497 Results
Level of archival description:
Project
Project
Actions:
Reference number:
AP018.S1.1975.PR07
Description:
This project series documents the design of a residence for Mr. Charles Taylor and his wife in North York, Ontario in 1975. The office identified the project number as 7513. This project consisted of two schemes for the home, both of which included a swimming pool, tennis courts and visitor parking. The first scheme showed a layout built on a diagonal axis in a zigzagging U-shape and the second had a more classic layout, arranged in an L-shape. It is unclear from the materials if this project was ever built. The project is recorded through drawings and correspondence dating from 1975. The drawings include sketches, sections and floor plans recording both proposed schemes.
AP018.S1.1975.PR07
Description:
This project series documents the design of a residence for Mr. Charles Taylor and his wife in North York, Ontario in 1975. The office identified the project number as 7513. This project consisted of two schemes for the home, both of which included a swimming pool, tennis courts and visitor parking. The first scheme showed a layout built on a diagonal axis in a zigzagging U-shape and the second had a more classic layout, arranged in an L-shape. It is unclear from the materials if this project was ever built. The project is recorded through drawings and correspondence dating from 1975. The drawings include sketches, sections and floor plans recording both proposed schemes.
People:
Date:
1975
1975
Title:
Residence for Mr. and Mrs. Charles Taylor, North York, Ontario (1975)
Actions:
AP018.S1.1975.PR07
Description:
This project series documents the design of a residence for Mr. Charles Taylor and his wife in North York, Ontario in 1975. The office identified the project number as 7513. This project consisted of two schemes for the home, both of which included a swimming pool, tennis courts and visitor parking. The first scheme showed a layout built on a diagonal axis in a zigzagging U-shape and the second had a more classic layout, arranged in an L-shape. It is unclear from the materials if this project was ever built. The project is recorded through drawings and correspondence dating from 1975. The drawings include sketches, sections and floor plans recording both proposed schemes.
Residence for Mr. and Mrs. Charles Taylor, North York, Ontario (1975)
Actions:
AP018.S1.1975.PR07
Description:
This project series documents the design of a residence for Mr. Charles Taylor and his wife in North York, Ontario in 1975. The office identified the project number as 7513. This project consisted of two schemes for the home, both of which included a swimming pool, tennis courts and visitor parking. The first scheme showed a layout built on a diagonal axis in a zigzagging U-shape and the second had a more classic layout, arranged in an L-shape. It is unclear from the materials if this project was ever built. The project is recorded through drawings and correspondence dating from 1975. The drawings include sketches, sections and floor plans recording both proposed schemes.
Level of archival description:
Project
Project
Date:
1975
1975
People:
Form:
photographs
photographs
Actions:
Reference number:
PH2000:0099
PH2000:0099
People:
Subject:
interior design, portrait
interior design, portrait
Date:
1963
1963
Form:
photographs
photographs
Date:
1963
1963
People:
Subject:
interior design, portrait
interior design, portrait
Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Title:
B.C. Binning fonds
B.C. Binning fonds
Reference number:
AP069
Synopsis:
The B.C. Binning fonds documents the activities of artist B.C. Binning and the links between his art and architecture. The fonds contains drawings, reprographic copies, photographs and coloured test panels related to five projects, among others, the design of Binning's residence in West Vancouver, British Columbia and the mural for the B.C. Electric Head Office in Vancouver. Material in the fonds was produced between 1941 and 1963.
AP069
Synopsis:
The B.C. Binning fonds documents the activities of artist B.C. Binning and the links between his art and architecture. The fonds contains drawings, reprographic copies, photographs and coloured test panels related to five projects, among others, the design of Binning's residence in West Vancouver, British Columbia and the mural for the B.C. Electric Head Office in Vancouver. Material in the fonds was produced between 1941 and 1963.
