey, Moissac, Tarn-et-Garonne, France; church in Longstanton, Cambridgeshire, England; Le Puy, Haute-Loire, France; Winchester Cathedral, Winchester, Hampshire, England; Château de Valençay, Valençay, France; St. Davids Cathedral, St. David's, Wales; and Tours Cathedral, Tours, Indre-et-Loire, France. There are also architectural views from Anger, France; Nuremburg, Germany; and Middelburg and Veere, Netherlands.
Classification:
photographies
Quantité:
288 slide(s)
photographies
Quantité:
288 slide(s)
Date:
1883-1930
1883-1930
Personnes et institutions:
Classification:
expositions
expositions
Titre:
Naoya Hatakeyama : Échelles
Naoya Hatakeyama : Échelles
Actions:
Description:
L’œuvre de l’artiste japonais Naoya Hatakeyama interroge en particulier la relation entre ville et nature. Commandées par le CCA, les trois séries de photographies, dont Échelles, captent les maquettes d’architecture existantes de New York et Tokyo sous un angle qui défie les notions d’échelle et la perception de la réalité. Naoya Hatakeyama : Échelles est la quatrième et(...)
L’œuvre de l’artiste japonais Naoya Hatakeyama interroge en particulier la relation entre ville et nature. Commandées par le CCA, les trois séries de photographies, dont Échelles, captent les maquettes d’architecture existantes de New York et Tokyo sous un angle qui défie les notions d’échelle et la perception de la réalité. Naoya Hatakeyama : Échelles est la quatrième et(...)
Localisation:
Salle octogonale
Salle octogonale
Date:
27 septembre 2007 au 3 février 2008
27 septembre 2007 au 3 février 2008
Titre:
Naoya Hatakeyama : Échelles
Actions:
Description:
L’œuvre de l’artiste japonais Naoya Hatakeyama interroge en particulier la relation entre ville et nature. Commandées par le CCA, les trois séries de photographies, dont Échelles, captent les maquettes d’architecture existantes de New York et Tokyo sous un angle qui défie les notions d’échelle et la perception de la réalité. Naoya Hatakeyama : Échelles est la quatrième et(...)
Naoya Hatakeyama : Échelles
Actions:
Description:
L’œuvre de l’artiste japonais Naoya Hatakeyama interroge en particulier la relation entre ville et nature. Commandées par le CCA, les trois séries de photographies, dont Échelles, captent les maquettes d’architecture existantes de New York et Tokyo sous un angle qui défie les notions d’échelle et la perception de la réalité. Naoya Hatakeyama : Échelles est la quatrième et(...)
Classification:
expositions
expositions
Date:
27 septembre 2007 au
3 février 2008
27 septembre 2007 au
3 février 2008
Localisation:
Salle octogonale
Salle octogonale
Classification:
documents textuels
documents textuels
Numéro de référence:
DR2012:0012:086:006
Description:
Assorted documents in English, including three copies of the spring 1991 issue of Canadian art, along with multiple clippings and reprographic copies therefrom, with references to the Canadian Centre for Architecture garden.
DR2012:0012:086:006
Description:
Assorted documents in English, including three copies of the spring 1991 issue of Canadian art, along with multiple clippings and reprographic copies therefrom, with references to the Canadian Centre for Architecture garden.
Personnes et institutions:
Date:
1991
1991
Titre:
Press coverage related to projects
Actions:
DR2012:0012:086:006
Description:
Assorted documents in English, including three copies of the spring 1991 issue of Canadian art, along with multiple clippings and reprographic copies therefrom, with references to the Canadian Centre for Architecture garden.
Press coverage related to projects
Actions:
DR2012:0012:086:006
Description:
Assorted documents in English, including three copies of the spring 1991 issue of Canadian art, along with multiple clippings and reprographic copies therefrom, with references to the Canadian Centre for Architecture garden.
