70 Résultats
Classification:
articles
articles
Titre:
Mettre en doute la théorie
Mettre en doute la théorie
Actions:
Dijana O. Apostolski, Jana Berankova, Amir Taheri, Vitório Leite
Mot(s)-clé(s):
Boîte à outils pour aujourd'hui 2021, programme de doctorat, recherche, en suspicion de, théorie, linguistique, sémiotique, années 1970, Legalities for Living, doute, design généré par l'utilisateur, corps idéaux, ornement du début de l'ère moderne
Boîte à outils pour aujourd'hui 2021, programme de doctorat, recherche, en suspicion de, théorie, linguistique, sémiotique, années 1970, Legalities for Living, doute, design généré par l'utilisateur, corps idéaux, ornement du début de l'ère moderne
Publié:
12 juin 2023
12 juin 2023
Titre:
Mettre en doute la théorie
Dijana O. Apostolski, Jana Berankova, Amir Taheri, Vitório Leite
Actions:
Mettre en doute la théorie
Dijana O. Apostolski, Jana Berankova, Amir Taheri, Vitório Leite
Actions:
Classification:
dessins
dessins
Titre:
Elevation of a palace façade
Elevation of a palace façade
Actions:
Numéro de référence:
DR1970:0003
Description:
This drawing shows an exterior of a residential building. The artist uses color to suggest the materials used in construction; blue-grey for the pitched slate roof, brown for masonry details and architectural sculpture, and red striations for brickwork. This combination of materials was common in early modern France, where a play on color and materiality enlivened the façades of well-known royal edifices including the chateaux of Fontainebleau and Saint-Germain-en-Laye. As with the construction technique that interwove stone with brick, the architectural style depicted in the drawing combines traditional French ideas about building with classicizing elements imported to France via Italian artists and architects as well as through printed translations of Vitruvius’s 'De architectura' and Sebastiano Serlio’s architectural treatise. The inclusion of masonry rustication and the decorative urns that punctuate the roofline suggest a knowledge of classicizing trends in architectural ornament and a familiarity with the œuvre of artists working in the circle of the first and second Écoles de Fontainebleau. The structure’s elongated form suggests a gallery and the organization of the façade borrows the combination of slightly protruding vertical bays and long horizontal registers that characterizes Pierre Lescot’s wing of the Louvre, a project that would have been well-known in court circles in the latter half of the sixteenth century. Similarly, the two winged allegorical figures flanking the central pediment are reminiscent of Jean Goujon’s sculptural additions to the Lescot wing. In the Canadian Centre for Architecture’s drawing both figures hold palms, but the artist omitted any further identifying attributes, perhaps – along with the empty niches – as an invitation for the patron to imagine his or her own thematic program for the project.
DR1970:0003
Description:
This drawing shows an exterior of a residential building. The artist uses color to suggest the materials used in construction; blue-grey for the pitched slate roof, brown for masonry details and architectural sculpture, and red striations for brickwork. This combination of materials was common in early modern France, where a play on color and materiality enlivened the façades of well-known royal edifices including the chateaux of Fontainebleau and Saint-Germain-en-Laye. As with the construction technique that interwove stone with brick, the architectural style depicted in the drawing combines traditional French ideas about building with classicizing elements imported to France via Italian artists and architects as well as through printed translations of Vitruvius’s 'De architectura' and Sebastiano Serlio’s architectural treatise. The inclusion of masonry rustication and the decorative urns that punctuate the roofline suggest a knowledge of classicizing trends in architectural ornament and a familiarity with the œuvre of artists working in the circle of the first and second Écoles de Fontainebleau. The structure’s elongated form suggests a gallery and the organization of the façade borrows the combination of slightly protruding vertical bays and long horizontal registers that characterizes Pierre Lescot’s wing of the Louvre, a project that would have been well-known in court circles in the latter half of the sixteenth century. Similarly, the two winged allegorical figures flanking the central pediment are reminiscent of Jean Goujon’s sculptural additions to the Lescot wing. In the Canadian Centre for Architecture’s drawing both figures hold palms, but the artist omitted any further identifying attributes, perhaps – along with the empty niches – as an invitation for the patron to imagine his or her own thematic program for the project.
Personnes et institutions:
Date:
first quarter of the 16th century
first quarter of the 16th century
Titre:
Elevation of a palace façade
Actions:
DR1970:0003
Description:
This drawing shows an exterior of a residential building. The artist uses color to suggest the materials used in construction; blue-grey for the pitched slate roof, brown for masonry details and architectural sculpture, and red striations for brickwork. This combination of materials was common in early modern France, where a play on color and materiality enlivened the façades of well-known royal edifices including the chateaux of Fontainebleau and Saint-Germain-en-Laye. As with the construction technique that interwove stone with brick, the architectural style depicted in the drawing combines traditional French ideas about building with classicizing elements imported to France via Italian artists and architects as well as through printed translations of Vitruvius’s 'De architectura' and Sebastiano Serlio’s architectural treatise. The inclusion of masonry rustication and the decorative urns that punctuate the roofline suggest a knowledge of classicizing trends in architectural ornament and a familiarity with the œuvre of artists working in the circle of the first and second Écoles de Fontainebleau. The structure’s elongated form suggests a gallery and the organization of the façade borrows the combination of slightly protruding vertical bays and long horizontal registers that characterizes Pierre Lescot’s wing of the Louvre, a project that would have been well-known in court circles in the latter half of the sixteenth century. Similarly, the two winged allegorical figures flanking the central pediment are reminiscent of Jean Goujon’s sculptural additions to the Lescot wing. In the Canadian Centre for Architecture’s drawing both figures hold palms, but the artist omitted any further identifying attributes, perhaps – along with the empty niches – as an invitation for the patron to imagine his or her own thematic program for the project.
Elevation of a palace façade
Actions:
DR1970:0003
Description:
This drawing shows an exterior of a residential building. The artist uses color to suggest the materials used in construction; blue-grey for the pitched slate roof, brown for masonry details and architectural sculpture, and red striations for brickwork. This combination of materials was common in early modern France, where a play on color and materiality enlivened the façades of well-known royal edifices including the chateaux of Fontainebleau and Saint-Germain-en-Laye. As with the construction technique that interwove stone with brick, the architectural style depicted in the drawing combines traditional French ideas about building with classicizing elements imported to France via Italian artists and architects as well as through printed translations of Vitruvius’s 'De architectura' and Sebastiano Serlio’s architectural treatise. The inclusion of masonry rustication and the decorative urns that punctuate the roofline suggest a knowledge of classicizing trends in architectural ornament and a familiarity with the œuvre of artists working in the circle of the first and second Écoles de Fontainebleau. The structure’s elongated form suggests a gallery and the organization of the façade borrows the combination of slightly protruding vertical bays and long horizontal registers that characterizes Pierre Lescot’s wing of the Louvre, a project that would have been well-known in court circles in the latter half of the sixteenth century. Similarly, the two winged allegorical figures flanking the central pediment are reminiscent of Jean Goujon’s sculptural additions to the Lescot wing. In the Canadian Centre for Architecture’s drawing both figures hold palms, but the artist omitted any further identifying attributes, perhaps – along with the empty niches – as an invitation for the patron to imagine his or her own thematic program for the project.
Classification:
dessins
dessins
Date:
first quarter of the 16th century
first quarter of the 16th century
Personnes et institutions:
Niveau de description archivistique:
Sous-série
Sous-série
Numéro de référence:
CI001.S2.D5
Description:
Charles Rohault de Fleury was architect for the Muséum national d'histoire naturelle from 1833 to 1862. His work for the Muséum is represented in the CCA collection by a diverse group of prints and drawings. In addition to documenting his built and unbuilt projects, the inclusion of prints and drawings of museum and zoo buildings by other architects record, if only partially, the resources available to Charles in designing his buildings. This reference material provides insight into the influences on Charles' work as well as the nature of the design process itself. His built works, with the exception of the 1854 addition to the greenhouses, are illustrated in a book of prints with a brief accompanying text - "Muséum d'histoire naturelle: serres chaudes, galeries de minéralogie, etc. etc." (published 1837) (DR1974:0002:004:001; a second copy is held by the CCA library) (1). While prints are included for the Galerie de minéralogie et de géologie, the monkey house and the reservoirs, the majority of the prints are of the greenhouses (serres chaudes) begun 1833 (2). Known for their technological innovations in iron construction, these greenhouses utilized the first multi-storey load-bearing cast-iron façades for the central pavilions as well as space frame roof structures and prefabricated parts. This structural system is well documented in the prints in the CCA collection. The design was apparently inspired by the English greenhouses - a plate of which are included in the book - that Charles saw on a tour of England. The use of prestressed beams and curved roofs in the lateral wings attest to this influence. Charles' greenhouses, in turn, influenced the design of other greenhouses in Europe especially those at the Jardins Botanique in Liège and Ghent, Belgium (3). Although Joseph Paxton saw the greenhouses in 1833, it is unclear if they had an impact on the design of the Crystal Palace constructed 1850-1851 (4). The innovations of Charles' greenhouses continued to be acknowledged into the 20th century. Giedion in "Space, Time and Architecture", while erroneously attributing them to Rouhault (5)(6), refers to the greenhouses as "the prototype of all large iron-framed conservatories" (7). In addition to the greenhouses for the Muséum, the CCA collection includes three proposals (dated 1841) for a private greenhouse designed by Charles Rohault de Fleury (DR1974:0002:002:008 - DR1974:0002:002:013). The designs utilize the same curved roofs as the wings of the greenhouses at the Muséum combined with classically detailed stonework. An different aspect of Charles' work for the Muséum national d'histoire naturelle is represented in the album of unexecuted proposals -the only design drawings for the Muséum in the collection - for a Galerie de zoologie (DR1974:0002:024:001-079). Building on the typology of his earlier classical Galerie de minéralogie et de géologie (constructed 1833 -1841), the proposals, which date from between 1838 and 1862, illustrate a gradual enrichment of Charles' classical architectural vocabulary (8). They vary in their spatial configurations and façade treatments ranging from austere colonnaded designs with little ornament to more elaborate ones with richly encrusted facades, complex rooflines and more dramatic interior spaces characteristic of the Second Empire. The majority of the proposals consist of preliminary drawings illustrating the essential formal, spatial and ornamental aspects of the building. One proposal, dated January 1846, is substantially more developed than the others; in addition to general plans, sections and elevations, more detailed drawings are included for the layout of spaces, the elaboration of the facades, the configuration of the structure and even the designs for the specimen display cases. It is also worth noting that this album includes several plans outlining Rohault de Fleury's ideas for the overall development of the Muséum national d'histoire naturelle. In 1846, an album of prints of the Museo di fiscia e storia naturelle in Florence (DR1974:0002:005:001-018) was presented to Charles by the Grand Duke of Tuscany in response to his request for tracings of that building. These prints were probably used as reference material for the design of the new Galerie de zoologie described above. The portfolio of record drawings (ca. 1862) of the zoos in Antwerp, Brussels, Marseille and Amsterdam (DR1974:0002:018:001-027) is probably a dummy for a publication on zoological gardens as well as background documentation for the renovation and expansion of the zoo at the Muséum national d'histoire naturelle in Paris. Both drawings of the facilities for the animals and visitors and general plans of the zoological gardens are included. The Paris zoo project was apparently never undertaken. (1) These prints were reused in the "Oeuvre de C. Rohault de Fleury, architecte" (published 1884) (DR1974:0002:029:001-044). (2) Rohault de Fleury's greenhouses were destroyed in the Prussian bombardments of 1870. The greenhouses, which now stand in their place, are similar in layout and appearance to the original design, but their structural system is different. (3) John Hix, 'The Glass House' (Cambridge, Mass.: The MIT Press, 1981), p. 115. (4) Ibid., p. 115. (5) This error has been repeated by other authors including Henry-Russell Hitchcock, 'Architecture: Nineteenth and Twentieth Centuries' (Baltimore, Maryland: Penguin Books, 1968), p. 120. (6) Leonardo Benevolo, 'History of Modern Architecture' Volume 1: The tradition of modern architecture (Cambridge, Mass.: The M.I.T. Press, 1971), p. 22. (7) Sigfried Giedion, 'Space, Time and Architecture; the growth of a new tradition' (Cambridge: Harvard University Press, 1941), p. 181. (8) Barry Bergdoll, "Charles Rohault de Fleury: Part two: Muséum d'Histoire Naturelle and Studies on analogous Constructions in Europe", 'CCA Research Report", n.d., p. 1.
CI001.S2.D5
Description:
Charles Rohault de Fleury was architect for the Muséum national d'histoire naturelle from 1833 to 1862. His work for the Muséum is represented in the CCA collection by a diverse group of prints and drawings. In addition to documenting his built and unbuilt projects, the inclusion of prints and drawings of museum and zoo buildings by other architects record, if only partially, the resources available to Charles in designing his buildings. This reference material provides insight into the influences on Charles' work as well as the nature of the design process itself. His built works, with the exception of the 1854 addition to the greenhouses, are illustrated in a book of prints with a brief accompanying text - "Muséum d'histoire naturelle: serres chaudes, galeries de minéralogie, etc. etc." (published 1837) (DR1974:0002:004:001; a second copy is held by the CCA library) (1). While prints are included for the Galerie de minéralogie et de géologie, the monkey house and the reservoirs, the majority of the prints are of the greenhouses (serres chaudes) begun 1833 (2). Known for their technological innovations in iron construction, these greenhouses utilized the first multi-storey load-bearing cast-iron façades for the central pavilions as well as space frame roof structures and prefabricated parts. This structural system is well documented in the prints in the CCA collection. The design was apparently inspired by the English greenhouses - a plate of which are included in the book - that Charles saw on a tour of England. The use of prestressed beams and curved roofs in the lateral wings attest to this influence. Charles' greenhouses, in turn, influenced the design of other greenhouses in Europe especially those at the Jardins Botanique in Liège and Ghent, Belgium (3). Although Joseph Paxton saw the greenhouses in 1833, it is unclear if they had an impact on the design of the Crystal Palace constructed 1850-1851 (4). The innovations of Charles' greenhouses continued to be acknowledged into the 20th century. Giedion in "Space, Time and Architecture", while erroneously attributing them to Rouhault (5)(6), refers to the greenhouses as "the prototype of all large iron-framed conservatories" (7). In addition to the greenhouses for the Muséum, the CCA collection includes three proposals (dated 1841) for a private greenhouse designed by Charles Rohault de Fleury (DR1974:0002:002:008 - DR1974:0002:002:013). The designs utilize the same curved roofs as the wings of the greenhouses at the Muséum combined with classically detailed stonework. An different aspect of Charles' work for the Muséum national d'histoire naturelle is represented in the album of unexecuted proposals -the only design drawings for the Muséum in the collection - for a Galerie de zoologie (DR1974:0002:024:001-079). Building on the typology of his earlier classical Galerie de minéralogie et de géologie (constructed 1833 -1841), the proposals, which date from between 1838 and 1862, illustrate a gradual enrichment of Charles' classical architectural vocabulary (8). They vary in their spatial configurations and façade treatments ranging from austere colonnaded designs with little ornament to more elaborate ones with richly encrusted facades, complex rooflines and more dramatic interior spaces characteristic of the Second Empire. The majority of the proposals consist of preliminary drawings illustrating the essential formal, spatial and ornamental aspects of the building. One proposal, dated January 1846, is substantially more developed than the others; in addition to general plans, sections and elevations, more detailed drawings are included for the layout of spaces, the elaboration of the facades, the configuration of the structure and even the designs for the specimen display cases. It is also worth noting that this album includes several plans outlining Rohault de Fleury's ideas for the overall development of the Muséum national d'histoire naturelle. In 1846, an album of prints of the Museo di fiscia e storia naturelle in Florence (DR1974:0002:005:001-018) was presented to Charles by the Grand Duke of Tuscany in response to his request for tracings of that building. These prints were probably used as reference material for the design of the new Galerie de zoologie described above. The portfolio of record drawings (ca. 1862) of the zoos in Antwerp, Brussels, Marseille and Amsterdam (DR1974:0002:018:001-027) is probably a dummy for a publication on zoological gardens as well as background documentation for the renovation and expansion of the zoo at the Muséum national d'histoire naturelle in Paris. Both drawings of the facilities for the animals and visitors and general plans of the zoological gardens are included. The Paris zoo project was apparently never undertaken. (1) These prints were reused in the "Oeuvre de C. Rohault de Fleury, architecte" (published 1884) (DR1974:0002:029:001-044). (2) Rohault de Fleury's greenhouses were destroyed in the Prussian bombardments of 1870. The greenhouses, which now stand in their place, are similar in layout and appearance to the original design, but their structural system is different. (3) John Hix, 'The Glass House' (Cambridge, Mass.: The MIT Press, 1981), p. 115. (4) Ibid., p. 115. (5) This error has been repeated by other authors including Henry-Russell Hitchcock, 'Architecture: Nineteenth and Twentieth Centuries' (Baltimore, Maryland: Penguin Books, 1968), p. 120. (6) Leonardo Benevolo, 'History of Modern Architecture' Volume 1: The tradition of modern architecture (Cambridge, Mass.: The M.I.T. Press, 1971), p. 22. (7) Sigfried Giedion, 'Space, Time and Architecture; the growth of a new tradition' (Cambridge: Harvard University Press, 1941), p. 181. (8) Barry Bergdoll, "Charles Rohault de Fleury: Part two: Muséum d'Histoire Naturelle and Studies on analogous Constructions in Europe", 'CCA Research Report", n.d., p. 1.
Personnes et institutions:
- Centre canadien d'architecture (compiler)
- Charles Rohault de Fleury (architect)
Date:
[1837-ca. 1862]
[1837-ca. 1862]
Titre:
Muséum nationale d'histoire naturelle
CI001.S2.D5
Description:
Charles Rohault de Fleury was architect for the Muséum national d'histoire naturelle from 1833 to 1862. His work for the Muséum is represented in the CCA collection by a diverse group of prints and drawings. In addition to documenting his built and unbuilt projects, the inclusion of prints and drawings of museum and zoo buildings by other architects record, if only partially, the resources available to Charles in designing his buildings. This reference material provides insight into the influences on Charles' work as well as the nature of the design process itself. His built works, with the exception of the 1854 addition to the greenhouses, are illustrated in a book of prints with a brief accompanying text - "Muséum d'histoire naturelle: serres chaudes, galeries de minéralogie, etc. etc." (published 1837) (DR1974:0002:004:001; a second copy is held by the CCA library) (1). While prints are included for the Galerie de minéralogie et de géologie, the monkey house and the reservoirs, the majority of the prints are of the greenhouses (serres chaudes) begun 1833 (2). Known for their technological innovations in iron construction, these greenhouses utilized the first multi-storey load-bearing cast-iron façades for the central pavilions as well as space frame roof structures and prefabricated parts. This structural system is well documented in the prints in the CCA collection. The design was apparently inspired by the English greenhouses - a plate of which are included in the book - that Charles saw on a tour of England. The use of prestressed beams and curved roofs in the lateral wings attest to this influence. Charles' greenhouses, in turn, influenced the design of other greenhouses in Europe especially those at the Jardins Botanique in Liège and Ghent, Belgium (3). Although Joseph Paxton saw the greenhouses in 1833, it is unclear if they had an impact on the design of the Crystal Palace constructed 1850-1851 (4). The innovations of Charles' greenhouses continued to be acknowledged into the 20th century. Giedion in "Space, Time and Architecture", while erroneously attributing them to Rouhault (5)(6), refers to the greenhouses as "the prototype of all large iron-framed conservatories" (7). In addition to the greenhouses for the Muséum, the CCA collection includes three proposals (dated 1841) for a private greenhouse designed by Charles Rohault de Fleury (DR1974:0002:002:008 - DR1974:0002:002:013). The designs utilize the same curved roofs as the wings of the greenhouses at the Muséum combined with classically detailed stonework. An different aspect of Charles' work for the Muséum national d'histoire naturelle is represented in the album of unexecuted proposals -the only design drawings for the Muséum in the collection - for a Galerie de zoologie (DR1974:0002:024:001-079). Building on the typology of his earlier classical Galerie de minéralogie et de géologie (constructed 1833 -1841), the proposals, which date from between 1838 and 1862, illustrate a gradual enrichment of Charles' classical architectural vocabulary (8). They vary in their spatial configurations and façade treatments ranging from austere colonnaded designs with little ornament to more elaborate ones with richly encrusted facades, complex rooflines and more dramatic interior spaces characteristic of the Second Empire. The majority of the proposals consist of preliminary drawings illustrating the essential formal, spatial and ornamental aspects of the building. One proposal, dated January 1846, is substantially more developed than the others; in addition to general plans, sections and elevations, more detailed drawings are included for the layout of spaces, the elaboration of the facades, the configuration of the structure and even the designs for the specimen display cases. It is also worth noting that this album includes several plans outlining Rohault de Fleury's ideas for the overall development of the Muséum national d'histoire naturelle. In 1846, an album of prints of the Museo di fiscia e storia naturelle in Florence (DR1974:0002:005:001-018) was presented to Charles by the Grand Duke of Tuscany in response to his request for tracings of that building. These prints were probably used as reference material for the design of the new Galerie de zoologie described above. The portfolio of record drawings (ca. 1862) of the zoos in Antwerp, Brussels, Marseille and Amsterdam (DR1974:0002:018:001-027) is probably a dummy for a publication on zoological gardens as well as background documentation for the renovation and expansion of the zoo at the Muséum national d'histoire naturelle in Paris. Both drawings of the facilities for the animals and visitors and general plans of the zoological gardens are included. The Paris zoo project was apparently never undertaken. (1) These prints were reused in the "Oeuvre de C. Rohault de Fleury, architecte" (published 1884) (DR1974:0002:029:001-044). (2) Rohault de Fleury's greenhouses were destroyed in the Prussian bombardments of 1870. The greenhouses, which now stand in their place, are similar in layout and appearance to the original design, but their structural system is different. (3) John Hix, 'The Glass House' (Cambridge, Mass.: The MIT Press, 1981), p. 115. (4) Ibid., p. 115. (5) This error has been repeated by other authors including Henry-Russell Hitchcock, 'Architecture: Nineteenth and Twentieth Centuries' (Baltimore, Maryland: Penguin Books, 1968), p. 120. (6) Leonardo Benevolo, 'History of Modern Architecture' Volume 1: The tradition of modern architecture (Cambridge, Mass.: The M.I.T. Press, 1971), p. 22. (7) Sigfried Giedion, 'Space, Time and Architecture; the growth of a new tradition' (Cambridge: Harvard University Press, 1941), p. 181. (8) Barry Bergdoll, "Charles Rohault de Fleury: Part two: Muséum d'Histoire Naturelle and Studies on analogous Constructions in Europe", 'CCA Research Report", n.d., p. 1.
Muséum nationale d'histoire naturelle
CI001.S2.D5
Description:
Charles Rohault de Fleury was architect for the Muséum national d'histoire naturelle from 1833 to 1862. His work for the Muséum is represented in the CCA collection by a diverse group of prints and drawings. In addition to documenting his built and unbuilt projects, the inclusion of prints and drawings of museum and zoo buildings by other architects record, if only partially, the resources available to Charles in designing his buildings. This reference material provides insight into the influences on Charles' work as well as the nature of the design process itself. His built works, with the exception of the 1854 addition to the greenhouses, are illustrated in a book of prints with a brief accompanying text - "Muséum d'histoire naturelle: serres chaudes, galeries de minéralogie, etc. etc." (published 1837) (DR1974:0002:004:001; a second copy is held by the CCA library) (1). While prints are included for the Galerie de minéralogie et de géologie, the monkey house and the reservoirs, the majority of the prints are of the greenhouses (serres chaudes) begun 1833 (2). Known for their technological innovations in iron construction, these greenhouses utilized the first multi-storey load-bearing cast-iron façades for the central pavilions as well as space frame roof structures and prefabricated parts. This structural system is well documented in the prints in the CCA collection. The design was apparently inspired by the English greenhouses - a plate of which are included in the book - that Charles saw on a tour of England. The use of prestressed beams and curved roofs in the lateral wings attest to this influence. Charles' greenhouses, in turn, influenced the design of other greenhouses in Europe especially those at the Jardins Botanique in Liège and Ghent, Belgium (3). Although Joseph Paxton saw the greenhouses in 1833, it is unclear if they had an impact on the design of the Crystal Palace constructed 1850-1851 (4). The innovations of Charles' greenhouses continued to be acknowledged into the 20th century. Giedion in "Space, Time and Architecture", while erroneously attributing them to Rouhault (5)(6), refers to the greenhouses as "the prototype of all large iron-framed conservatories" (7). In addition to the greenhouses for the Muséum, the CCA collection includes three proposals (dated 1841) for a private greenhouse designed by Charles Rohault de Fleury (DR1974:0002:002:008 - DR1974:0002:002:013). The designs utilize the same curved roofs as the wings of the greenhouses at the Muséum combined with classically detailed stonework. An different aspect of Charles' work for the Muséum national d'histoire naturelle is represented in the album of unexecuted proposals -the only design drawings for the Muséum in the collection - for a Galerie de zoologie (DR1974:0002:024:001-079). Building on the typology of his earlier classical Galerie de minéralogie et de géologie (constructed 1833 -1841), the proposals, which date from between 1838 and 1862, illustrate a gradual enrichment of Charles' classical architectural vocabulary (8). They vary in their spatial configurations and façade treatments ranging from austere colonnaded designs with little ornament to more elaborate ones with richly encrusted facades, complex rooflines and more dramatic interior spaces characteristic of the Second Empire. The majority of the proposals consist of preliminary drawings illustrating the essential formal, spatial and ornamental aspects of the building. One proposal, dated January 1846, is substantially more developed than the others; in addition to general plans, sections and elevations, more detailed drawings are included for the layout of spaces, the elaboration of the facades, the configuration of the structure and even the designs for the specimen display cases. It is also worth noting that this album includes several plans outlining Rohault de Fleury's ideas for the overall development of the Muséum national d'histoire naturelle. In 1846, an album of prints of the Museo di fiscia e storia naturelle in Florence (DR1974:0002:005:001-018) was presented to Charles by the Grand Duke of Tuscany in response to his request for tracings of that building. These prints were probably used as reference material for the design of the new Galerie de zoologie described above. The portfolio of record drawings (ca. 1862) of the zoos in Antwerp, Brussels, Marseille and Amsterdam (DR1974:0002:018:001-027) is probably a dummy for a publication on zoological gardens as well as background documentation for the renovation and expansion of the zoo at the Muséum national d'histoire naturelle in Paris. Both drawings of the facilities for the animals and visitors and general plans of the zoological gardens are included. The Paris zoo project was apparently never undertaken. (1) These prints were reused in the "Oeuvre de C. Rohault de Fleury, architecte" (published 1884) (DR1974:0002:029:001-044). (2) Rohault de Fleury's greenhouses were destroyed in the Prussian bombardments of 1870. The greenhouses, which now stand in their place, are similar in layout and appearance to the original design, but their structural system is different. (3) John Hix, 'The Glass House' (Cambridge, Mass.: The MIT Press, 1981), p. 115. (4) Ibid., p. 115. (5) This error has been repeated by other authors including Henry-Russell Hitchcock, 'Architecture: Nineteenth and Twentieth Centuries' (Baltimore, Maryland: Penguin Books, 1968), p. 120. (6) Leonardo Benevolo, 'History of Modern Architecture' Volume 1: The tradition of modern architecture (Cambridge, Mass.: The M.I.T. Press, 1971), p. 22. (7) Sigfried Giedion, 'Space, Time and Architecture; the growth of a new tradition' (Cambridge: Harvard University Press, 1941), p. 181. (8) Barry Bergdoll, "Charles Rohault de Fleury: Part two: Muséum d'Histoire Naturelle and Studies on analogous Constructions in Europe", 'CCA Research Report", n.d., p. 1.
Niveau de description archivistique:
File 5
File 5
Date:
[1837-ca. 1862]
[1837-ca. 1862]
Personnes et institutions:
- Centre canadien d'architecture (compiler)
- Charles Rohault de Fleury (architect)
Classification:
livres
livres
Actions:
Exemplaires:
Description:
viii, 454 pages ; 30 cm
Description:
viii, 454 pages ; 30 cm
Auteur:
Sujet:
- Decoration and ornament, Architectural.,
- Décoration et ornement architecturaux.,
- architectural ornament.,
- 20.20 iconography.,
- 21.80 decorative art: general.,
- Ornamentik.,
- Konstnärlig utsmyckning.,
- Arkitektur.,
- Exhibition catalogues.,
- exhibition catalogs.,
- Exhibition catalogs,
- Catalogues d'exposition.
Publication:
Princeton : Princeton University Press, [2016]
Princeton : Princeton University Press, [2016]
Titre:
Histories of Ornament : From Global to Local / edited by Gülru Necipoğlu and Alina Payne ; With contributions by Michele Bacci, Anna Contadini, Thomas B.F. Cummins, Chanchal Dadlani, Daniela del Pesco, Vittoria Di Palma, Anne Dunlop, Marzia Faietti, María Judith Feliciano, Finbarr Barry Flood, Jonathan Hay, Christopher P. Heuer, Rémi Labrusse, Gülru Necipoğlu, Marco Rosario Nobile, Oya Pancaroğlu, Spyros Papapetros, Alina Payne, Antoine Picon, David Pullins, Jennifer L. Roberts, David J. Roxburgh, Hashim Sarkis, Robin Schuldenfrei, Avinoam Shalem, and Gerhard Wolf.
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Description:
viii, 454 pages ; 30 cm
Histories of Ornament : From Global to Local / edited by Gülru Necipoğlu and Alina Payne ; With contributions by Michele Bacci, Anna Contadini, Thomas B.F. Cummins, Chanchal Dadlani, Daniela del Pesco, Vittoria Di Palma, Anne Dunlop, Marzia Faietti, María Judith Feliciano, Finbarr Barry Flood, Jonathan Hay, Christopher P. Heuer, Rémi Labrusse, Gülru Necipoğlu, Marco Rosario Nobile, Oya Pancaroğlu, Spyros Papapetros, Alina Payne, Antoine Picon, David Pullins, Jennifer L. Roberts, David J. Roxburgh, Hashim Sarkis, Robin Schuldenfrei, Avinoam Shalem, and Gerhard Wolf.
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Description:
viii, 454 pages ; 30 cm
Classification:
livres
livres
Publication:
Princeton : Princeton University Press, [2016]
Princeton : Princeton University Press, [2016]
Auteur:
Sujet:
- Decoration and ornament, Architectural.,
- Décoration et ornement architecturaux.,
- architectural ornament.,
- 20.20 iconography.,
- 21.80 decorative art: general.,
- Ornamentik.,
- Konstnärlig utsmyckning.,
- Arkitektur.,
- Exhibition catalogues.,
- exhibition catalogs.,
- Exhibition catalogs,
- Catalogues d'exposition.
Classification:
livres
livres
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Description:
vii, 647 pages : illustrations ; 22 cm
Description:
vii, 647 pages : illustrations ; 22 cm
Auteur:
Sujet:
Publication:
New York : Dover Publications, 1959.
New York : Dover Publications, 1959.
Titre:
The styles of ornament / by Alexander Speltz.
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Description:
vii, 647 pages : illustrations ; 22 cm
The styles of ornament / by Alexander Speltz.
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Description:
vii, 647 pages : illustrations ; 22 cm
Classification:
livres
livres
Publication:
New York : Dover Publications, 1959.
New York : Dover Publications, 1959.
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livres
livres
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Description:
168 pages : illustrations (chiefly color) ; 23 cm.
Description:
168 pages : illustrations (chiefly color) ; 23 cm.
Auteur:
Sujet:
- Decoration and ornament, Architectural.,
- Symbolism in architecture.,
- Architectural design Philosophy.,
- Architectural design Data processing.,
- Architecture Psychological aspects.,
- Architecture and society History 21st century.,
- Architecture, Modern 21st century.,
- Décoration et ornement architecturaux.,
- Symbolisme en architecture.,
- Design architectural Informatique.,
- Architecture Aspect psychologique.,
- Architecture et société Histoire 21e siècle.,
- Architecture 21e siècle.,
- Design architectural Philosophie.,
- architectural ornament.,
- Architecture and society,
- Architecture, Modern,
- Architekturtheorie,
- Ornament,
- Ornements (arts décoratifs),
- Architecture Philosophie Histoire.,
- Architecture Détails.,
- History
Publication:
Chichester, West Sussex, United Kingdom : Wiley, A John Wiley and Sons Ltd, Publication, [2013], ©2013
Chichester, West Sussex, United Kingdom : Wiley, A John Wiley and Sons Ltd, Publication, [2013], ©2013
Titre:
Ornament : the politics of architecture and subjectivity / Antoine Picon.
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Description:
168 pages : illustrations (chiefly color) ; 23 cm.
Ornament : the politics of architecture and subjectivity / Antoine Picon.
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Description:
168 pages : illustrations (chiefly color) ; 23 cm.
Classification:
livres
livres
Publication:
Chichester, West Sussex, United Kingdom : Wiley, A John Wiley and Sons Ltd, Publication, [2013], ©2013
Chichester, West Sussex, United Kingdom : Wiley, A John Wiley and Sons Ltd, Publication, [2013], ©2013
Auteur:
Sujet:
- Decoration and ornament, Architectural.,
- Symbolism in architecture.,
- Architectural design Philosophy.,
- Architectural design Data processing.,
- Architecture Psychological aspects.,
- Architecture and society History 21st century.,
- Architecture, Modern 21st century.,
- Décoration et ornement architecturaux.,
- Symbolisme en architecture.,
- Design architectural Informatique.,
- Architecture Aspect psychologique.,
- Architecture et société Histoire 21e siècle.,
- Architecture 21e siècle.,
- Design architectural Philosophie.,
- architectural ornament.,
- Architecture and society,
- Architecture, Modern,
- Architekturtheorie,
- Ornament,
- Ornements (arts décoratifs),
- Architecture Philosophie Histoire.,
- Architecture Détails.,
- History
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livres
livres
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Description:
127 pages ; 21 cm.
Description:
127 pages ; 21 cm.
Auteur:
Sujet:
- Loos, Adolf, 1870-1933 Written works.,
- Loos, Adolf, 1870-1933. Ornament und Verbrechen.,
- Loos, Adolf, 1870-1933.,
- Architecture Philosophy.,
- Decoration and ornament Philosophy.,
- Architecture, Modern 19th century.,
- Architecture, Modern 20th century.,
- Decorative arts Europe History 19th century.,
- Decorative arts Europe History 20th century.,
- Architecture, Modern.,
- Architecture 19e siècle.,
- Architecture 20e siècle.,
- Arts décoratifs Europe Histoire 19e siècle.,
- Arts décoratifs Europe Histoire 20e siècle.,
- Authorship.,
- Decorative arts.,
- Europe.,
- History.
Publication:
Barcelona : Tenov Books, 2015.
Barcelona : Tenov Books, 2015.
Titre:
On Loos, ornament and crime / Juan José Lahuerta ; translated by Graham Thomson.
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Description:
127 pages ; 21 cm.
On Loos, ornament and crime / Juan José Lahuerta ; translated by Graham Thomson.
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Description:
127 pages ; 21 cm.
Classification:
livres
livres
Publication:
Barcelona : Tenov Books, 2015.
Barcelona : Tenov Books, 2015.
Auteur:
Sujet:
- Loos, Adolf, 1870-1933 Written works.,
- Loos, Adolf, 1870-1933. Ornament und Verbrechen.,
- Loos, Adolf, 1870-1933.,
- Architecture Philosophy.,
- Decoration and ornament Philosophy.,
- Architecture, Modern 19th century.,
- Architecture, Modern 20th century.,
- Decorative arts Europe History 19th century.,
- Decorative arts Europe History 20th century.,
- Architecture, Modern.,
- Architecture 19e siècle.,
- Architecture 20e siècle.,
- Arts décoratifs Europe Histoire 19e siècle.,
- Arts décoratifs Europe Histoire 20e siècle.,
- Authorship.,
- Decorative arts.,
- Europe.,
- History.
Classification:
livres
livres
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Description:
280 pages : illustrations ; 24 cm
Description:
280 pages : illustrations ; 24 cm
Auteur:
Sujet:
- Collectors and collecting England History 17th century.,
- English literature Early modern, 1500-1700 History and criticism.,
- Curiosities and wonders England History 17th century.,
- Natural history England History 17th century.,
- Antiquarians Great Britain Biography.,
- Antiquarians England History 17th century.,
- Collections Angleterre Histoire 17e siècle.,
- Littérature anglaise 17e siècle Histoire et critique.,
- Curiosités et merveilles Angleterre Histoire 17e siècle.,
- Sciences naturelles Angleterre Histoire 17e siècle.,
- Spécialistes d'histoire ancienne Angleterre Histoire 17e siècle.,
- Spécialistes d'histoire ancienne Grande-Bretagne Biographies.,
- Antiquarians.,
- Civilization.,
- Collectors and collecting.,
- Curiosities and wonders.,
- English literature Early modern.,
- Natural history.,
- Verzamelingen.,
- Curiosa.,
- England Civilization 17th century.,
- Angleterre Civilisation 17e siècle.,
- England.,
- Great Britain.,
- collective biographies.,
- Biographies.,
- Criticism, interpretation, etc.,
- History.
Publication:
Philadelphia : University of Pennsylvania Press, ©2001.
Philadelphia : University of Pennsylvania Press, ©2001.
Titre:
Curiosities and texts : the culture of collecting in early modern England / Marjorie Swann.
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Description:
280 pages : illustrations ; 24 cm
Curiosities and texts : the culture of collecting in early modern England / Marjorie Swann.
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Description:
280 pages : illustrations ; 24 cm
Classification:
livres
livres
Publication:
Philadelphia : University of Pennsylvania Press, ©2001.
Philadelphia : University of Pennsylvania Press, ©2001.
Auteur:
Sujet:
- Collectors and collecting England History 17th century.,
- English literature Early modern, 1500-1700 History and criticism.,
- Curiosities and wonders England History 17th century.,
- Natural history England History 17th century.,
- Antiquarians Great Britain Biography.,
- Antiquarians England History 17th century.,
- Collections Angleterre Histoire 17e siècle.,
- Littérature anglaise 17e siècle Histoire et critique.,
- Curiosités et merveilles Angleterre Histoire 17e siècle.,
- Sciences naturelles Angleterre Histoire 17e siècle.,
- Spécialistes d'histoire ancienne Angleterre Histoire 17e siècle.,
- Spécialistes d'histoire ancienne Grande-Bretagne Biographies.,
- Antiquarians.,
- Civilization.,
- Collectors and collecting.,
- Curiosities and wonders.,
- English literature Early modern.,
- Natural history.,
- Verzamelingen.,
- Curiosa.,
- England Civilization 17th century.,
- Angleterre Civilisation 17e siècle.,
- England.,
- Great Britain.,
- collective biographies.,
- Biographies.,
- Criticism, interpretation, etc.,
- History.
Classification:
livres
livres
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Description:
xvii, 314 pages : illustrations ; 25 cm
Description:
xvii, 314 pages : illustrations ; 25 cm
Auteur:
Sujet:
- Tintoretto 1518-1594,
- Tiepolo, Antonio 1526-1582,
- Chiesa dei Santi Cosma e Damiano (Venice, Italy),
- Benediktinerinnen,
- Santi Cosma e Damiano Kloster,
- Benedictine architecture Italy Venice.,
- Benedictine art Italy Venice.,
- Architecture and society Italy Venice.,
- Art and society Italy Venice.,
- Architecture bénédictine Italie Venise.,
- Art bénédictin Italie Venise.,
- Architecture et société Italie Venise.,
- Art et société Italie Venise.,
- Architecture and society,
- Art and society,
- Benedictine architecture,
- Benedictine art,
- Civilization,
- Architektur,
- Ausstattung,
- Christliche Kunst,
- Geschichte,
- Kunst,
- Convents Italy Venice History.,
- Church decoration and ornament Italy Venice History.,
- Decoration and ornament, Architectural Italy Venice.,
- Christian art and symbolism Italy Venice.,
- Architecture and religion.,
- Benedictine nuns Italy.,
- Constitutional law Venedig Santi Cosma e Damiano.,
- Venice (Italy) Civilization.,
- Venise (Italie) Civilisation.,
- Italy Venice,
- Santi Cosma e Damiano,
- Architecture.
Publication:
Farnham, Surrey, UK, England ; Burlington, VT : Ashgate, ©2012.
Farnham, Surrey, UK, England ; Burlington, VT : Ashgate, ©2012.
Titre:
Nuns and reform art in early modern Venice : the architecture of Santi Cosma e Damiano and its decoration from Tintoretto to Tiepolo / Benjamin Paul.
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Description:
xvii, 314 pages : illustrations ; 25 cm
Nuns and reform art in early modern Venice : the architecture of Santi Cosma e Damiano and its decoration from Tintoretto to Tiepolo / Benjamin Paul.
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Description:
xvii, 314 pages : illustrations ; 25 cm
Classification:
livres
livres
Publication:
Farnham, Surrey, UK, England ; Burlington, VT : Ashgate, ©2012.
Farnham, Surrey, UK, England ; Burlington, VT : Ashgate, ©2012.
Auteur:
Sujet:
- Tintoretto 1518-1594,
- Tiepolo, Antonio 1526-1582,
- Chiesa dei Santi Cosma e Damiano (Venice, Italy),
- Benediktinerinnen,
- Santi Cosma e Damiano Kloster,
- Benedictine architecture Italy Venice.,
- Benedictine art Italy Venice.,
- Architecture and society Italy Venice.,
- Art and society Italy Venice.,
- Architecture bénédictine Italie Venise.,
- Art bénédictin Italie Venise.,
- Architecture et société Italie Venise.,
- Art et société Italie Venise.,
- Architecture and society,
- Art and society,
- Benedictine architecture,
- Benedictine art,
- Civilization,
- Architektur,
- Ausstattung,
- Christliche Kunst,
- Geschichte,
- Kunst,
- Convents Italy Venice History.,
- Church decoration and ornament Italy Venice History.,
- Decoration and ornament, Architectural Italy Venice.,
- Christian art and symbolism Italy Venice.,
- Architecture and religion.,
- Benedictine nuns Italy.,
- Constitutional law Venedig Santi Cosma e Damiano.,
- Venice (Italy) Civilization.,
- Venise (Italie) Civilisation.,
- Italy Venice,
- Santi Cosma e Damiano,
- Architecture.
Classification:
livres
livres
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Description:
95 pages : illustrations ; 17 cm.
Description:
95 pages : illustrations ; 17 cm.
Auteur:
Sujet:
- Architecture, Victorian.,
- Art, Victorian.,
- Architecture victorienne.,
- Art victorien.,
- Victorian.,
- Architektur,
- Bildband,
- Großbritannien
Publication:
New York : Abbeville Press, ©1995.
New York : Abbeville Press, ©1995.
Titre:
Early Victorian / Constance M. Greiff.
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Description:
95 pages : illustrations ; 17 cm.
Early Victorian / Constance M. Greiff.
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Description:
95 pages : illustrations ; 17 cm.
Classification:
livres
livres
Publication:
New York : Abbeville Press, ©1995.
New York : Abbeville Press, ©1995.
Auteur:
Sujet:
- Architecture, Victorian.,
- Art, Victorian.,
- Architecture victorienne.,
- Art victorien.,
- Victorian.,
- Architektur,
- Bildband,
- Großbritannien