People:
Date:
1941-1963
1941-1963
Title:
B.C. Binning fonds
Actions:
AP069
Synopsis:
The B.C. Binning fonds documents the activities of artist B.C. Binning and the links between his art and architecture. The fonds contains drawings, reprographic copies, photographs and coloured test panels related to five projects, among others, the design of Binning's residence in West Vancouver, British Columbia and the mural for the B.C. Electric Head Office in Vancouver. Material in the fonds was produced between 1941 and 1963.
B.C. Binning fonds
Actions:
AP069
Synopsis:
The B.C. Binning fonds documents the activities of artist B.C. Binning and the links between his art and architecture. The fonds contains drawings, reprographic copies, photographs and coloured test panels related to five projects, among others, the design of Binning's residence in West Vancouver, British Columbia and the mural for the B.C. Electric Head Office in Vancouver. Material in the fonds was produced between 1941 and 1963.
Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Date:
1941-1963
1941-1963
People:
Form:
articles
articles
Title:
Architecture Made for TV
Architecture Made for TV
Actions:
By Sam Dodd
Issue:
The Other Architect
The Other Architect
Published:
30 March 2016
30 March 2016
Issue:
The Other Architect
The Other Architect
Form:
photographs
photographs
Actions:
Reference number:
PH1981:0397:010
PH1981:0397:010
People:
Subject:
architecture
architecture
Date:
1892-1900
1892-1900
Title:
Interior view of a railway goods shed showing loaded freight cars, Spencer Street, Melbourne, Australia
Actions:
PH1981:0397:010
Interior view of a railway goods shed showing loaded freight cars, Spencer Street, Melbourne, Australia
Actions:
PH1981:0397:010
Form:
photographs
photographs
Date:
1892-1900
1892-1900
People:
Subject:
architecture
architecture
Form:
photographs
photographs
![View of Railway Goods Shed showing the railway platform, the administration building and a platform for delivering goods [?], Spencer Street, Melbourne, Australia](/img-collection/6AQ3pWBOn3U1Pnkt1L9FLk5yd7g=/500x375/11122.jpg)
Actions:
Reference number:
PH1981:0397:016
PH1981:0397:016
People:
Subject:
architecture
architecture
Date:
1892-1900
1892-1900
Form:
photographs
photographs
Date:
1892-1900
1892-1900
People:
Subject:
architecture
architecture
Level of archival description:
Sub-series
Sub-series
Title:
Domestic Commissions
Domestic Commissions
Reference number:
CI001.S2.D2
Description:
Hubert and Charles Rohault de Fleury received domestic commissions for both urban housing -hôtel particuliers and apartment houses- and rural dwellings -châteaux, country houses and estates. Hubert also executed designs for furniture and garden pavilions. Hubert' work is characterized by restrained classical exteriors and luxurious Empire style interiors; both Charles' exteriors and interiors, especially those for Hôtels Sauvage and Soltykoff, reflect the exuberance of the Second Empire. The CCA albums include drawings from all stages of the design process but with an emphasis on design development drawings. Hubert's albums contain cost calculations and estimates, notes and letters. In general, the drawings by Charles are from a more developed phase of design than Hubert's; Hubert's commissions are more varied than Charles'. Charles' Hôtel Soltykoff (1854)(DR1974:0002:003:001-105) is exemplary of the Second Empire not only in its architectural language, programme and interior decoration, but also its use of mixed stone and iron construction. The album for Hôtel Soltykoff is one of the most comprehensive in the CCA collection. The drawings incorporate several phases of the design process from conceptual ideas to post-construction revisions. Numerous drawings for the structure and exterior ornamentation are included as well as drawings for the embellishment of the interior spaces. The interior drawings are especially interesting for evidence they provide of the palette of colours and ornamental motifs utilized in the Second Empire. Several prints (plates XIX - XXIII) in 'Oeuvre de C. Rohault de Fleury, architecte', which include general plans and elevations (few of which are included in the Hôtel Solytkoff album), are a useful complement to more specific drawings in the album. The Hôtel Sauvage (ca. 1862) album (DR1974:0002:006:001-024) - a set of 24 contract drawings- consists exclusively general plans, sections and elevations. This group of drawings give a good overall sense of both the interior and exterior. Hôtel Sauvage, like Hôtel Soltykoff is also typical of the Second Empire in style and programme. Château de Marcoussis (ca. 1861), for which a group of drawings were acquired in 1986, diverges somewhat in character from the other examples of Charles' domestic works represented in the CCA collection (DR1986:0379 - DR1986:0413). While most of the other houses are strictly classical in planning and design, for Château de Marcoussis, Charles adopted a more romantic asymmetrical château style design. The domestic commissions (1838-1856) in album, DR1974:0002:002:001-094, roughly fall into two categories. The first category consists of single residences - both town and country. The regimentation of plans and façades in the hôtel particular and country houses manifests the continued influence of Durand, yet Charles was also clearly affected by the Second Empire propensity for elaborate façade treatments with decoratively-shaped windows, complex mouldings and extensive rustication. The second category consists of urban apartment building with stores or occasionally offices on the ground floor, apartments, generally two per floor, above and often servants' rooms in the attic. These buildings are articulated in a restrained manner with mouldings, decorative ironwork and some stone ornament.
CI001.S2.D2
Description:
Hubert and Charles Rohault de Fleury received domestic commissions for both urban housing -hôtel particuliers and apartment houses- and rural dwellings -châteaux, country houses and estates. Hubert also executed designs for furniture and garden pavilions. Hubert' work is characterized by restrained classical exteriors and luxurious Empire style interiors; both Charles' exteriors and interiors, especially those for Hôtels Sauvage and Soltykoff, reflect the exuberance of the Second Empire. The CCA albums include drawings from all stages of the design process but with an emphasis on design development drawings. Hubert's albums contain cost calculations and estimates, notes and letters. In general, the drawings by Charles are from a more developed phase of design than Hubert's; Hubert's commissions are more varied than Charles'. Charles' Hôtel Soltykoff (1854)(DR1974:0002:003:001-105) is exemplary of the Second Empire not only in its architectural language, programme and interior decoration, but also its use of mixed stone and iron construction. The album for Hôtel Soltykoff is one of the most comprehensive in the CCA collection. The drawings incorporate several phases of the design process from conceptual ideas to post-construction revisions. Numerous drawings for the structure and exterior ornamentation are included as well as drawings for the embellishment of the interior spaces. The interior drawings are especially interesting for evidence they provide of the palette of colours and ornamental motifs utilized in the Second Empire. Several prints (plates XIX - XXIII) in 'Oeuvre de C. Rohault de Fleury, architecte', which include general plans and elevations (few of which are included in the Hôtel Solytkoff album), are a useful complement to more specific drawings in the album. The Hôtel Sauvage (ca. 1862) album (DR1974:0002:006:001-024) - a set of 24 contract drawings- consists exclusively general plans, sections and elevations. This group of drawings give a good overall sense of both the interior and exterior. Hôtel Sauvage, like Hôtel Soltykoff is also typical of the Second Empire in style and programme. Château de Marcoussis (ca. 1861), for which a group of drawings were acquired in 1986, diverges somewhat in character from the other examples of Charles' domestic works represented in the CCA collection (DR1986:0379 - DR1986:0413). While most of the other houses are strictly classical in planning and design, for Château de Marcoussis, Charles adopted a more romantic asymmetrical château style design. The domestic commissions (1838-1856) in album, DR1974:0002:002:001-094, roughly fall into two categories. The first category consists of single residences - both town and country. The regimentation of plans and façades in the hôtel particular and country houses manifests the continued influence of Durand, yet Charles was also clearly affected by the Second Empire propensity for elaborate façade treatments with decoratively-shaped windows, complex mouldings and extensive rustication. The second category consists of urban apartment building with stores or occasionally offices on the ground floor, apartments, generally two per floor, above and often servants' rooms in the attic. These buildings are articulated in a restrained manner with mouldings, decorative ironwork and some stone ornament.
