Bulletin Trimestriel 3Ème Trimestre 2014 10.15 Mo
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WHAT Architect WHERE Notes Arrondissement 1: Louvre Built in 1632 As a Masterpiece of Late Gothic Architecture
WHAT Architect WHERE Notes Arrondissement 1: Louvre Built in 1632 as a masterpiece of late Gothic architecture. The church’s reputation was strong enough of the time for it to be chosen as the location for a young Louis XIV to receive communion. Mozart also Church of Saint 2 Impasse Saint- chose the sanctuary as the location for his mother’s funeral. Among ** Unknown Eustace Eustache those baptised here as children were Richelieu, Jeanne-Antoinette Poisson, future Madame de Pompadour and Molière, who was also married here in the 17th century. Amazing façade. Mon-Fri (9.30am-7pm), Sat-Sun (9am-7pm) Japanese architect Tadao Ando has revealed his plans to convert Paris' Bourse de Commerce building into a museum that will host one of the world's largest contemporary art collections. Ando was commissioned to create the gallery within the heritage-listed building by French Bourse de Commerce ***** Tadao Ando businessman François Pinault, who will use the space to host his / Collection Pinault collection of contemporary artworks known as the Pinault Collection. A new 300-seat auditorium and foyer will be set beneath the main gallery. The entire cylinder will be encased by nine-metre-tall concrete walls and will span 30 metres in diameter. Opening soon The Jardin du Palais Royal is a perfect spot to sit, contemplate and picnic between boxed hedges, or shop in the trio of beautiful arcades that frame the garden: the Galerie de Valois (east), Galerie de Montpensier (west) and Galerie Beaujolais (north). However, it's the southern end of the complex, polka-dotted with sculptor Daniel Buren's Domaine National du ***** 8 Rue de Montpensier 260 black-and-white striped columns, that has become the garden's Palais-Royal signature feature. -
The Story of Architecture
A/ft CORNELL UNIVERSITY LIBRARY FINE ARTS LIBRARY CORNELL UNIVERSITY LIBRARY 924 062 545 193 Production Note Cornell University Library pro- duced this volume to replace the irreparably deteriorated original. It was scanned using Xerox soft- ware and equipment at 600 dots per inch resolution and com- pressed prior to storage using CCITT Group 4 compression. The digital data were used to create Cornell's replacement volume on paper that meets the ANSI Stand- ard Z39. 48-1984. The production of this volume was supported in part by the Commission on Pres- ervation and Access and the Xerox Corporation. Digital file copy- right by Cornell University Library 1992. Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/cletails/cu31924062545193 o o I I < y 5 o < A. O u < 3 w s H > ua: S O Q J H HE STORY OF ARCHITECTURE: AN OUTLINE OF THE STYLES IN T ALL COUNTRIES • « « * BY CHARLES THOMPSON MATHEWS, M. A. FELLOW OF THE AMERICAN INSTITUTE OF ARCHITECTS AUTHOR OF THE RENAISSANCE UNDER THE VALOIS NEW YORK D. APPLETON AND COMPANY 1896 Copyright, 1896, By D. APPLETON AND COMPANY. INTRODUCTORY. Architecture, like philosophy, dates from the morning of the mind's history. Primitive man found Nature beautiful to look at, wet and uncomfortable to live in; a shelter became the first desideratum; and hence arose " the most useful of the fine arts, and the finest of the useful arts." Its history, however, does not begin until the thought of beauty had insinuated itself into the mind of the builder. -
Architecture: the Museum As Muse Museum Education Program for Grades 6-12
Architecture: The Museum as Muse Museum Education Program for Grades 6-12 Program Outline & Volunteer Resource Package Single Visit Program Option : 2 HOURS Contents of Resource Package Contents Page Program Development & Description 1 Learning Objectives for Students & Preparation Guidelines 2 One Page Program Outline 3 Powerpoint Presentation Overview 4 - 24 Glossary – Architectural Terms 24 - 27 Multimedia Resource Lists (Potential Research Activities) 27 - 31 Field Journal Sample 32 - 34 Glossary – Descriptive Words Program Development This programme was conceived in conjunction with the MOA Renewal project which expanded the Museum galleries, storages and research areas. The excitement that developed during this process of planning for these expanded spaces created a renewed enthusiasm for the architecture of Arthur Erickson and the landscape architecture of Cornelia Oberlander. Over three years the programme was developed with the assistance of teacher specialists, Jane Kinegal, Cambie Secondary School and Russ Timothy Evans, Tupper Secondary School. This programme was developed under the direction of Jill Baird, Curator of Education & Public Programmes, with Danielle Mackenzie, Public Programs & Education Intern 2008/09, Jennifer Robinson, Public Programs & Education Intern 2009/10, Vivienne Tutlewski, Public Programs & Education Intern 2010/2011, Katherine Power, Public Programs & Education Workstudy 2010/11, and Maureen Richardson, Education Volunteer Associate, who were all were key contributors to the research, development and implementation of the programme. Program Description Architecture: The Museum as Muse, Grades 6 - 12 MOA is internationally recognized for its collection of world arts and culture, but it is also famous for its unique architectural setting. This program includes a hands-on phenomenological (sensory) activity, an interior and exterior exploration of the museum, a stunning visual presentation on international museum architecture, and a 30 minute drawing activity where students can begin to design their own museum. -
Dissertation, Full Draft V. 3
Inventing Architectural Identity: The Institutional Architecture of James Renwick, Jr., 1818-95 Nicholas Dominick Genau Amherst, New York BA, University of Virginia, 2006 MA, University of Virginia, 2009 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy McIntire Department of Art University of Virginia May, 2014 i TABLE OF CONTENTS ! ABSTRACT .......................................................................................................................................................... ii ACKNOWLEDGMENTS ......................................................................................................................................................... iv LIST OF ILLUSTRATIONS .......................................................................................................................................................... v INTRODUCTION .......................................................................................................................................................... 1 CHAPTER 1! An Architectural Eclectic:!! A Survey of the Career of James Renwick, Jr. .......................................................................................................................................................... 9! CHAPTER 2! “For the Dignity of Our Ancient and Glorious Catholic Name”:!! Renwick and Archbishop Hughes!at St. Patrick’s Cathedral ....................................................................................................................................................... -
Autobiographical Reminiscences with Family Letters and Notes on Music
Autobiographical Reminiscences with Family by Charles Gounod 1 Autobiographical Reminiscences with Family by Charles Gounod The Project Gutenberg EBook of Autobiographical Reminiscences with Family Letters and Notes on Music, by Charles Gounod This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: Autobiographical Reminiscences with Family Letters and Notes on Music Author: Charles Gounod Autobiographical Reminiscences with Family by Charles Gounod 2 Translator: W. Hely Hutchinson Release Date: April 10, 2011 [EBook #35812] Language: English Character set encoding: ASCII *** START OF THIS PROJECT GUTENBERG EBOOK AUTOGIOGRAPHICAL REMINISCENCES *** Produced by Chuck Greif and the Online Distributed Proofreading Team at http://www.pgdp.net (This book was produced from scanned images of public domain material from the Google Print project.) CHARLES GOUNOD [Illustration: Charles Gounod] CHARLES GOUNOD AUTOBIOGRAPHICAL REMINISCENCES WITH FAMILY LETTERS AND NOTES ON MUSIC FROM THE FRENCH BY THE HON. W. HELY HUTCHINSON [Illustration: colophon] LONDON WILLIAM HEINEMANN 1896 Autobiographical Reminiscences with Family by Charles Gounod 3 [All rights reserved] Printed by BALLANTYNE, HANSON & CO. At the Ballantyne Press CONTENTS CHARLES GOUNOD-- PAGE I. CHILDHOOD 1 II. ITALY 54 III. GERMANY 110 IV. HOME AGAIN 127 LATER LETTERS OF CHARLES GOUNOD 173 BERLIOZ 195 M. CAMILLE SAINT-SAENS AND HIS OPERA "HENRI VIII." 209 NATURE AND ART 225 THE ACADEMY OF FRANCE AT ROME 239 THE ARTIST AND MODERN SOCIETY 253 INTRODUCTION The following pages contain the story of the most important events of my artistic life, of the mark left by them on my personal existence, of their Autobiographical Reminiscences with Family by Charles Gounod 4 influence on my career, and of the thoughts they have suggested to my mind. -
Aesthetics in Ruins: Parisian Writing, Photography and Art, 1851-1892
Aesthetics in Ruins: Parisian Writing, Photography and Art, 1851-1892 Ioana Alexandra Tranca Faculty of Modern and Medieval Languages University of Cambridge This dissertation is submitted for the degree of Doctor of Philosophy Trinity College March 2017 I would like to dedicate this thesis to my parents, Mihaela and Alexandru Declaration I hereby declare that this dissertation is the result of my own work and includes nothing which is the outcome of work done in collaboration except as declared in the Preface and specified in the text. It is not substantially the same as any that I have submitted, or, is being concurrently submitted for a degree or diploma or other qualification at the University of Cambridge or any other University or similar institution except as declared in the Preface and specified in the text. I further state that no substantial part of my dissertation has already been submitted, or, is being concurrently submitted for any such degree, diploma or other qualification at the University of Cambridge or any other University or similar institution except as declared in the Preface and specified in the text. This dissertation does not exceed the prescribed word limit of 80000, excluding bibliography. Alexandra Tranca March 2017 Acknowledgements My heartfelt gratitude goes to my Supervisor, Dr Nicholas White, for his continued advice and support throughout my academic journey, for guiding and helping me find my way in this project. I also wish to thank Dr Jean Khalfa for his insights and sound advice, as well as Prof. Alison Finch, Prof. Robert Lethbridge, Dr Jann Matlock, and Prof. -
Agence D'architecture Du Louvre Et Des Tuileries (Vol 1)
Agence d'architecture du Louvre et des Tuileries (vol 1). Registres et cartons (1847-1958) Répertoire (64AJ/1-64AJ/262) Archives nationales (France) Pierrefitte-sur-Seine 2008 1 https://www.siv.archives-nationales.culture.gouv.fr/siv/IR/FRAN_IR_027835 Cet instrument de recherche a été encodé en 2012 par l'entreprise Numen dans le cadre du chantier de dématérialisation des instruments de recherche des Archives Nationales sur la base d'une DTD conforme à la DTD EAD (encoded archival description) et créée par le service de dématérialisation des instruments de recherche des Archives Nationales 2 Archives nationales (France) INTRODUCTION Référence 64AJ/1-64AJ/262 Niveau de description fonds Intitulé Agence d'architecture du Louvre et des Tuileries (vol 1).Registres et cartons Date(s) extrême(s) 1847-1958 Nom du producteur • Agence d'architecture du Louvre et des Tuileries Localisation physique Pierrefitte DESCRIPTION Présentation du contenu préface de JP Babelon, l’introduction générale du fonds, l’état sommaire, la bibliographie et les sources complémentaires, l’index topographique Liens : Liens IR : • Archives de l'agence d'architecture du Louvre et des Tuileries (XIXe-XXe siècles) SOURCES ET REFERENCES Autres instruments de recherche Liens : Liens IR : • Agence d'architecture du Louvre et des Tuileries (vol. 2). Photographies, plans et dessins du Louvre et des Tuileries. • Agence d'architecture du Louvre et des Tuileries (vol. 3). Plans du Nouveau-Louvre. • Agence d'architecture du Louvre et des Tuileries (vol. 4). Plans du Louvre et des Tuileries. • Agence d'architecture du Louvre et des Tuileries (vol. 5). Plans roulés • Agence d'architecture du Louvre et des Tuileries (Vol. -
Ce Qu'étaient Les Tuileries
FAUT-IL RECONSTRUIRE LES TUILERIES ? par Alain BOUMIER Séance du mercredi 26 février 2003 Voilà un thème peu banal, aux confins du sensationnel et de l’irréel, et tout à la fois capti- vant et difficile : – captivant, car c’est un sujet inattendu et, paradoxalement, un sujet « neuf » ! Voici plus d’un siècle que le pavillon de Flore et le pavillon de Marsan se font face, sans avoir été construits dans ce but, – sujet difficile mais exaltant, car j’ai l’impression de m’aventurer avec vous, sans jalons, sur un terrain oublié, sorti des mémoires et des consciences. Je vais traiter le sujet en trois parties : ce qu’étaient les Tuileries, ce que l’on peut faire, ce qu’il en résulterait. Ce qu’étaient les Tuileries Trois siècles de perséverance – La rémanence De nos jours, dans l’acception courante, le mot Louvre évoque un musée et le mot Tuileries un jardin. Cela prouve que quelque chose ne va pas quelque part. Le palais du Louvre, merveilleux écrin du musée, est un peu oublié et le palais des Tuileries en est inséparable. Ils sont le résultat de trois siècles de persévérance, à l’image de la France qui, précisément pendant le même temps, prit sa configuration et sa personnalité contemporaines. Les noms de Philibert de l’Orme, Bullant, du Cerceau, Louis Le Vau, Percier et Fontaine, Visconti et Lefuel, sont inséparables du palais des Tuileries, même si leur œuvre échappe à nos regards. Comment oublier aussi que Soufflot et Gabriel y procédèrent aux aménagements néces- saires pour que l’Opéra s’y installe et donne ses représentations de 1764 à 1770, puis la Comédie- Française de 1770 à 1782 ? C’est aux Tuileries que Beaumarchais créa son Barbier de Séville en 1775, et qu’en 1778, Mozart, alors âgé de 22 ans, y créa sa symphonie no 31 dite Parisienne. -
Pei's Pyramide at the Louvre
‘TRANSPARENT CONTRADICTIONS’: PEI’S PYRAMIDE AT THE LOUVRE Stephen L. Rustow Paper given at the Annual Meeting of the Society of Architectural Historians Boston, 29 March, 1990 The several projects known collectively as the ‘Grand Louvre’ represent the most significant alteration of the palace since the realization of the Visconti and Lefuel’s plans over 120 years ago. Indeed, in terms of total construction, the work presently underway dwarfs the ‘achèvement’ of the Louvre envisioned by Napoléon III for the Paris World’s Exposition of 1867 as the apotheosis of his capital and his empire. 1 Briefly put, the Grand Louvre proposes a dramatic enlargement and a thorough reorganization of every part of the museum. Gallery space is to be doubled to a total of 70,000 square meters; space for reception and orientation of visitors will be increased nearly twelve-fold with the creation of many new facilities, an auditorium, several restaurants and a new museum store among them. Technical storage and support space is to be greatly expanded as well, all of it connected to the palace by a system of tunnels and served by new delivery docks. A major new laboratory for art restoration forms part of the complex. Parallel projects, not directly tied to the museum but of considerable importance to the life of the Louvre include an underground car park and tour bus garage, a new amphitheater for the museum school, new library reserves and a commercial gallery, a controversial public/private joint venture designed in part to help subsidize a portion of the enormous investment: 5.4 billion francs or roughly 750 million dollars. -
État Des Lieux : Trois Histoires De L'architecture Des Musées
Musées et architecture en France : neutralité ou décor, collection ou concept ? ÉTAT DES LIEUX : TROIS HISTOIRES DE L’ARCHITECTURE DES MUSÉES Musées et architecture en France : neutralité ou décor, collection ou concept ? Nabila Oulebsir Musées et convenance : exemples helvétiques Leïla El-Wakil Il museo italiano del xx secolo : cent’anni di progetti e architetture Alessandro Martini Musées et architecture en France : neutralité ou décor, collection ou concept ? État des lieux : trois histoires de l’architecture des musées Nabila Oulebsir Musées et architecture Maître de conférences en histoire du patrimoine en France : neutralité ou décor, et de l’architecture à l’Université de Poitiers, collection ou concept ? CRIA-EHESS. Nabila Oulebsir Résumé L’histoire des musées en France s’ancre dans le projet des Lumières d’une part, Le rôle du musée est aujourd’hui plus que jamais mis en exer- XIX e siècle offrant au musée son architecture palatiale déco- et dans l’histoire du patrimoine et du vandalisme révolutionnaire d’autre part. gue dans la redynamisation des villes, particulièrement dans les rative puisant dans les styles historiques, le fonctionnalisme Afin d’analyser l’évolution architecturale des musées, des repères sont ici fixés : capitales européennes comme Paris, Berlin, Londres ou Madrid des années 1930 imposant au musée sa neutralité architectu- ou dans les pôles régionaux en croissance comme Bilbao, Metz, rale, et enfin, la culture visuelle transformant en ce XXI e siècle le projet des Lumières formulé au XVIII e siècle sur les -
Four Strategies for Additions to Historic Settings “DIFFERENTIATED” and “COMPATIBLE”: FOUR STRATEGIES for ADDITIONS to HISTORIC SETTINGS by Steven W
Excerpt taken from “Sense of Place: Design Guidelines for New Construction in Historic Districts” a publication of the Preservation Alliance for Greater Philadelphia and supported by a grant from the William Penn Foundation Part One: Differientated and Compatiable: Four Strategies for Additions to Historic Settings “DIFFERENTIATED” AND “COMPATIBLE”: FOUR STRATEGIES FOR ADDITIONS TO HISTORIC SETTINGS By Steven W. Semes In the postwar period, an important issue for preservation has been defining how new construction might appropriately support and enhance, rather than detract from, historic buildings and districts under regulatory protection. So long as new additions or infill buildings were likely to be designed in the same styles as their historic neighbors, “fitting in” was rarely an issue. But since the ascendancy of modernist architecture in the United States in the 1950s—a style which defined itself in terms of opposition to traditional styles and assumptions about design— an important part of the preservationist’s mission has been to tame the ambitions of modernist architects and their penchant for setting off historic structures with contrasting new ones. At the same time, many preservationists either acquiesced in or actively embraced modernist aesthetics for new buildings, especially as a means of distinguishing new and old construction, which has been a preservation goal since John Ruskin called for it in the nineteenth century. Not surprisingly, much attention has been focused on the question of how we ought to manage the relationships -
Empire and Belle Epoque Walking Tour 4Pages
The 19th century was a fascinating time in Paris. It’s hard to choose among the city’s many 19th-century landmarks. As a result, this walking tour is potentially the longest in this series. But the guide includes options for tailoring the walk to fit your time, energy and personal interests. The tour begins with a look at monuments to Napoleon I and Napoleon III’s imperial aspirations including the Arc de Triomphe and the 19th-century Louvre. It also includes buildings which are emblematic of the city’s 19th-century economic aspirations including the Paris stock exchange, several banks, and the Saint-Lazare railroad station. You’ll see how shopping evolved in Paris, from atmospheric covered passages such as the Galeries Vivienne and Colbert, to grand department stores like Galeries Lafayette and Au Printemps. The Palais-Royal, the Opéra Garnier and the Musée Jacquemart- André provide a glimpse into how wealthy Parisians lived and entertained themselves during this era. And you’ll visit two beautiful churches, Saint-Augustin and Saint-Eugène-Saint-Cecile. The tour ends with an optional visit to the 19th- century structure that has become the city’s most iconic monument, the Tour Eiffel. Start: Arc de Triomphe (Métro: Charles de Gaulle/Etoile) or Place de la Concorde (Métro: Concorde) Finish: Musée Jacquemart-André (Métro: Saint-Philippe-du-Roule) or Tour Eiffel (Métro: Bir-Hakeim) Distance: 3 - 4 miles (short version); 4 - 5 miles (long version) Time: 4 - 5 hours (short version); the better part of a day (long version) Best Days: Tuesday - Friday Copyright © Ann Branston 2011 HISTORY In 1848, a series of revolutions finally unseated the monarchy for good.