The Architectural Museum: A Founder's Perspective Author(s): Phyllis Lambert Source: Journal of the Society of Architectural Historians, Vol. 58, No. 3, Architectural History 1999/2000 (Sep., 1999), pp. 308-315 Published by: University of California Press on behalf of the Society of Architectural Historians Stable URL: http://www.jstor.org/stable/991523 . Accessed: 23/09/2014 15:28

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This content downloaded from 132.206.23.24 on Tue, 23 Sep 2014 15:28:53 PM All use subject to JSTOR Terms and Conditions The Architectural Museum A Founder's Perspective

PHYLLIS LAMBERT Canadian Centre for Architecture,

Architectural materialshave been collectedsince at tographs and manuscriptmaterial cannot be overempha- least the early thirteenth century. However, they sized. ... library,archive museum and study center must be have only been recognized as the basis of a new viewed as a unit in its activities,in its staffingas well as [in] entity,the architecturalmuseum, since 1979 when some fif- its holdings."' teen recently formed institutions met in Helsinki to form As a collection formedby an architectin the late twen- the InternationalConfederation of ArchitecturalMuseums tieth century,the CCA resonateshistorically with the indi- (ICAM ).1 Since then the membershiphas grown to nearly vidualpractices of architectswho, since the Renaissance,have 100 members,including museums, archives, and collections selected drawings,prints, models, and books of their peers housed in largerinstitutions such as librariesand schools. In and predecessorsfor reference.Jacques Lemercier or Hip- approachingarchitectural collections, I can most usefully polyte Destailleur come to mind, but it is certainlyJohn discuss some of the key issues from my own personal per- Soane who is the great exemplar:beyond collecting as a spective gained in framingand developingthe collection of source of inspirationfor his own work, he created,at Lin- the Centre Canadien d'Architecture/CanadianCentre for coln'sInn Fields, dramaticspaces for his collection of archi- Architecture(CCA). It is not my intention to describe the tectural plaster casts, antique fragments, objets d'art, and CCA'sholdings, which has been done in earlier publica- paintings as well as books and collections of drawingsof tions.2 Most pertinent is what has been learned about the architectswhom he admired.Soane intendedhis house and significance and special aspects of collection building and museum,with its collections,to be both a greatwork of art relatedresearch in the ten years since the CCA opened as a in and of itself and a place that would providearchitectural publicinstitution in 1989.3This has been experiencegained studentswith a rich learningenvironment (Figure 1). He left in presentingexhibitions, preparing publications, and, most his house/museumto the nationin 1833 with the stipulation recently,with the reception of scholarsin residence at the that the collection,and the very specificmanner and context CCA Study Centre.4The nature of the collection cannot of display,not be changedafter his death.Ultimately his is a be separatedfrom these activitiesnor from the institution's very specialcase of the house museum,which asJohn Elsner founding,its purposes,its mode of operation,or its locus. In has commented,"memorializes and freezesfor posteritythe 1989, looking forwardto the next decade,Adolf K. Placzek moment at which collecting (and redeployinga collection) was prescientin underscoringthe interconnectednessof an ceases,the moment when the museumbegins."6 architecturemuseum's collection in a broaderinstitutional Like 's Wallace Collection, 's Musde setting:"The importanceto a greatlibrary of drawing,pho- Jacquemart Andre, Boston's Isabella Stewart Gardner

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Figure1 SirJohn Soane (1753-1837), view of the plaster-castdisplay Figure2 PeterRose, CCAStudy Centre, Alcan Wing for Scholars, in his Houseand Museum, London, 1835. Lithograph,Plate 28 from Montr6al.Photograph by RichardPare, chromogenic color print, Soane,Description of the Houseand Museum on the NorthSide of @ 1988 RichardPare Lincoln'sInn Fields (London, 1835), collection CCA, Montr6al

Museum, New York'sFrick Collection, and many small, of the social and naturalenvironment, is a public concern, late-nineteenth- and early-twentieth-centuryart and dec- that architecturalresearch has a profoundcultural influence, orative-artmuseums that were built as closed systems of and that scholarshave a social responsibilityof the highest displaywithin a collector'sresidence, Soane'smuseum was order (Figure2). In this the CCA providesone among sev- a product of its time. However, the Soane Museum'scur- eral contemporarymodels of a museum of architecture, rent project to catalogue major works in its collection in quite distinctfrom eitherthe museumof artor the academic order to encourage research is consonant with programs researchcenter, although both institutionsinform its over- of the architecturalmuseums formed after 1945. Mostly lapping agendas. Indeed, the terms "study center" and created as state museums with an activist, preservationist, "museum"attach selectivity to the collection. As a study often even archival focus, in essence these are research- center,acquisitions are directedto worksthat haveadvanced based institutions. Programs launched beginning in the thought about the nature of the built world and that will 1980s to inventory and provide intellectual access to the thereforeengage significantresearch. The resourcesof the SoaneMuseum's collections have reinforceda sense of mis- libraryand the holdings of drawings,prints, photographs, sion and underscoredthe collections' statusas open-ended and architecturalarchives offer specialistsa wealth of pri- resourcesfor inquiry.7 mary and secondarymaterial for advancedresearch in the The CCA was founded in 1979 as a study center and history,theory, and practiceof architecture.As a museum, museum devoted to the art of architecturepast and pres- the CCA interprets its collection for the public through ent, with the three-foldconviction that architecture,as part exhibitionsand publicationsthat revealthe richnessand sig-

THE ARCHITECTURAL MUSEUM 309

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Figure 3 Antoine Vaudoyer(1756-1846), volume 1 of a collection, in two volumes, of printedand manuscriptmaterial assembled by Antoine- Laurent-ThomasVaudoyer relative to the Pantheon, Paris, 1770-1852. Letterpress and ink on paper,collection CCA,Montreal nificance of architecturalculture and stimulate awareness the architecturemuseum's collection could be seen to have of contemporaryissues in architecture. an affinitywith archives,but the latter have usually been The collection, composed of numerous genres and amassedfor administrativepurposes, as legal governmental media, is referred to in the singular, since drawings and repositories,generally with a detachedsense of accumula- prints, photographs,bound imprints,and ephemeraare all tion ratherthan a motivatedsearch for interconnections.As concerned with one particularsubject-architecture in its a collection rather than a repository, the architecture widest sense, including the arts and disciplinesthat create museum is guided by a inquiry into the forces that shape the built world. The Centre's collection encompasses, in architectureand into the intentions of architects,patrons, fact, the buildingprocess; its aims are to foster inquiryinto and clients. the art of architecture.The variousbodies of work brought The CCA'sfirst two decades chronicle the extent to together cut across media, time, and geography,as com- which the museum of architecturehas been defined in the parativesources dedicated to research.This purposediffers late twentiethcentury as a unique institution,distinct from from the cabinetdes dessins of an art museum,or the "special other types of museumsin its collections, exhibitions,and collections"of a library,where drawings,prints, books, and relationshipto the public. In the first decade, the founda- models tend to be valuedas individualmasterworks. It also tions of the collectionwere laid. Since 1989 the significance eschewsworks that were madeoutside of the architect'sown of cross-connectionsamong the collection'svarious genres criticalresearch, such as drawings,prints, and models made becameincreasingly evident in acquisitionsmeetings, in the for the market,or fragmentsof destroyedbuildings. In this, natureof researchconducted, and in preparingexhibitions.

310 JSAH / 58:3, SEPTEMBER, 1999

This content downloaded from 132.206.23.24 on Tue, 23 Sep 2014 15:28:53 PM All use subject to JSTOR Terms and Conditions Figure 4 Charles De Wailly(1730-1798), perspective of a projectfor the Pantheon, Paris, c. 1797. Pen and light brown and beige washes on paper, collection CCA, Montr6al

A telling exampleof the instrumentallinks between acqui- taining to this highly symbolicand problematicmonument sitions and research comes from the sequence of events (Figure 3). Thus, a small but key group of documentsand leading to one of the CCA'searliest exhibitions. An early worksof art led to extensiveresearch for the exhibitionand acquisitionmeeting to considera smallgroup of lithographs publication,Le Panthion,Symbol of Revolutions,which ulti- by the French architectLouis-Pierre Baltard, representing mately led to further research discoveries in France and a projectfor an enclosurearound the Pantheonin Paris,led brought together widely dispersed material-sculpture, ultimatelyto the formationof a researchteam and the pro- photographs, paintings, books, manuscripts, and draw- duction of a majorinternational exhibition. Works related ings-from collections throughoutthe world.8The recent to the lithographswere identified in the CCA'slibrary and addition to the collection of three drawings (c.1797) by in the departmentof prints and drawings.Acquired at dif- CharlesDe Wailly,representing a radicalproposal to alter ferent times, these included other works by Baltard,draw- the appearanceand structureof the Panth6onin accordance ings for Sainte-Genevi&vefrom Soufflot'sworkshop, and with its new memorializingfunction, revealsthe extent to albumsof pamphletsand manuscripts,assembled by A.-L.- which the exhibition is part of a longer researchprocess. T. Vaudoyer,documenting the debates over the building's These drawingsprovide further insight into the Revolu- notorious structuralweakness. This rich assemblyled to a tionary period in French architectureand extend yet fur- flash of recognition of the issues raisedby documentsper- ther interpretationof the seminal building(Figure 4).9