People:
Date:
[between 1838 and 1861]
[between 1838 and 1861]
Title:
Domestic Commissions
CI001.S2.D2
Description:
Hubert and Charles Rohault de Fleury received domestic commissions for both urban housing -hôtel particuliers and apartment houses- and rural dwellings -châteaux, country houses and estates. Hubert also executed designs for furniture and garden pavilions. Hubert' work is characterized by restrained classical exteriors and luxurious Empire style interiors; both Charles' exteriors and interiors, especially those for Hôtels Sauvage and Soltykoff, reflect the exuberance of the Second Empire. The CCA albums include drawings from all stages of the design process but with an emphasis on design development drawings. Hubert's albums contain cost calculations and estimates, notes and letters. In general, the drawings by Charles are from a more developed phase of design than Hubert's; Hubert's commissions are more varied than Charles'. Charles' Hôtel Soltykoff (1854)(DR1974:0002:003:001-105) is exemplary of the Second Empire not only in its architectural language, programme and interior decoration, but also its use of mixed stone and iron construction. The album for Hôtel Soltykoff is one of the most comprehensive in the CCA collection. The drawings incorporate several phases of the design process from conceptual ideas to post-construction revisions. Numerous drawings for the structure and exterior ornamentation are included as well as drawings for the embellishment of the interior spaces. The interior drawings are especially interesting for evidence they provide of the palette of colours and ornamental motifs utilized in the Second Empire. Several prints (plates XIX - XXIII) in 'Oeuvre de C. Rohault de Fleury, architecte', which include general plans and elevations (few of which are included in the Hôtel Solytkoff album), are a useful complement to more specific drawings in the album. The Hôtel Sauvage (ca. 1862) album (DR1974:0002:006:001-024) - a set of 24 contract drawings- consists exclusively general plans, sections and elevations. This group of drawings give a good overall sense of both the interior and exterior. Hôtel Sauvage, like Hôtel Soltykoff is also typical of the Second Empire in style and programme. Château de Marcoussis (ca. 1861), for which a group of drawings were acquired in 1986, diverges somewhat in character from the other examples of Charles' domestic works represented in the CCA collection (DR1986:0379 - DR1986:0413). While most of the other houses are strictly classical in planning and design, for Château de Marcoussis, Charles adopted a more romantic asymmetrical château style design. The domestic commissions (1838-1856) in album, DR1974:0002:002:001-094, roughly fall into two categories. The first category consists of single residences - both town and country. The regimentation of plans and façades in the hôtel particular and country houses manifests the continued influence of Durand, yet Charles was also clearly affected by the Second Empire propensity for elaborate façade treatments with decoratively-shaped windows, complex mouldings and extensive rustication. The second category consists of urban apartment building with stores or occasionally offices on the ground floor, apartments, generally two per floor, above and often servants' rooms in the attic. These buildings are articulated in a restrained manner with mouldings, decorative ironwork and some stone ornament.
Domestic Commissions
CI001.S2.D2
Description:
Hubert and Charles Rohault de Fleury received domestic commissions for both urban housing -hôtel particuliers and apartment houses- and rural dwellings -châteaux, country houses and estates. Hubert also executed designs for furniture and garden pavilions. Hubert' work is characterized by restrained classical exteriors and luxurious Empire style interiors; both Charles' exteriors and interiors, especially those for Hôtels Sauvage and Soltykoff, reflect the exuberance of the Second Empire. The CCA albums include drawings from all stages of the design process but with an emphasis on design development drawings. Hubert's albums contain cost calculations and estimates, notes and letters. In general, the drawings by Charles are from a more developed phase of design than Hubert's; Hubert's commissions are more varied than Charles'. Charles' Hôtel Soltykoff (1854)(DR1974:0002:003:001-105) is exemplary of the Second Empire not only in its architectural language, programme and interior decoration, but also its use of mixed stone and iron construction. The album for Hôtel Soltykoff is one of the most comprehensive in the CCA collection. The drawings incorporate several phases of the design process from conceptual ideas to post-construction revisions. Numerous drawings for the structure and exterior ornamentation are included as well as drawings for the embellishment of the interior spaces. The interior drawings are especially interesting for evidence they provide of the palette of colours and ornamental motifs utilized in the Second Empire. Several prints (plates XIX - XXIII) in 'Oeuvre de C. Rohault de Fleury, architecte', which include general plans and elevations (few of which are included in the Hôtel Solytkoff album), are a useful complement to more specific drawings in the album. The Hôtel Sauvage (ca. 1862) album (DR1974:0002:006:001-024) - a set of 24 contract drawings- consists exclusively general plans, sections and elevations. This group of drawings give a good overall sense of both the interior and exterior. Hôtel Sauvage, like Hôtel Soltykoff is also typical of the Second Empire in style and programme. Château de Marcoussis (ca. 1861), for which a group of drawings were acquired in 1986, diverges somewhat in character from the other examples of Charles' domestic works represented in the CCA collection (DR1986:0379 - DR1986:0413). While most of the other houses are strictly classical in planning and design, for Château de Marcoussis, Charles adopted a more romantic asymmetrical château style design. The domestic commissions (1838-1856) in album, DR1974:0002:002:001-094, roughly fall into two categories. The first category consists of single residences - both town and country. The regimentation of plans and façades in the hôtel particular and country houses manifests the continued influence of Durand, yet Charles was also clearly affected by the Second Empire propensity for elaborate façade treatments with decoratively-shaped windows, complex mouldings and extensive rustication. The second category consists of urban apartment building with stores or occasionally offices on the ground floor, apartments, generally two per floor, above and often servants' rooms in the attic. These buildings are articulated in a restrained manner with mouldings, decorative ironwork and some stone ornament.
Level of archival description:
File 2
File 2
Date:
[between 1838 and 1861]
[between 1838 and 1861]
People:
Level of archival description:
Sub-series
Sub-series
Title:
Opera Houses
Opera Houses
Reference number:
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".
People:
Date:
1717-1868
1717-1868
Title:
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".
Level of archival description:
File 3
File 3
Date:
1717-1868
1717-1868
People:
Level of archival description:
Sub-series
Sub-series
Reference number:
CI001.S2.D4
Description:
The CCA collection includes albums of drawings for some of Charles Rohault de Fleury's most important public architectural projects, built and unbuilt. They provide valuable insight into his design development process, construction techniques, and flexibility regarding building types and styles, as well as illuminating the larger issues of urban planning and the complex interaction between architect, contractor, and entrepreneur in mid-19th century France. The neo-Moorish Hippodrome National (DR1974:0002:017:001-060) - an ephemeral structure constructed of a wood frame with canvas sheathing- was built adjacent to the Place de l'Étoile in 1845 and destroyed in 1856. The documents and drawings in the album provide a highly detailed and complete overview of the project from the study of historical models to contract drawings. Written documentation, including cost estimates, a contract, daily accounts of construction, entrepreneur's accounts, and correspondence with the principal contractor, is particularly revealing of the working procedures on a large commercial project. In 1855 Charles and Auguste Joseph Pellechet constructed the Chambre des Notaires on the newly transformed Place du Chatelet - the intended centre point of Haussmann's 'Nouveau Paris' (1). The CCA album contains primarily transfer lithographed working and contract drawings signed by the entrepreneurs and/or contractors (DR1974:0002:022:001-021). The plans reflect Charles' sensitive integration of iron and masonry construction, which allowed for abundant fenestration on the side facades, while maintaining the traditional aspects of character and solidity required in a prominent urban building. Charles' approach to the design of more utilitarian structures is indicated in his album of competition drawings for a municipal slaughterhouse submitted to the city of Saint-Germain-en-Laye, 1846-1847 (DR1974:0002:023:001-012). His interpretation of the written programme (included in the album) and the resulting design, is strongly influenced by his father's previous slaughterhouse projects, as well as his own for La Villete, 1835-1836 (see DR1974:0002:014:001-104 in Hubert Rohault de Fleury's Public and Urban Architecture (file CI001.S3.D1)). The pared down Neoclassical style of the slaughterhouse is typical of both Charles and Hubert's utilitarian structures. Charles' largest public urban project outside of Paris was for an unexecuted Hôtel de Prefecture (Departement de la Vienne) and Hôtel de Ville for the city of Poitiers, 1859-1860 (DR1974:0002:020:001-050). The project for the Louis XIIIth style Hotel de Prefecture is fairly complete and includes many working drawings, while the Francis Ist style Hotel de Ville is much less developed and consists primarily of unbound sketches and finished drawings. A site plan indicates that Charles intended the Hôtel de Prefecture and Hôtel de Ville to be located nearly opposite each other and connected by a major thoroughfare. The placement of both structures in the western quarter of the city probably reflects an earlier urban renewal plan proposed by the architects Morandiere et Compaing in 1849. The Hôtel de Prefecture (1864-1868) and Hotel de Ville (1869-1876) were eventually built after designs by Antoine Guerinot, in the same style, and on sites close to those proposed by Charles. Drawings and engravings of antique and contemporary theatres, fountains, honorific monuments, and large public projects by other architects are collected in album DR1974:0002:010:001-048 for reference purposes (some of these may have been collected by his father Hubert). (1) David Van Zanten, "Building Paris: Architectural Institutions and the Transformation of the French Capital, 1830-1870" (Cambridge, Eng.: Cambridge University Press, 1994), p. 235 and pp. 233-241 for the development of the Place du Chatelet.
CI001.S2.D4
Description:
The CCA collection includes albums of drawings for some of Charles Rohault de Fleury's most important public architectural projects, built and unbuilt. They provide valuable insight into his design development process, construction techniques, and flexibility regarding building types and styles, as well as illuminating the larger issues of urban planning and the complex interaction between architect, contractor, and entrepreneur in mid-19th century France. The neo-Moorish Hippodrome National (DR1974:0002:017:001-060) - an ephemeral structure constructed of a wood frame with canvas sheathing- was built adjacent to the Place de l'Étoile in 1845 and destroyed in 1856. The documents and drawings in the album provide a highly detailed and complete overview of the project from the study of historical models to contract drawings. Written documentation, including cost estimates, a contract, daily accounts of construction, entrepreneur's accounts, and correspondence with the principal contractor, is particularly revealing of the working procedures on a large commercial project. In 1855 Charles and Auguste Joseph Pellechet constructed the Chambre des Notaires on the newly transformed Place du Chatelet - the intended centre point of Haussmann's 'Nouveau Paris' (1). The CCA album contains primarily transfer lithographed working and contract drawings signed by the entrepreneurs and/or contractors (DR1974:0002:022:001-021). The plans reflect Charles' sensitive integration of iron and masonry construction, which allowed for abundant fenestration on the side facades, while maintaining the traditional aspects of character and solidity required in a prominent urban building. Charles' approach to the design of more utilitarian structures is indicated in his album of competition drawings for a municipal slaughterhouse submitted to the city of Saint-Germain-en-Laye, 1846-1847 (DR1974:0002:023:001-012). His interpretation of the written programme (included in the album) and the resulting design, is strongly influenced by his father's previous slaughterhouse projects, as well as his own for La Villete, 1835-1836 (see DR1974:0002:014:001-104 in Hubert Rohault de Fleury's Public and Urban Architecture (file CI001.S3.D1)). The pared down Neoclassical style of the slaughterhouse is typical of both Charles and Hubert's utilitarian structures. Charles' largest public urban project outside of Paris was for an unexecuted Hôtel de Prefecture (Departement de la Vienne) and Hôtel de Ville for the city of Poitiers, 1859-1860 (DR1974:0002:020:001-050). The project for the Louis XIIIth style Hotel de Prefecture is fairly complete and includes many working drawings, while the Francis Ist style Hotel de Ville is much less developed and consists primarily of unbound sketches and finished drawings. A site plan indicates that Charles intended the Hôtel de Prefecture and Hôtel de Ville to be located nearly opposite each other and connected by a major thoroughfare. The placement of both structures in the western quarter of the city probably reflects an earlier urban renewal plan proposed by the architects Morandiere et Compaing in 1849. The Hôtel de Prefecture (1864-1868) and Hotel de Ville (1869-1876) were eventually built after designs by Antoine Guerinot, in the same style, and on sites close to those proposed by Charles. Drawings and engravings of antique and contemporary theatres, fountains, honorific monuments, and large public projects by other architects are collected in album DR1974:0002:010:001-048 for reference purposes (some of these may have been collected by his father Hubert). (1) David Van Zanten, "Building Paris: Architectural Institutions and the Transformation of the French Capital, 1830-1870" (Cambridge, Eng.: Cambridge University Press, 1994), p. 235 and pp. 233-241 for the development of the Place du Chatelet.
People:
Date:
[1840-1860]
[1840-1860]
Title:
Public and Urban Architecture
CI001.S2.D4
Description:
The CCA collection includes albums of drawings for some of Charles Rohault de Fleury's most important public architectural projects, built and unbuilt. They provide valuable insight into his design development process, construction techniques, and flexibility regarding building types and styles, as well as illuminating the larger issues of urban planning and the complex interaction between architect, contractor, and entrepreneur in mid-19th century France. The neo-Moorish Hippodrome National (DR1974:0002:017:001-060) - an ephemeral structure constructed of a wood frame with canvas sheathing- was built adjacent to the Place de l'Étoile in 1845 and destroyed in 1856. The documents and drawings in the album provide a highly detailed and complete overview of the project from the study of historical models to contract drawings. Written documentation, including cost estimates, a contract, daily accounts of construction, entrepreneur's accounts, and correspondence with the principal contractor, is particularly revealing of the working procedures on a large commercial project. In 1855 Charles and Auguste Joseph Pellechet constructed the Chambre des Notaires on the newly transformed Place du Chatelet - the intended centre point of Haussmann's 'Nouveau Paris' (1). The CCA album contains primarily transfer lithographed working and contract drawings signed by the entrepreneurs and/or contractors (DR1974:0002:022:001-021). The plans reflect Charles' sensitive integration of iron and masonry construction, which allowed for abundant fenestration on the side facades, while maintaining the traditional aspects of character and solidity required in a prominent urban building. Charles' approach to the design of more utilitarian structures is indicated in his album of competition drawings for a municipal slaughterhouse submitted to the city of Saint-Germain-en-Laye, 1846-1847 (DR1974:0002:023:001-012). His interpretation of the written programme (included in the album) and the resulting design, is strongly influenced by his father's previous slaughterhouse projects, as well as his own for La Villete, 1835-1836 (see DR1974:0002:014:001-104 in Hubert Rohault de Fleury's Public and Urban Architecture (file CI001.S3.D1)). The pared down Neoclassical style of the slaughterhouse is typical of both Charles and Hubert's utilitarian structures. Charles' largest public urban project outside of Paris was for an unexecuted Hôtel de Prefecture (Departement de la Vienne) and Hôtel de Ville for the city of Poitiers, 1859-1860 (DR1974:0002:020:001-050). The project for the Louis XIIIth style Hotel de Prefecture is fairly complete and includes many working drawings, while the Francis Ist style Hotel de Ville is much less developed and consists primarily of unbound sketches and finished drawings. A site plan indicates that Charles intended the Hôtel de Prefecture and Hôtel de Ville to be located nearly opposite each other and connected by a major thoroughfare. The placement of both structures in the western quarter of the city probably reflects an earlier urban renewal plan proposed by the architects Morandiere et Compaing in 1849. The Hôtel de Prefecture (1864-1868) and Hotel de Ville (1869-1876) were eventually built after designs by Antoine Guerinot, in the same style, and on sites close to those proposed by Charles. Drawings and engravings of antique and contemporary theatres, fountains, honorific monuments, and large public projects by other architects are collected in album DR1974:0002:010:001-048 for reference purposes (some of these may have been collected by his father Hubert). (1) David Van Zanten, "Building Paris: Architectural Institutions and the Transformation of the French Capital, 1830-1870" (Cambridge, Eng.: Cambridge University Press, 1994), p. 235 and pp. 233-241 for the development of the Place du Chatelet.
Public and Urban Architecture
CI001.S2.D4
Description:
The CCA collection includes albums of drawings for some of Charles Rohault de Fleury's most important public architectural projects, built and unbuilt. They provide valuable insight into his design development process, construction techniques, and flexibility regarding building types and styles, as well as illuminating the larger issues of urban planning and the complex interaction between architect, contractor, and entrepreneur in mid-19th century France. The neo-Moorish Hippodrome National (DR1974:0002:017:001-060) - an ephemeral structure constructed of a wood frame with canvas sheathing- was built adjacent to the Place de l'Étoile in 1845 and destroyed in 1856. The documents and drawings in the album provide a highly detailed and complete overview of the project from the study of historical models to contract drawings. Written documentation, including cost estimates, a contract, daily accounts of construction, entrepreneur's accounts, and correspondence with the principal contractor, is particularly revealing of the working procedures on a large commercial project. In 1855 Charles and Auguste Joseph Pellechet constructed the Chambre des Notaires on the newly transformed Place du Chatelet - the intended centre point of Haussmann's 'Nouveau Paris' (1). The CCA album contains primarily transfer lithographed working and contract drawings signed by the entrepreneurs and/or contractors (DR1974:0002:022:001-021). The plans reflect Charles' sensitive integration of iron and masonry construction, which allowed for abundant fenestration on the side facades, while maintaining the traditional aspects of character and solidity required in a prominent urban building. Charles' approach to the design of more utilitarian structures is indicated in his album of competition drawings for a municipal slaughterhouse submitted to the city of Saint-Germain-en-Laye, 1846-1847 (DR1974:0002:023:001-012). His interpretation of the written programme (included in the album) and the resulting design, is strongly influenced by his father's previous slaughterhouse projects, as well as his own for La Villete, 1835-1836 (see DR1974:0002:014:001-104 in Hubert Rohault de Fleury's Public and Urban Architecture (file CI001.S3.D1)). The pared down Neoclassical style of the slaughterhouse is typical of both Charles and Hubert's utilitarian structures. Charles' largest public urban project outside of Paris was for an unexecuted Hôtel de Prefecture (Departement de la Vienne) and Hôtel de Ville for the city of Poitiers, 1859-1860 (DR1974:0002:020:001-050). The project for the Louis XIIIth style Hotel de Prefecture is fairly complete and includes many working drawings, while the Francis Ist style Hotel de Ville is much less developed and consists primarily of unbound sketches and finished drawings. A site plan indicates that Charles intended the Hôtel de Prefecture and Hôtel de Ville to be located nearly opposite each other and connected by a major thoroughfare. The placement of both structures in the western quarter of the city probably reflects an earlier urban renewal plan proposed by the architects Morandiere et Compaing in 1849. The Hôtel de Prefecture (1864-1868) and Hotel de Ville (1869-1876) were eventually built after designs by Antoine Guerinot, in the same style, and on sites close to those proposed by Charles. Drawings and engravings of antique and contemporary theatres, fountains, honorific monuments, and large public projects by other architects are collected in album DR1974:0002:010:001-048 for reference purposes (some of these may have been collected by his father Hubert). (1) David Van Zanten, "Building Paris: Architectural Institutions and the Transformation of the French Capital, 1830-1870" (Cambridge, Eng.: Cambridge University Press, 1994), p. 235 and pp. 233-241 for the development of the Place du Chatelet.
Level of archival description:
File 4
File 4
Date:
[1840-1860]
[1840-1860]
People:
Level of archival description:
Sub-series
Sub-series
Reference number:
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.
People:
Date:
[1837-ca. 1862]
[1837-ca. 1862]
Title:
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.
Level of archival description:
File 5
File 5
Date:
[1837-ca. 1862]
[1837-ca. 1862]
People:
