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255 pages : illustrations, maps ; 24 cm
Paris : L'Harmattan, [2017], ©2017
Les bidonvilles de Kinshasa / Francis Lelo Nzuzi ; préface de Léon de Saint Moulin. s.j.
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255 pages : illustrations, maps ; 24 cm
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Paris : L'Harmattan, [2017], ©2017
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iii, 211 pages ; 20 cm
A Amsterdam ; Et se trouve à Paris : Chez Couturier ..., M. DCC. LXXVI. [1776]
De l'architecture / par J.F. Sobry.
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iii, 211 pages ; 20 cm
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A Amsterdam ; Et se trouve à Paris : Chez Couturier ..., M. DCC. LXXVI. [1776]
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Idées d'un citoyen françois sur le lieu destiné à la sépulture des hommes illustres de France ...
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8 pages 20 cm
[Paris], [De l'Imprimerie de Didot, fils aîné], [1791]
Idées d'un citoyen françois sur le lieu destiné à la sépulture des hommes illustres de France ...
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8 pages 20 cm
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[Paris], [De l'Imprimerie de Didot, fils aîné], [1791]
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195 pages : illustrations (some color) ; 29 cm
Saint-Germain-en-Laye : Presses franciliennes, [2010]
Le Château-Neuf de Saint-Germain-en-Laye / sous la direction d'Emmanuel Lurin.
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195 pages : illustrations (some color) ; 29 cm
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Saint-Germain-en-Laye : Presses franciliennes, [2010]
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60 pages : illustrations (some color) ; 21 cm
Maputo : EPM-CELP, [2012], ©2012
José Forjaz : a paixão do tangível, uma poética do espaço / coordenação editorial, Teresa Noronha ; entrevista de António Cabrita.
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60 pages : illustrations (some color) ; 21 cm
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Maputo : EPM-CELP, [2012], ©2012
Sous-série
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".
1717-1868
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".
File 3
1717-1868
Paix, pouvoir et droiture
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Résumé:
"Paix, pouvoir et droiture : un manifeste autochtone", qui tire sa structure des chants du rituel de condoléances rotinohshonni, appelle toutes les Premières Nations à prêter une oreille attentive à la voix des ancêtres afin de développer une philosophie visant à contrer l’assimilation. L’essai d’Alfred est un véritable plaidoyer en faveur des droits et de(...)
Paix, pouvoir et droiture
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"Paix, pouvoir et droiture : un manifeste autochtone", qui tire sa structure des chants du rituel de condoléances rotinohshonni, appelle toutes les Premières Nations à prêter une oreille attentive à la voix des ancêtres afin de développer une philosophie visant à contrer l’assimilation. L’essai d’Alfred est un véritable plaidoyer en faveur des droits et de l’autodétermination des peuples autochtones. Ce manifeste se veut avant-gardiste, proposant des pistes de réflexion inédites ayant significativement participé à améliorer la compréhension des enjeux des Premières Nations de l’Amérique du Nord.
Expositions en cours
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Construit entre 1968 et 1972, le carmel de la Paix est l’oeuvre de l’architecte d’origine espagnole, José Luis Sert, éminente figure du Mouvement moderne, qui présida notamment les Congrès internationaux d’architecture moderne de 1947 à 1956. L’engagement passionné des maîtres d’ouvrage et l’attachement de Sert à ce projet ont permis cette réalisation d’architecture(...)
Architecture, monographies
juin 2020
Le Carmel de la Paix : José Luis Sert à Mazille
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Construit entre 1968 et 1972, le carmel de la Paix est l’oeuvre de l’architecte d’origine espagnole, José Luis Sert, éminente figure du Mouvement moderne, qui présida notamment les Congrès internationaux d’architecture moderne de 1947 à 1956. L’engagement passionné des maîtres d’ouvrage et l’attachement de Sert à ce projet ont permis cette réalisation d’architecture exceptionnelle, la deuxième en France de cet architecte après la fondation Maeght à Saint-Paul-de-Vence. Ce livre retrace l’aventure humaine et architecturale, assortie d’une iconographie riche et inédite ainsi que des témoignages des acteurs de l’époque.
Architecture, monographies
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Grâce aux innovations en design et en technologie, les cabanes dans les bois d’autrefois prennent aujourd’hui la forme de véritables trésors architecturaux. Havres de paix en forêt, huttes haut de gamme protégées par des sommets enneigés, retraites lovées au cœur d’îles isolées : cet ouvrage réunit des maisons de partout au monde, avec plus de 400 photos et illustrations(...)
Habitats naturels: architectures de la déconnexion
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Grâce aux innovations en design et en technologie, les cabanes dans les bois d’autrefois prennent aujourd’hui la forme de véritables trésors architecturaux. Havres de paix en forêt, huttes haut de gamme protégées par des sommets enneigés, retraites lovées au cœur d’îles isolées : cet ouvrage réunit des maisons de partout au monde, avec plus de 400 photos et illustrations d'architecture autonome.
Architecture résidentielle
Des jardins et des hommes
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« Le jardin nous rassemble tous, quels que soient notre culture, nos croyances ou nos métiers, c'est le lieu de la paix active, où tous ceux qui le peuplent vivent en dialogue. » Un espace où contempler la nature et en récolter ses bienfaits, où défendre la biodiversité... voilà ce que racontent dans cet ouvrage quatre personnalités très différentes en évoquant leur amour(...)
Des jardins et des hommes
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« Le jardin nous rassemble tous, quels que soient notre culture, nos croyances ou nos métiers, c'est le lieu de la paix active, où tous ceux qui le peuplent vivent en dialogue. » Un espace où contempler la nature et en récolter ses bienfaits, où défendre la biodiversité... voilà ce que racontent dans cet ouvrage quatre personnalités très différentes en évoquant leur amour des jardins.
Théorie du paysage