THE ARCHITECTURAL MUSEUM 311

This content downloaded from 132.206.23.24 on Tue, 23 Sep 2014 15:28:53 PM All use subject to JSTOR Terms and Conditions Researchinitiated by relativelysparse holdings might constituent parts. Louis-Emile Durandelle's 165 pho- well be a particularityof the research-orientedarchitectural tographs produced between 1879 and 1890, documenting museum, in contrast to the many forces-from connois- the constructionof the Churchof the Sacr&-Coeurin Paris, seurship to the market-that usually drive research and were assembled in an album by the architect Hubert exhibitions in art museums. In addition, the institution's Rohault de Fleury. They are particularlyinteresting for commitment to architectureas a public concern has led to numerous pencil and ink notations on the photographs emphasison researchrelated to subjectsconsidered urgent made in preparationfor engraving.'3The album, and the either in the disciplinesof architectureor architecturalhis- traces of changes it contains, contributes to study of the tory, or in the local built environment.A desire to sensitize place of photography in architecturalpractice in the late the public to the historicalorigins of its everydayenviron- nineteenth century.'4 ment was manifest, for example,in the multiyearresearch One of the most consistent means by which the CCA project on the evolution and transformationof the urban has managedto collect photographicmaterial that adoptsa fabricin Montreal in the seventeenth and eighteenth cen- discerningattitude to architecturehas been throughits pro- turies.A CCA researchgroup, workingwith primaryland- gram of photographic commissions. This represents holding and building records from the resources of the another form of research, proactive rather than reactive, public archivesof France, , and Canada,created a interpretativerather than didactic.Beyond joining current databasethat synthesizeda vast documentationrelevant to polemics, such commissions build archivesthat document the processof urbangrowth in Montreal.The resultwas an conditions and attitudes at a point in time. Two notable exhibitionand publication,Opening the GatesofEighteenth- examples,both with a polemical edge related to threatened CenturyMontrial.1o Lack of recognition of Vancouveras a or neglected landscapes,were the photographicsurvey of majorsite of modernistarchitecture in North America,and industrialbuildings along the Lachine Canal in Montreal wide-rangingthreats to demolishbuildings from that period and a vast, multiyear photographic commission to study were the inspirationfor researchculminating in the exhibi- Frederick Law Olmsted's legacy across North America. tion The New Spirit: Modern Architecturein Vancouver, Both were status reports and interpretations as well as 1938-1963 (see JSAH 56 [1997]: 497-499). In this case, polemical statements.15Photographic commissions have critical office archiveswere lost, but significant drawings also served as editorial statements, notably in connection and photographswere located duringresearch, and enough with such exhibitions as Designing Disney's Theme Parks and materialwas donatedto the CCA'spermanent collection by TheAmerican Lawn.16 The close observationof the fall of local firms and their descendantsto reconstructthe tissues light by Guido Guidi in photographsmade for the Summer of ideas that fostered a vibrantmodernist architectural cul- 1999 exhibition and publication Carlo Scarpa, Intervening in ture in BritishColumbia." In anotherinstance, researchers Historywas in itself a researchproject, revealing-beyond recognizedthe importantarchitectural and culturalheritage Scarpa'ssigned drawings-his designprocess and intentions of Quebec's industrialtowns, and a research team assem- in ways otherwise inaccessible(Figures 5, 6).17 bled dispersed documentation to produce the exhibition Another goal of collection building is to deepen exist- Power and Planning: Industrial Townsin Quibec, 1890-1950.12 ing researchpossibilities of holdings rather than simply to Unlike art museums, which have generally collected fill gapsin a universalcollection. RobertoValturio's Opere de photographyaccording to criteriaborrowed from the dis- facti e preceptimilitare (1483), acquired recently by the cipline of art history, or historical societies, which have a library,is a militarytreatise that earns its place as an illus- local-history focus, the CCA has, perforce, crafted a very trated commentaryon the classicalwriters, including Vit- differentattitude toward the integralrole of photographyin ruvius, who provided the inspiration for Renaissance an architecturalcollection. Among the prioritiesof the Pho- architects,engineers, and town planners.It joins not only tographs Collection, in the last ten years, has been the the CCA'sthree fifteenth-centuryeditions of Vitruviusbut acquisitionof photographsor groups of photographsthat also the edition of the antiquarianFlavio Biondo's offer critical interpretationsof buildings. For instance, an major works, Roma Instaurata and Italia Illustrata (Verona, album dating from 1860 on the church of SantaMaria dei 1481-1482), enhancing the researcher'sability to trace the Miracoli in Brescia,by the photographerGiacomo Rosetti, architecturalculture of the in the decades after the is one of the most importantadditions to the collection in invention of printing. The interest of a collector of the this regard. Taken from a specially made scaffolding, it Renaissancein the connectionbetween geometry and archi- offers a uniquelydetailed record of the buildingand reveals tecture is made palpableby three treatisesbrought together Rosetti'sanalytical skill in deconstructingthe fagadein its in a mid-sixteenth-centuryVenetian binding: the first Paris

312 JSAH / 58:3, SEPTEMBER, 1999

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Figure 5 Guido Guidi(b. 1941), room angle in an additionto the Figure6 GuidoGuidi (b. 1941),interior view of the additionto the Canova plaster-cast gallery,designed by CarloScarpa (1955-1957), Canova plaster-cast gallery,designed by CarloScarpa (1955-1957), Possagno.Chromogenic color print, 1996, collection CCA, Montrbal, Possagno. Chromogeniccolor print,1998, collection CCA,Montr6al, ? 1996 GuidoGuidi ? 1998 GuidoGuidi

edition of Euclid's Elements (1516), the first illustrated edi- period, which is probably the most extensive on the subject tion of Vitruvius's De architectura(1511), and the first edi- outside Russia. Other twentieth-century collections have tion of Albrecht Diirer's Underzeysung der Messung (1525). also been considerably extended. A 1997 bequest by the dis- An inscription showing the Diirer to be owned by a friend tinguished American planner James Emmor (Jack) Robin- of Erasmus and annotations in the Vitruvius referring to son provided well over 1,000 books and archival documents Erasmus and Guillaume Bud6 spurred further research into relating to campus planning after 1945. This bequest inter- the culture of the sixteenth-century humanist circle. connects with a very important corpus of works on the Another instance of the relation between research and architecture of learning in the library and other collections: acquisitions is material collected around the figure of the from the very appearance of spaces devoted to teaching as French ornemanisteGilles-Marie Oppenord. The CCA's col- visible in an mid-eighteenth-century plan a retombe in an lection now includes an album of ornamental and emblem- extension project for the Convent of Notre-Dame des atic designs drawn over pages from Cesare Ripa's Iconologia, Enseignantes in Perpignan (c.1755), to the proposed disap- an unbound sketchbook of studies of architectural and dec- pearance of centralized place in Cedric Price's Potteries orative details of the Farnese Palace (c. 1692), a pair of fin- Thinkbelt project for a decentralized campus (1965). ished grisaille capricci (c. 1720), and a presentation drawing A particular challenge faced by museums of architec- for the staircase of the Palais Royal. This material offers ture everywhere is what attitude to adopt in relation to con- scholars an occasion to study in depth the range of graphic temporary architectural practice, and in particular to the modes and design techniques employed by one of the sheer escalation of the number of documents and represen- founders of the Rococo in France. tations (drawings, models, computer images, written docu- The acquisition of over 400 photographs of works pro- ments, etc.) generated by the construction of buildings in duced in the 1920s at the Vhutemas in Moscow allows the late twentieth century. For the CCA, acquisition of the scholars to examine architectural instruction in the Soviet complete archives of three major critical practitioners of the Union a few years after the Russian Revolution. The post-1965 period-Cedric Price, John Hejduk, and the Vhutemas was noted for innovative teaching methods that ongoing accretion of the fonds of "8-are tried to reconcile artistic disciplines with emerging techno- important complements to recent acquisitions related to the logical means. The Soviet Union is also represented by a "heroic" architects of the earlier twentieth century: Wright library collection embracing both the avant-garde and the bibliographically, Le Corbusier with significant projects of "official" approach to housing and planning of the Stalinist the late years, and Mies van der Rohe with 800 mostly auto-

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This content downloaded from 132.206.23.24 on Tue, 23 Sep 2014 15:28:53 PM All use subject to JSTOR Terms and Conditions graphdrawings from his earlyyears in America.A sustained ident scholar working on the Ducal Hunting Lodge at effort in the last decadehas also been made to collect mate- Venaria Reale prompted the library to acquire Amedeo rial relativeto the circle of architects,students, urban plan- Castellamonte'smonument to Baroqueemblemata, Venaria ners, and landscape architects around Mies in Chicago, reale:palazzo di piacere,e di caccia,ideato dall'Altezza Reale di including George Danforth'swork from 1939 to 1943, the CarloEmanuel II, duca di Sauoia, re di Cipro &c. (1674). personal papers of Myron Goldsmith, the rendered draw- Researchon Guy Debord and the SituationistInternational ings of Alfred Caldwell,and the complete archivesof Peter prompted acquisition of the growing recent bibliography Carter, David Haid, and ReginaldMalcomson.19 Support on this criticalpost-World War II movement.And because for these holdingsis found in the library'sstrong periodicals scholars are expected to cross disciplinaryboundaries, to collections and also in the archivesof Sheltermagazine and link architecturewith cultural and intellectual conditions Oppositionsthat detail the editorial process underlying the past and present, the collection of the CCA will have much professionalperiodical press, one of the fundamentalmedia to gain in the coming decade from this new program.22 used by architectsin the twentiethcentury to circulatetheir Finally,Montreal itself, an encompassable,multilingual works and ideas. city where architecturaland urban forms from the seven- In the field of Canadian architectural archives, the teenth century onward can be read, a place with a strong exponentialgrowth, in the last decade,of the size of archives sense of cultural alterity, favors a concentrated focus on housed at the CCA, or proposedfor acquisition,has opened work for its own sake and for la collectivite;the public realm. new challengesfor archivalcriteria, challenges shared with other major repositories of architects' papers. Simply to underscorethe scale of the issue facing the documentation of late-twentieth-century architecturalpractice: whereas Notes between 1981 and 1984 five of the eight archivegroups that 1. Forthe history of architecturalcollections from Villard de Honnencourt entered the collection were composed of some 3,000 draw- in the thirteenthcentury to the creation of architecturalmuseums in the ings each, the archives of Ernest Cormier,20the most twentieth,see John Harris,"Storehouses of Knowledge:The Originsof the Architectural in important Canadianarchitect of the first half of the cen- Contemporary Museum," Larry Richards, ed., Centre Canadiend'Architecture/Canadian Centre for Architecture. and Gar- contains some 29,000 and 14,000 Buildings tury, drawings pho- dens(Montreal, 1989), 15-32; see also WernerSzambien, Le Musie d'Archi- tographs. In the late 1990s, a single architecturalproject tecture(Paris, 1988). can reach 10,000 items. Considering that the archives 2. Forprincipal studies devoted to the CCA'scollections and their devel- acquiredin the period 1981 to 1984 were composed of all opment, see [Phyllis Lambert], The First Five Years(Montreal, 1988), the holdings of an office for projectsbuilt or not built, it is 114-129; "Director'sChoice: Report on SelectedAcquisitions, 1985-1989," Revued'Art Canadienne/Canadian Art Review(RACAR) 16 (1989): 121-130; easy to understand how overabundant contemporary Eve Blau and EdwardKaufman, eds., Architectureand Its Four Cen- records have become.21 which documents to Image: Deciding turiesofArchitectural Representation, Worksfrom the Collectionof the Canadian retain in the originaland which to preservein microfilmor Centrefor Architecture(Montreal, 1989), 158-364. other reproductivestorage is an issue facing archivesevery- 3. Notably, a receptionfor membersof the Society of ArchitecturalHisto- where, and one that will requireimportant decisions in the riansin Montrealduring its fortiethannual meeting was the firstpublic event at the CCA. twenty-firstcentury as the technicalmeans of architectural 4. The firstyear of activityat the Study Centre is describedin CCA, design and of representationitself continue to evolve. Yet, Study Centre,Annual Report 1997-1998 (Montreal,1999). whether or archivematerial all-encompassing selective, pro- 5. AdolfK. Placzek,"Canadian Centre for Architecture, An Appreciation," vides a unique insight into the building process, which RACAR16 (1989): 119-120. remains-more than the designation of masterworks-the 6. John Elsner, TheCultures of Collecting(Cambridge, Mass., 1994), 156. intellectualaim of an architecturalarchive. 7. As membersof the Foundationfor Documents of Architecture(FDA), a fewICAM members produced, with support by the Foundation,the Inauguratedtwo years ago, the CCA Study Centre, Getty followingreference tool: Vicki Porter and Robin Thornes, A Guideto the the work conducted is founded through by visiting scholars, DescriptionofArchitectural Drawings (New York,1994). Inventoriesand cat- on the heuristicpotential of the collection. Work has been aloguinginformation remain the provinceof individualinstitutions and net- carriedout in two areasof study:"The BaroquePhenome- workssuch as RLINand the InternationalCouncil of Archives(ICA). non Beyond Rome" and "The CriticalDebate after 1945," 8. BarryBergdoll et al., eds., Le Panthion,Symbole des Revolutions: de l'Eglise de la Nationau des and both of which have engaged in significantways with CCA Temple grandshommes (Montreal Paris, 1989). 9. These drawingsare consideredin the CCAs sur- holdings. Although the collection of historical materialis forthcomingcatalogue veying ten years of acquisitionsas well as in an article by BarryBergdoll, not built for the needs of one such needs specific scholar, "PanoramicPatriotism: Charles De Wailly'sProject for the ParisianPan- do help shape greatresearch libraries. In the firstyear a res- theon," in Nanni Baltzer et al., eds., Forster'sKaleidoscope: A Festschrift for

314 JSAH / 58:3, SEPTEMBER, 1999

This content downloaded from 132.206.23.24 on Tue, 23 Sep 2014 15:28:53 PM All use subject to JSTOR Terms and Conditions KurtForster (Zurich, forthcoming). Masque(London, and Montreal, 1996); K. Michael Hays, ed., Hejduk's 10. Alan Stewartand Phyllis Lambert,eds., Openingthe GatesofEighteenth- Chronotope(New Yorkand Montreal, 1996). CenturyMontrial (Montreal, 1992). 19. These collections are the basis of intense researchfor the exhibition 11. RhodriWindsor Liscombe, TheNew Spirit:Modern Architecture in Van- and relatedpublication "Mies in America,"now in progressunder my cura- couver,1938-1963 (Montreal,1997). torship. 12. See Robert Fortier,ed., Villesindustrielles planifiies (Montreal, 1996). 20. See Expositiontrois architectes/trois quartiers: Ludger Lemieux, St-Henri; 13. The CCA holds thirty-sixfolio volumes of drawingsby three genera- ErnestCormier, Citi Universitaire;Ernest Isbell Barott, St-Antoine (Montreal, tions of the Rohaultde Fleuryfamily. It includesstudent drawings and those 1983);the thematicissue on Ernest Cormierin TheJournal of CanadianArt relatedto a wide range of projectsand executedcommissions for domestic History/Annalesd'Histoire de l'Art Canadien13/14 (1990-1991); Isabelle and public buildings. Gournay, ed., Ernest Cormierand the Universitide Montrial (Montreal, 14. See BarryBergdoll, "A Matter of Time: Architectsand Photographers 1990). in Second Empire France,"in Malcolm Daniel, ed., The Photographsof 21. See CCA:Catalogue of ArchiveGroups and Collections(October 1984), i. EdouardBaldus (Montreal and New York,1994), 99-120. For the problemsof architecturalarchives collecting, see the report of the 15. See An industriallandscape observed: the Lachine Canal, with photographs workingconference on EstablishingPrinciples for the Appraisaland Selec- by ClaraGutsche and DavidMiller (Montreal,1992); Phyllis Lambert,ed., tion of ArchitecturalRecords, held in April 1994 at the CCA and published ViewingOlmsted: Photographs by RobertBurley, , and Geoffrey in TheAmerican Archivist: Special Issue on Architecture 59 (Spring 1996). James(Montreal, 1996). 22. Among the federatedbodies to which the CCA adheres,the members 16. KaralAnn Marling,ed., DesigningDisney's Theme Parks: The Architecture of the Associationof ResearchInstitutes in Art History (ARIAH),incorpo- of Reassurance(Montreal and Paris, 1997);Georges Teyssot (New Yorkand ratedin 1988, are largelymuseums of art. In additionto exchanginginfor- Montreal, 1999). mation about the scholarly activities of its member institutes, ARIAH 17. See Nicholas Olsberg, et al., CarloScarpa, Architect: developscooperative projects. Its firstmajor research collaboration was the Interveningwith History (Montreal and New York,1999). Latin AmericanFellowship Program established for a period of five years 18. See John Hejduk and Wim van den Bergh, The Lancaster/Hanover in 1994.

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