Classification:
documents textuels
documents textuels
Date:
1991
1991
Personnes et institutions:
Classification:
né numérique
né numérique
Titre:
Voyage to Italy
Voyage to Italy
Actions:
Numéro de référence:
PH2006:0232
Description:
The film is about a trip to the ruins of Pompei. The box contains the original DVD and a security copy. Commissioned by the Canadian Centre for Architecture, Montréal, for "Tangent," 2006
PH2006:0232
Description:
The film is about a trip to the ruins of Pompei. The box contains the original DVD and a security copy. Commissioned by the Canadian Centre for Architecture, Montréal, for "Tangent," 2006
Personnes et institutions:
Date:
2006
2006
Titre:
Voyage to Italy
Actions:
PH2006:0232
Description:
The film is about a trip to the ruins of Pompei. The box contains the original DVD and a security copy. Commissioned by the Canadian Centre for Architecture, Montréal, for "Tangent," 2006
Voyage to Italy
Actions:
PH2006:0232
Description:
The film is about a trip to the ruins of Pompei. The box contains the original DVD and a security copy. Commissioned by the Canadian Centre for Architecture, Montréal, for "Tangent," 2006
Classification:
né numérique
né numérique
Date:
2006
2006
Personnes et institutions:
Classification:
dessins, documents textuels
dessins, documents textuels
Numéro de référence:
DR2004:1313
Description:
clippings, competition results summary, correspondence, competition document, competition programme, site plan, notes, curriculum vitae, for work related to AA 150th Competition, for the Architectural Association, for which Cedric Price was possibly one of the organizers
DR2004:1313
Description:
clippings, competition results summary, correspondence, competition document, competition programme, site plan, notes, curriculum vitae, for work related to AA 150th Competition, for the Architectural Association, for which Cedric Price was possibly one of the organizers
Personnes et institutions:
Date:
1997-1998
1997-1998
Titre:
Clippings, competition results summary, correspondence
Actions:
DR2004:1313
Description:
clippings, competition results summary, correspondence, competition document, competition programme, site plan, notes, curriculum vitae, for work related to AA 150th Competition, for the Architectural Association, for which Cedric Price was possibly one of the organizers
Clippings, competition results summary, correspondence
Actions:
DR2004:1313
Description:
clippings, competition results summary, correspondence, competition document, competition programme, site plan, notes, curriculum vitae, for work related to AA 150th Competition, for the Architectural Association, for which Cedric Price was possibly one of the organizers
Classification:
dessins, documents textuels
dessins, documents textuels
Date:
1997-1998
1997-1998
Personnes et institutions:
Classification:
photographies
photographies
Numéro de référence:
ARCH276912
Description:
Project documentation for multiple architectural projects, organized alphabetically by name, F-Y (includes early, middle and late career works). Includes photographs of completed buildings, views of models, plans, renderings, newspaper and magazine clippings.
ARCH276912
Description:
Project documentation for multiple architectural projects, organized alphabetically by name, F-Y (includes early, middle and late career works). Includes photographs of completed buildings, views of models, plans, renderings, newspaper and magazine clippings.
Personnes et institutions:
Titre:
Photographic documentation for various projects
Actions:
ARCH276912
Description:
Project documentation for multiple architectural projects, organized alphabetically by name, F-Y (includes early, middle and late career works). Includes photographs of completed buildings, views of models, plans, renderings, newspaper and magazine clippings.
Photographic documentation for various projects
Actions:
ARCH276912
Description:
Project documentation for multiple architectural projects, organized alphabetically by name, F-Y (includes early, middle and late career works). Includes photographs of completed buildings, views of models, plans, renderings, newspaper and magazine clippings.
Classification:
photographies
photographies
Personnes et institutions:
Classification:
documents textuels
Quantité:
2 textual record(s)
documents textuels
Quantité:
2 textual record(s)
Numéro de référence:
ARCH186510
Description:
“St. Gabriel's Church (Renovated) Montreal” Journal, Royal Architectural Institute of Canada, vol. 43, no. 4 (april, 1966): 35 also in the same issue “St. John Brébeuf Parish, LaSalle, P.Q.” p. 40
ARCH186510
Description:
“St. Gabriel's Church (Renovated) Montreal” Journal, Royal Architectural Institute of Canada, vol. 43, no. 4 (april, 1966): 35 also in the same issue “St. John Brébeuf Parish, LaSalle, P.Q.” p. 40
Personnes et institutions:
Date:
1966
1966
Titre:
“St. Gabriel's Church (Renovated) Montreal” Journal
Actions:
ARCH186510
Description:
“St. Gabriel's Church (Renovated) Montreal” Journal, Royal Architectural Institute of Canada, vol. 43, no. 4 (april, 1966): 35 also in the same issue “St. John Brébeuf Parish, LaSalle, P.Q.” p. 40
“St. Gabriel's Church (Renovated) Montreal” Journal
Actions:
ARCH186510
Description:
“St. Gabriel's Church (Renovated) Montreal” Journal, Royal Architectural Institute of Canada, vol. 43, no. 4 (april, 1966): 35 also in the same issue “St. John Brébeuf Parish, LaSalle, P.Q.” p. 40
Classification:
documents textuels
Quantité:
2 textual record(s)
documents textuels
Quantité:
2 textual record(s)
Date:
1966
1966
Personnes et institutions:
Classification:
dessins
dessins
Numéro de référence:
ARCH261903
Description:
Site plans, floor plans, penthouse floor and roof plans, elevations, topographic survey plan, working architectural drawings, structural and mechanical plans and details, shop drawings, including correspondence from City Planning Department.
ARCH261903
Description:
Site plans, floor plans, penthouse floor and roof plans, elevations, topographic survey plan, working architectural drawings, structural and mechanical plans and details, shop drawings, including correspondence from City Planning Department.
Personnes et institutions:
Date:
1969
1969
Titre:
Site plans, floor plans, penthouse floor and roof plans
Actions:
ARCH261903
Description:
Site plans, floor plans, penthouse floor and roof plans, elevations, topographic survey plan, working architectural drawings, structural and mechanical plans and details, shop drawings, including correspondence from City Planning Department.
Site plans, floor plans, penthouse floor and roof plans
Actions:
ARCH261903
Description:
Site plans, floor plans, penthouse floor and roof plans, elevations, topographic survey plan, working architectural drawings, structural and mechanical plans and details, shop drawings, including correspondence from City Planning Department.
Classification:
dessins
dessins
Date:
1969
1969
Personnes et institutions:
Classification:
documents textuels
documents textuels
Titre:
PCM / Oct. 1978
PCM / Oct. 1978
Numéro de référence:
ARCH267580
Description:
This group consists of notes and information about the architectural team PLLL (Prus; LeMoyne & Associates; Lebelle, Marchand, Geoffroy; Hébert & Lalonde) and about the client, the Ministrère des Travaux Publics et de l'Approvisionnement du Québec.
ARCH267580
Description:
This group consists of notes and information about the architectural team PLLL (Prus; LeMoyne & Associates; Lebelle, Marchand, Geoffroy; Hébert & Lalonde) and about the client, the Ministrère des Travaux Publics et de l'Approvisionnement du Québec.
Personnes et institutions:
Date:
1978
1978
Titre:
PCM / Oct. 1978
Actions:
ARCH267580
Description:
This group consists of notes and information about the architectural team PLLL (Prus; LeMoyne & Associates; Lebelle, Marchand, Geoffroy; Hébert & Lalonde) and about the client, the Ministrère des Travaux Publics et de l'Approvisionnement du Québec.
PCM / Oct. 1978
Actions:
ARCH267580
Description:
This group consists of notes and information about the architectural team PLLL (Prus; LeMoyne & Associates; Lebelle, Marchand, Geoffroy; Hébert & Lalonde) and about the client, the Ministrère des Travaux Publics et de l'Approvisionnement du Québec.
Classification:
documents textuels
documents textuels
Date:
1978
1978
Personnes et institutions:
