fha subject guide 2011
TRANSCRIPT
ABPL30053 (702‐386) FORMATIVE HISTORIES OF ARCHITECTURE
SUBJECT GUIDE 2011 SEMESTER 2
BACHELOR OF ENVIRONMENTS UNIVERSITY OF MELBOURNE
FACULTY OF ARCHITECTURE, BUILDING AND PLANNING
Subject Co‐ordinator: Associate Professor Hannah Lewi Arch Building rm 508
Lecturers: Prof Philip Goad, Dr Derham Groves, Assoc Prof
Hannah Lewi, Prof Miles Lewis, Dr Anoma Pieris, Assoc Prof Paul Walker
Senior Tutor: Helen Stitt, Arch Building rm 506, tel: 8344 8684,
email: [email protected] Student Consultation Hours: Wednesday 11.30–12.30; Thursday 10.00–11.00
Tutors: David Brand, Hing‐wah Chau, Joshua Haddad,
Francis Lin, Yvette Putra, Libby Richardson, Helen Stitt, Frank Vitelli
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Index
Subject Overview 2
Learning Objectives 2
Subject Activities: lectures, tutorials and site visits 2
Class Registration 3
Lecture and Tutorial Programs 4
Tutorials 5
LMS: the learning management system 5
Learning Resources 6
Assessment 9
Late submissions, extensions and special consideration 10
Plagiarism Policy 11
Assessment Grade Definition 14
Assessment Task 1: detailed instructions 16 Assessment Task 2: detailed instructions 19 Assessment Task 3: detailed instructions 20 Assessment Task 4 23 Assessment Task 5 24
Lecture Notes 25
Tutorial Guide 67
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Subject Overview
This subject will survey the emerging importance of theory and ideas in architecture in the context of the Enlightenment and the nineteenth century. It will include: the rise of archaeology and Neoclassicism; the Picturesque, Romanticism and Rationalism; the Industrial Revolution, engineering and Functionalism. It also considers the rise of the architecture profession and new institutions; Colonialism and the New World metropolis; Nationalism and Imperialism in both the East and West as well as the relationship of vernacular to high architecture. Buildings will be considered within their social, political, cultural and landscape contexts with analysis of issues such as spatial organisation, technologies and emerging theories of architecture.
Learning Objectives
On completion of this subject, students will be able to:
a. Demonstrate a broad understanding of the history of architecture and urbanism from ancient origins to the seventeenth century in both the East and the West;
b. Analyse buildings and places in terms of their context, function, form, planning, style and construction;
c. Demonstrate an understanding of the social, cultural and environmental context of architecture;
d. Demonstrate an understanding of history as a discipline and as a process; e. Use and understand design and architectural terminology; f. Write a synopsis, essay, report and bibliography to undergraduate standard.
Subject Activities
Students are expected to attend all lectures and tutorials throughout the semester. Aside from the 3 contact hours listed below, students will be required to complete a self‐guided walking tour outside class time. Students are also required to undertake weekly preparation for tutorials by reading set texts in the Tutorial Reader. Assessment tasks are outlined further on p. 10. Contact Hours: There are three compulsory contact hours for this subject as follows: Lectures
1hour Wednesday 2.15‐3.15
JH Michell Theatre, Richard Berry Building
1 hour Thursday 12.00 – 1.00
JH Michell Theatre, Richard Berry Building
Attendance at lectures is compulsory as the content is closely connected with the themes addressed in the tutorial sessions and all assessment tasks, including the final examination.
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Lectures will be delivered by academics from the Faculty of Architecture, Building and Planning. For additional reference, the lectures will be recorded and available on Lectopia. Tutorials:
1 hour Allocated tutorial on either Wednesday or Thursday
Various rooms in the Architecture Building and David Caro Podium
Class Registration: You need to register your position in a tutorial group via ‘Class Registration’, the ISIS student management system. These groups are capped at 16 participants. *** It is imperative that you put your name down for a tutorial group quickly as tutorial paper topics will be finalised in the first tutorial. You are committed to presenting your confirmed topic in the correct tutorial. *** Failure to do so will result in zero percent for this assessment task. See p. 16 of the Subject Guide for more information on presenting the tutorial paper (Assessment Task 1). If you need help in how to use ‘Class Registration’ to enrol in a tutorial group, contact the Bachelor of Environments Student Centre.
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Lecture and Tutorial Programs: Lect Date Lecture Tutorial Activity
1 27 Jul Introduction: Architecture, Enlightenment and Modernity (HL)
Tutorial 1: allocation of topics and ‘How to Deliver an Oral Tutorial Presentation’ guide 2 28 The Italian Baroque and its Influence (HL)
3 3 Aug The Palladian Legacy (ML) Campus Walking Tour
4 4 Neoclassicism (ML)
5 10 The Picturesque (ML) The Baroque and Beyond: Cities, Buildings & Landscapes
6 11 The Impact of Iron (ML)
7 17 Renaissance and Greek Revivalism (PG) The Picturesque: Painting or Landscape? 8 18 John Soane: Eclecticism and Death (HL)
9 24 Colonialism: East and West (AP) The Language of Classicism: Elasticity and Endurance 10 25 Beaux Arts and the Education of an Architect
(PG)
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Archaeology and Searching for Origins: Semper (HL) Orientalism: Exploration or
Exploitation? 12 1 Sept Gothic Revivalism: Pugin and Morality in English Architecture (HL)
13 7 Work, Nature and Modernity: the Importance of Ruskin and Morris (HL)
The Beaux Arts Concours: the Esquisse No presentations 14 8 Melbourne: a Nineteenth Century City (ML)
15 14 London: the Rise of Modern Institutions (HL/HS) Colour, Materials and Surface in 19th C Architecture 16 15 Viollet‐le‐Duc: History and Conservation (HL)
NON TEACHING PERIOD NON TEACHING PERIOD
17 5 Oct Colonial Gothic: India and New Zealand (PW) Morality, Ethics and Architecture 18 6 The Forgotten ‘Chinese’ Architecture of Arthur
Purnell (DG)
19 12 The Crystal Palace (ML) Walking Tour evaluations No presentations 20 13 Architecture and Engineering (ML)
21 19 Chicago: a Modern City (HL) The way forward: Engineering or Architecture? 22 20 Paris: Re‐making the City Beautiful (HL)
23 26 Nature and Modernity: the Art Nouveau (HL) Ornament, Nature and Abstraction 24 27 Vienna: Ornament versus Abstraction (HL)
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Tutorials: The importance of reading in this subject cannot be overstated. It is essential to reinforce and extend the themes of the lectures and to enable you to understand and participate in tutorials. Tutorials provide the opportunity for greater depth of analysis of particular buildings and texts, and the development of an historical and architectural vocabulary. Tutorial discussions are based on the belief that an informed knowledge of architectural history assists in understanding, assessing and developing architectural ideas and practice in the present day. Exposure to continuing traditions, theories, architectural typologies and built examples provides a relevant foundation for developing a broad design, historical and philosophical understanding and vocabulary. Signing Up: You need to sign up to a tutorial group. Refer to ‘Class Registration’, Subject Guide p. 3. Preparation: Your tutorial preparation should consist of:
• Reading ALL the essential readings for your tutorial topic and completing as many of the readings recommended for presenters and respondents as possible.
Taking notes on the readings. **Ask yourself who wrote the extract and why; what is the focus – what are the major themes; what arguments does the author present and what examples support these arguments; how does the extract relate to the other tutorial readings under the same topic or the lecture content?
Compile a list of your questions and ideas stimulated by the readings to bring to class – it will be a useful prompt for group discussion.
*Refer to ASU and AIRport resources on active learning, critical reading and analysis and note‐taking, as listed below. Attendance: Tutorial participation is included in your assessment and includes weekly attendance, participation in all activities (walking tours and esquisse exercise), participation in class discussion and your performance as a respondent. Attendance lists will be kept for all tutorials. Resources: The ASU has resources on tutorial participation: http://www.services.unimelb.edu.au/asu/speaking/participation/index.html AIRport has interactive resources on tutorial participation at: http://www.courseworks.unimelb.edu.au/scholarlylife/seminarandtutorialparticipation.php AND resources on thinking critically and creatively at: http://www.courseworks.unimelb.edu.au/scholarlylife/thinkingcriticallyandcreatively.php LMS: The Learning Management System is your first reference point for this subject. Students should log into the Formative Histories of Architecture Learning Management System (LMS)
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site regularly as it contains subject announcements, the subject and tutorial guides, learning resources, lectures recordings and assignment briefs. Make sure you also check your university e‐mail accounts for email announcements. Copies of the Subject Guide, Subject Bibliography and assignment sheets will be downloadable via the LMS. Other subject information will be uploaded to the LMS as relevant throughout the semester. The Formative Histories subject site can be accessed at: http://www.lms.unimelb.edu.au/login/ LMS Discussion Board: Students are encouraged to use the LMS Discussion Board to ask questions if the answers are not already available on the LMS or they cannot be answered by tutors within class time. Individual emails directed to the Subject Coordinator, the Senior Tutor or individual tutors will be reposted here if the answer is deemed relevant or useful to other students. Inquiries and Consultation: ** Please direct your questions to tutors within tutorials wherever possible, or at the lectures. If you cannot find what you need on the LMS, please email the Senior Tutor, Helen Stitt, at [email protected] or ask her in person following the lecture or during her consultation hours: Wednesdays 11.30‐12.30 and Thursdays 10.00 ‐ 11.00 in rm 506, Architecture Building. Learning Resources Subject Reader: It is compulsory to purchase a Subject Reader from the Bookroom. The Reader compiles key text extracts that will be covered in tutorials. Reading these texts will also assist you in preparation for the essay and end of semester exam. These texts have been specifically selected to provide different aspects of background knowledge, exposure to primary sources and engagement with scholarly research, argument and criticism. Primary and Secondary Sources: Written sources can generally be defined into two broad types: primary or documentary (usually written at the time by an eyewitness, direct participant or close observer) and secondary or scholarly sources (usually interpretations and explanations written after the fact by someone analysing the primary or documentary sources). Visual evidence produced at the time is also classed as a primary source and can include, but is not limited to, buildings, paintings and architectural plans and drawings. Primary sources are invaluable for gaining an understanding of the socio‐historical and political contexts of the time. They are also essential for gaining what is called the ‘period eye’; that is to be able to perceive, read, understand and conceptualise a building or monument in a way that is closer to how it was read and understood by the people of the day. These are mostly provided for you in the course reader, in the lists of recommended
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texts, and in some of the recommended web sources. Their use is strongly recommended for both the tutorial presentation and the essay. Secondary sources suitable for academic research are peer‐reviewed publications such as academic books and academic journal articles. They can be located via the University library catalogue and SuperSearch, both accessed on the library homepage at: http://www.library.unimelb.edu.au Online tutorials to assist you in using the library catalogue and SuperSearch effectively are available at: http://www.library.unimelb.edu.au/services/help_yourself/online_tutorials The library site also contains information to help you develop your research skills at: http://www.lib.unimelb.edu.au/sg/tools.html and information on how to access books from other libraries via BONUS+, CAVAL and inter‐campus loans at: http://www.library.unimelb.edu.au/services Using online resources: The following online resources are recommended for researching assignments:
The Victorian Web: http://www.victorianweb.org/index.html edited by Professor George Landow, Department of English and Art History, Brown University, USA Modern History Sourcebook: http://www.fordham.edu/halsall/mod/modsbook.html edited by Dr Paul Halsall, Fordham University, USA The Encyclopedia of Diderot & d’Alembert: http://quod.lib.umich.edu/d/did/index.html a collaborative translation project directed by: Prof Dena Goodman, University of Michigan; Assoc Prof Jennifer Popiel, Saint Louis University and Assoc Prof Sean Takats, George Mason University Great Buildings: http://www.greatbuildings.com/ published by Architecture Week Web Gallery of Art: http://www.wga.hu/index1.html created by Dr Emil Kren and Daniel Marx, Budapest University of Technology and Economics
A warning on using Wikipedia (and similar sites such as www.answers.com): Wikipedia can be a useful resource for getting quick, basic information however it is not suitable as an academic source. The author of the text is not cited and you have no way of knowing whether or not they are an expert in their field or are providing reliable information. It MUST NOT be used as a source for essays and assignments. Key texts: There is no one key text for this subject, apart from the Subject Reader, however a number of books are recommended. These are listed in the separate Subject Bibliography, available on the LMS, and can be borrowed for a restricted period (either 2 hours, overnight or 7 days, depending on the book) from the Reserve Collection of the Architecture Library, level 4, Architecture Building.
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For more information on the ABP Library Collections and Services go to: http://www.lib.unimelb.edu.au/collections/architecture/collections.html You can search the Reserve Lists by Course on the University Library Catalogue: http://cat.lib.unimelb.edu.au/ Two recommended texts have been ordered for the Bookroom: * Bergdoll, Barry, European Architecture 1750‐1890, New York: Oxford University Press, 2000. * Middleton, Robin & David Watkin, Architecture of the Nineteenth Century, London: Phaidon, 2003. It is also recommended that you purchase an architectural dictionary: Fleming, John et al., The Penguin Dictionary of Architecture and Landscape Architecture, London, Penguin, 1999 [1998] and/or Burden, Ernest, Illustrated Dictionary of Architecture, New York: McGraw‐Hill, 2002 [1998]. Study Skills and Time Management Your understanding and enjoyment of the topics covered in Formative Histories of Architecture will substantially increase if you take advantage of the full range of library and information sources available. We cannot emphasise enough the importance of reading to your study, and to the successful completion of all assessment tasks. Set aside at least 4 hours weekly for tutorial reading and reading to supplement the lectures. Learn to read carefully and actively. There is a range of online resources available to help you study efficiently and effectively. The ASU has information to help you with: Active Learning at: http://www.services.unimelb.edu.au/asu/study/active‐learning/index.html Reading Strategies at: http://www.services.unimelb.edu.au/asu/reading/strategies/index.html Critical Reading at: http://www.services.unimelb.edu.au/asu/download/Reading‐CriticalReading‐flyer.pdf Note‐taking: http://www.services.unimelb.edu.au/asu/reading/notetaking/index.html AIRport has interactive resources on: Study Skills and Time Management at: https://airport.unimelb.edu.au/gate1/study_skills/ Critical Reading and Analysis at: https://airport.unimelb.edu.au/gate2/writing/critical/ Note‐taking at: https://airport.unimelb.edu.au/gate2/writing/research/sample.php and good tips on how to structure your notes at: http://www.courseworks.unimelb.edu.au/gettingorganised/notetaking.php AIRport Gate 3 has videos and activities specifically designed for Bachelor of Environments students.
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Assessment
Assessments and assessment tasks comprise of the following tasks: Assessment Task Weight Due Date Brief Description1 Tutorial Presentation
15% As assigned Oral tutorial presentation and written tutorial outline submission
2 Tutorial Participation
10% Tutorial 10 (Walking Tour)
Tutorial participation and Walking Tour participation
3 Essay Outline
10% 11.00am, Wed. 24 Aug
Essay thesis statement and annotated bibliography
4 Essay
30% 11.00am, Mon. 3 Oct
Essay on a selected topic taking into account feedback provided on the essay outline
5 Exam
35% TBA
2‐hour written exam
Required format for written assignments:
Your assignments must be: • Provided with a header with the following information: name, student number,
course code, tutor name and tutorial time slot (to insert a header in Word go to View/Header and Footer)
Typed in 12 pt font 1.5 spaced Double‐sided (let’s try to save paper, if we can!) Presented with margins of at least 3cm (left margin) and 2.5cm (right margin) Page‐numbered Stapled together
Submissions:
A paper version of the written component of Task 1 is to be submitted to your tutor on the day of the presentation. You must also provide a copy for each student in your class, so 17 copies in total (including a copy for yourself). Paper versions NOT submitted at this time will be deemed to have NOT been presented and will receive ZERO. An electronic copy of the written component of Task 1 is to be submitted through the LMS using Turnitin BEFORE the assigned presentation time (for how to do this see: http://www.lms.unimelb.edu.au/animations/Turnitin_submission_student.htm). Paper versions of Tasks 2 & 3 are to be submitted to the Environments and Design Student Centre, ground floor of the Baldwin Spencer Building, adjacent to Union House, by 11.00am on the due date. An electronic copy of Tasks 2 & 3 ‐ TEXT ONLY, WITHOUT ILLUSTRATIONS ‐ is to be submitted via the LMS using Turnitin by 5pm on the due date.
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***Assignments not submitted to Turnitin CANNOT be marked and will receive ZERO. ***
Cover Sheets:
All work must be submitted accompanied by a coversheet provided by the University. PLEASE MAKE SURE YOU FILL IN ALL BOXES and clearly mark your TOPIC number on your essay outline and final essay submission. Note that this cover sheet includes a signed statement that you are presenting your own work. Work not accompanied by the University coversheet will not be accepted. ***Keep an electronic copy and a hard copy of each assignment you submit, at least until you have been awarded a final result.***
Citation:
Assignments MUST include a full bibliography of all references used in your research. All quotes and sections paraphrased from another source MUST be acknowledged using footnotes. This means that you are NOT to use the Harvard system (in‐text citation) and you MUST include exact page numbers in your footnotes (page numbers citing sections or chapters of a book are NOT sufficient). Footnotes are numbered consecutively and referred to in the body of the text by a superscript number. Word does this automatically for you if you use Insert/Reference/Footnote. The sources of all illustrations MUST be acknowledged, even if you are using your own photographs or sketches. Again, see the Assessments tab for examples of image acknowledgements. N.B. Examples of the required citation style for Formative Histories of Architecture, for bibliographic references, footnotes and image source acknowledgements are located under the Assessment tab on the LMS. Late submissions, extensions and special consideration: All late assignments without an approved extension or approved application for special consideration will incur a penalty of 10% per working day. Applications for an extension on assignments worth less than 25% of the subject’s overall mark and for a period of up to 2 weeks (10 working days) should be made to the Senior Tutor, Helen Stitt, at least 3 days before the assessment due date. Applications for an extension on assignments worth more than 25% of the subject’s overall mark and for a period of up to 2 weeks (10 working days) should be submitted to the Environments and Design Student Centre on their application form (located under the Assignments tab of the Formative Histories of Architecture LMS site) at least 3 days before the assessment due date. For further information on the University Extensions Policy go to: http://policy.unimelb.edu.au/UOM0374
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Students requiring seeking an extension of more than 2 weeks (10 working days), and who are eligible to do so, should submit an application for Special Consideration. For further information on the eligibility criteria and a link to the application form go to: http://policy.unimelb.edu.au/UOM0376 Plagiarism Policy: Plagiarism (including collusion) is considered a form of academic misconduct and will be dealt with according to the Bachelor of Environments Academic Misconduct Policy reproduced below. Chapter 1 ‐ Academic Misconduct Policy
Overview: This policy applies to students enrolled in the Bachelor of
Environments.
This policy is underpinned by University Statute 13.1: Student Discipline, and should be interpreted with reference to this document. In addition the University has policies on assessment that intersect with this policy. This policy is designed to ensure that students are treated in an equitable manner in relation to academic misconduct, and to provide staff with the framework to do so. Policy 1. Definition of academic misconduct from Statute 13.1.1: Academic misconduct includes, but is not limited to, cheating, plagiarism and any other conduct by which a student seeks to gain for himself or herself, or for any other person, any academic advantage or advancement to which he or she or that other person is not entitled and includes any conduct which constitutes a breach of the regulations relating to assessment made under statute 12.2.10.
2. Definition of plagiarism: The act of representing as oneʹs own original work the creative works of another, without appropriate acknowledgment of the author or source. (Creative works may include published and unpublished written documents, interpretations, computer software, designs, music, sounds, images, photographs, and ideas or ideological frameworks gained through working with another person or in a group. These works may be in print and/or electronic media.)
3. Any of the following, without full acknowledgement of the debt to the original source, would be an example of plagiarism:
• Direct duplication, by copying (or allowing to be copied) anotherʹs work, whether from a book, article, website, another studentʹs assignment, etc.
• Close paraphrasing of anotherʹs work, with minor changes but with the essential meaning, form and/or progression of ideas maintained.
• Piecing together sections of the work of others into a new whole. • Submitting oneʹs own work which has already been submitted for assessment
purposes in another subject.
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4. Collusion is another form of plagiarism. Definition of collusion: the presentation by a student of an assignment as his or her own which is in fact the result in whole or in part of unauthorised collaboration with another person or persons. Collusion involves the cooperation of two or more students in plagiarism or other forms of academic misconduct. Both the student presenting the assignment and the student(s) willingly supplying unauthorised material are considered participants in the act of academic misconduct.
5. Where a student is suspected of academic misconduct the following process will be followed:
• Details will be presented by the subject coordinator to the Assessment Coordinator for the Bachelor of Environments (the Chair of the Course Standing Committee or nominee). The Assessment Coordinator acts on behalf of the Dean of Architecture, Building and Planning as custodial Dean of the degree at this stage of academic misconduct proceedings, and will advise the Dean of all allegations made.
• The Assessment Coordinator will determine how to proceed based on the extent of the evidence available, the studentʹs intention to engage in academic misconduct, the seriousness of the act, and possible educative responses.
• Before any penalty is applied the Assessment Coordinator will give the student a chance to respond to the charge, and may invite the student to a formal hearing in some cases.
• Details of the charge and any penalty imposed will be recorded in a confidential database maintained by the Student Centre for the purposes of identifying repeat and multiple instances of academic misconduct, which are likely to be treated especially seriously.
6. If the Assessment Coordinator is of the opinion that the student is guilty of academic misconduct, one or more of the following penalties may be applied:
• The student may be required to undertake additional assessment in the subject. • The student may be given a mark of zero for the piece of assessment. • The student may be given a mark of zero for the subject. • The matter may be referred to the Dean of Architecture, Building and Planning as
custodial Dean of the degree regarding the possible presentation of a case of academic misconduct to a discipline committee under Statute 13.1.
7. The most serious cases of academic misconduct will be considered by a formal discipline committee, chaired by the Dean and including another senior member of Bachelor of Environments academic staff and a representative of the relevant student association. Students who are not satisfied with any penalty imposed by the Assessment Coordinator may also request that the matter be referred to the formal discipline committee.
8. Students will be invited to attend the discipline committee meeting and will have a chance to explain their conduct. If the committee is of the opinion that the student is guilty of academic misconduct, it may choose to apply (or uphold) one of the penalties listed above. In the most serious cases, it may recommend to Academic Board that a studentʹs enrolment at the University be suspended or terminated.
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9. Discipline committee hearings will be held in accordance with the procedures and timelines set out in Statute 13.1.
10. Students are entitled to appeal any penalties imposed for academic misconduct in accordance with the procedures and timelines set out in Statute 13.1.
11. Students can seek guidance on how to avoid plagiarism from academic staff and from learning support staff via the Student Centre.
12. All proceedings relating to academic misconduct will be kept in the strictest confidence.
This policy and other Bachelor of Environments policies are available at: http://www.benvs.unimelb.edu.au/current‐students/policies‐forms/ Avoiding Plagiarism: The best way to avoid plagiarism is to be aware of its definition, keep a thorough record of the references, including specific page numbers, that you have consulted when researching your assignments, ensure you use quotation marks where appropriate and cite all references correctly by using footnotes, image sources and a bibliography. It is recommended that all students consult the online resources designed to assist you in avoiding plagiarism: The ASU has information to help you avoid plagiarism at: http://www.services.unimelb.edu.au/asu/download/Writing‐Processes‐Plagiarism‐A5flyer.pdf AIRport has interactive resources on academic honesty and plagiarism at: https://airport.unimelb.edu.au/gate1/writing/plagiarism/ Students are STRONGLY ADVISED to complete the AIRport plagiarism checklist, available via the link directly above, to ensure they have a full understanding of the definition of plagiarism.
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Assessment Grade Definition Overall grades in the subject will be given according to the standards below: H1 (80%‐ 100%) is awarded for excellent work that:
• Contains a high level of abstract/innovative conceptualisation related to architectural history; • Shows an understanding of the major relevant theoretical perspectives; • Is thoroughly researched, with data collected discriminately from a wide range of sources; • Interprets the data consistently and intelligently; • Offers a sophisticated structural control in presenting and developing the material and in reaching conclusions; Work that is also in some way original, exciting or challenging could be awarded marks in the high 80s. Marks of 90% and above may be awarded to the best student work in the H1 range.
H2A (75% ‐ 79%) is awarded for very good work that:
• Demonstrates the ability to analyse and integrate a broad range of relevant sources and materials; • Shows an understanding of a range of theoretical perspectives/practical resolutions and how they relate to architectural history; • Is well‐researched, with data collected selectively from a wide range of examples/sources; • Interprets data consistently and with insight; • Is well‐structured, develops logical conclusions that reflect the evidence and arguments presented.
H2B (70% ‐ 74%) is awarded for good work that:
• Shows evidence of good research, sound preparation, wide reading and/or use of other sources; • Uses sources/examples appropriately & identifies/builds connections between them; • Shows evidence of the ability to draw implications from theory and conclusions from examples as well as sources; • Develops work that gives excellent coverage of the topic
H3 (65% ‐ 69% is awarded for fair work that:
• Shows evidence of research and demonstrates a good understanding of appropriate sources; • Demonstrates clear understanding of the main issues; • Uses relevant data although mainly re‐ worked examples; • Written tasks are succinctly summarised but little more than paraphrased; • Includes appropriate analysis topics; • Generally supports contentions with appropriate evidence; • Develops a work that organises the material clearly.
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P (50% ‐ 64%) is awarded for satisfactory work that:
• Shows understanding of the task; • Uses data, relevant to the topic/task/report; • Generally addresses the topic and organises the material clearly; • Relies on provided data with little transformation; • May lack sufficient or appropriate analysis and resolution; • May include arguments not properly supported with appropriate evidence.
N (0‐49%) Students awarded an N grade have failed the subject and will not attain credit points. This grade is for unsatisfactory work that fails to meet the basic assessment criteria
• Is conceptually or structurally unsound; is largely irrelevant, inaccurate or unsuitable; • Shows evidence that the task has not been understood; • Makes unsustainable (or no) conclusions from the data presented; • Includes unjustified or un‐substantiated claims; contains unsatisfactory elements; • Confuses opinion with fact; uses inappropriate materials; • Is incoherent in its development/resolution.
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Assessment: Assessment Task 1 Tutorial presentation and 2‐page written submission Weight: 15% Due date: during scheduled tutorial time This assignment takes the form of a 10‐minute illustrated oral presentation on a chosen topic during the tutorial time. You will be expected to carefully and critically consider and answer the topic, using your analysis of ALL the readings for your topic. Your response should present an argument and utilise examples drawn from the tutorial readings as evidence. In addition you may wish to consult the recommended texts, plus any additional material you may find useful. You are to lead an informative and lively discussion for the rest of the tutorial group using visual material to illustrate your presentation. You must submit a paper copy of the written component to your tutor to mark at the start of the tutorial and also a copy for each student in the class (*** so 17 in total, including one for you). Topics will be allocated in the first tutorial on the basis of student preference and the need to evenly distribute presentations across the semester. **If you do not attend the first tutorial you will be assigned a tutorial topic. It is the task of the presenters to: i) carefully and critically consider and answer the topic questions using the weekly tutorial readings, the lectures (where relevant), plus any additional bibliographic or visual material they find useful; ii) lead an informative and lively discussion for the rest of the tutorial group using visual material to illustrate their answers; iii) restrict their presentation to the required time limit of 10 minutes; iv) answer questions from the tutor and the tutorial group; iv) present a paper copy of their written summary to their tutor and their fellow students at the beginning of the tutorial. Submission Requirements:
• a 10 minute illustrated oral presentation, to the tutorial group in the allocated tutorial time;
• written summary of no more than TWO A4 PAGES to be submitted to your tutor at the beginning of the tutorial. These pages must comply to the following requirements:
ONE PAGE which summarises in prose your main argument in response to the tutorial questions; ONE PAGE which includes:
o a list of the main examples used to support your argument with accompanying annotations of three or four sentences explaining the significance of the examples.
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o A thumbnail image of the source, if relevant. o A bibliography o An electronic copy of the written component of Task 1 is to be submitted through the
LMS using Turnitin BEFORE the assigned presentation time (for how to do this see: http://www.lms.unimelb.edu.au/animations/Turnitin_submission_student.htm)
o adherence to the required format for written assignments noted on p. 9 of the Subject Guide
Assignment Images:
All images must be fully referenced. This consists of: • using a title that includes the name of the building, its location, architect/s and date • acknowledging the source of the image • using figure numbers to cross‐reference the text to the image.
Students are strongly advised to consult books held in the Architecture Library to find appropriate illustrations for tutorial presentations and essays. If you are using online resources restrict yourself to reliable websites belonging to libraries, art galleries and museums, universities and architectural institutions (for example RIBA, Royal Institute of British Architects). The online resources listed on p. 7 are recommended sources of images. The Internet can be an excellent source of previously scanned images BUT a Google image search should be used with extreme care as images from personal websites, blogs and commercial sites are frequently misidentified.
** Before using images from ANY site check copyright restrictions** Please note: refer to p. 10 for more information on using and citing sources and pp. 11‐13 for an important warning against plagiarism.
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Presentation Assessment Criteria: The following criteria will be used to assess Task 1
CONTENT:
• Research – topic is thoroughly researched
• Argument – clear arguments are presented
• Evidence – arguments are supported by well‐chosen and well‐analysed examples
• Visual Content – is well‐illustrated
STRUCTURE AND FORMAT:
• Structure – is structured into an introduction, body and conclusion
• Flow – has a logical progression of ideas
• Format – is correctly cited and illustrated
ORAL PRESENTATION:
• Oral Delivery – speaks clearly & confidently
• Language ‐ uses appropriate terminology
• Time limit – does not exceed 10 minutes
• Discussion – engages in post‐presentation discussion
Resources: The ASU has information to help you with preparing and delivering presentations at: http://www.services.unimelb.edu.au/asu/speaking/presentations/index.html and to help with pronunciation at: http://www.services.unimelb.edu.au/asu/speaking/pronunciation/index.html AIRport has a video on oral presentation skills for BEnvs students at: https://airport.unimelb.edu.au/environments/communicate/presentation.php and more hints on oral presentations at: http://www.courseworks.unimelb.edu.au/researchandwriting/oralpresentations.php and Grammar and ESL resources at: http://www.courseworks.unimelb.edu.au/researchandwriting/grammarandeslhelp.php
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Assessment: Assessment Task 2 Tutorial participation and Walking Tour Participation Weight: 10%
Due dates: Week 10 Tutorial (Walking Tour)
Tutorial participation is assessed throughout the semester. The Walking Tour questionnaire submission is due in the Week 10 Tutorial, i.e. 12 or 13 October. Information on the Formative Histories of Architecture Walking Tour: You are to complete a guided walk of central Melbourne during the September non‐teaching period with the assistance of a digital guide. A questionnaire accompanies the walk and this is to be submitted in the week 10 tutorial. Failure to submit the walking tour questionnaire in this tutorial will result in zero percent for this component of Assessment Task 2. N.B. More information on the walking tour will be provided in lectures, tutorials and on the LMS prior to the September non‐teaching period.
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Assessment: Assessment Task 3 Essay Thesis Statement & Annotated Bibliography
Weight: 15% Due date: 11.00am, Wednesday 24 August
Word Limit: 300 word thesis statement plus annotated bibliography
Submission Format: Refer to pp. 10‐11 for instructions on formatting & citations
Submission Procedure:
• Submit a hard copy of your assignment along with a signed cover sheet to the Environments and Design Student Centre, ground floor Baldwin Spencer Building, via the essay chute.
• Mark your chosen essay topic number on the top right hand corner of the cover sheet.
• Also submit an electronic copy to Turnitin through the LMS subject site. Instructions on how to submit to Turnitin are located on the LMS site: Hhttp://www.lms.unimelb.edu.au/ Go to: Teaching with the LMS/ Index of guides/ Guides for students/ Turnitin – Submitting a Turnitin paper assignment.
Extension Policy: Please refer to p. 10.
Aim of Assessment Task: The purpose of this assignment it to get you thinking about your essay topic early by:
• choosing a topic and dissecting what the question is asking you to do; • researching the topic by sourcing appropriate references and reading them; • formulating an essay argument; • choosing the key examples you will analyse to provide evidence for your
argument. To accomplish these aims Assessment Task 2 has THREE COMPONENTS:
1) Essay Topic Choose an essay topic from the list provided and repeat the topic and number as the Uheading of your first pageU 2) Essay Thesis Statement In no more than U300 wordsU write your essay thesis statement in prose (not dot points). UThe thesis statement should do 2 things:
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A Articulate your essay argument In an academic context, an argument is a series of related points, logically developed to support a particular opinion or conclusion. Before formulating an essay argument you will first need to dissect your topic, carefully considering all the parts and then structuring them into a series of questions and key points. By researching your topic with these questions and key points in mind, you will be able to arrive at your own conclusion in response to the essay question. B Explain your choice of key examples to use as evidence Essays require you to select and analyse examples to support your arguments. These examples may be buildings, paintings, cities, texts, plans etc., depending on your essay topic. In your essay thesis statement include the main examples you have selected to support your argument/s and explain why you consider them to be suitable as evidence. Provide full details of the examples, i.e. if a building, provide the building name, architect, location and date. Make sure you can find sufficient resources to research your examples, both written and visual. We suggest going through the following steps to dissect your essay topic – but don’t hand these in: Firstly read the entire question carefully and look for: content words that tell you the subject area; limit words that tell you the essay’s scope or parameters; direction words that tell you what you need to do with your arguments. Secondly highlight and then ‘tease out’ the key words by explaining and defining them. Assess the gaps you have in your knowledge, the reading you need to do, and the questions you need to research. 3) Annotated Bibliography A Search: Read and select at least 5 key references, including a range of books and journal articles. Aim to include primary as well as secondary sources (see p. 7 for notes on primary and secondary sources). In assessing your choice of references the focus will be on relevance, so don’t include items that were not useful in your research or that you have not yet read. B List: For each reference you must provide the author, title, place of publication, publisher and date of publication. Refer to p. 11 for more information on how to format citations. C Annotate: For each reference you must write a concise but detailed statement (approximately two to four sentences) explaining why you have selected it and how it is useful in addressing your essay topic.
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Refine and Discard: As your research and writing progresses you may wish to discard some of your initial references and include new ones. That’s fine. Take into account the tutor’s feedback on this assignment for your final essay bibliographic selection. Some other tips and sources for planning your essay: We do NOT require an essay plan as part of Assignment 2, but you should consider how you are going to structure your essay. The ASU has information to help you with essay writing at: Hhttp://www.services.unimelb.edu.au/asu/writing/essay/index.html including the downloadable ‘Tertiary Essay Writing’ guide. AIRport has interactive resources to help you with essay writing at: HUhttps://airport.unimelb.edu.au/gate1/writing/UH and short online courses on ‘Developing Academic Writing’ accessible via the AIRport home page. Assessment Criteria:
1. Elaborates the essay argument in no more than 300 words; 2. Includes key examples that will provide evidence for the argument and
explains the reasons for selection; 3. Bibliography is focused on the essay topic, and concisely annotated to
show evidence of thorough reading and analysis of references; 4. Conforms to submission and formatting requirements.
NB. Please note: If you decide to change your essay topic at any time after the submission of this task, you must first seek advice from your tutor and then re‐submit this assignment for your new topic.
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Assessment: Assessment Task 4 Final Essay Weight: 30% Due date: 11.00am, Monday 3 October
Word Limit: 2,000 words
Submission Format: Refer to pp. 9‐10 for instructions on formatting & citations Submission Procedure:
• Submit a hard copy of your assignment along with a signed cover sheet to the Environments and Design Student Centre, ground floor Baldwin Spencer Building, via the essay chute.
• Mark your chosen essay topic number on the top right hand corner of the cover sheet.
• Also submit an electronic copy to Turnitin through the LMS subject site. Instructions on how to submit to Turnitin are located on the LMS site: Hhttp://www.lms.unimelb.edu.au/H. Go to: Teaching with the LMS/ Index of guides/ Guides for students/ Turnitin – Submitting a Turnitin paper assignment.
Extension Policy: Please refer to p. 10.
Tips for researching, structuring and writing your essay: The ASU has information to help you with essay writing at: HUhttp://www.services.unimelb.edu.au/asu/writing/essay/index.htmlUH, including the downloadable ‘Tertiary Essay Writing’ guide. AIRport has interactive resources to help you with essay writing at: HUhttps://airport.unimelb.edu.au/gate1/writing/UH and short online courses on ‘Developing Academic Writing’ accessable via the AIRport home page.
NB: Please read the plagiarism policy carefully as all essays found to have been plagiarised will receive zero %. The policy is located on pp. 11‐13.
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Assessment Criteria: Argument
1. Demonstrates understanding of essay question 2. Introduces argument/s well and develops it/them in detail 3. Theoretical and historical content is appropriate to argument
Evidence and Research 4. Bibliographic sources are appropriate and critically used 5. Selection of examples is appropriate to, and supports, the argument/s 6. Images are used effectively to supplement and illustrate the argument/s 7. Evidence that feedback from essay thesis statement was addressed
General Competency of Writing and Presentation 8. Essay structure is coherent and is well sign‐posted for reader 9. Clear written expression and accuracy of spelling, names and terminology 10. Accuracy of citations and adherence to the stipulated citation style 11. Images are used and fully cited 12. Complies to submission requirements – especially essay topic number,
header and page numbers Assessment: Assessment Task 5 Final Exam Weight: 35% Exam date: To be advised ‐ in the examination period The final exam is designed to test your overall knowledge in the subject through a three part written exam which will consist of multiple choice answers; short answer questions; and longer essay answer questions. An examination advice sheet containing more information and a short‐list of concepts, examples and terminology to revise will be made available before Swot Vac. The exam will take place in the official University examination period and may fall anywhere within this period. The date will be available on the Student Information System examination search page as soon as it is available. This is located at: https://sis.unimelb.edu.au/cgi‐bin/exam‐search.pl
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LECTURE NOTES: LECTURE 1: Introduction: Architecture, Enlightenment and Modernity
Classicism Timeline
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LECTURE 2: The Italian Baroque and its Influence Topics: The Term Baroque – differentiated from Mannerism and Renaissance
Features of the Baroque:
1. Exaggeration and manipulation; 2. Variations in scale of works; 3. Planning and Geometry (experimentation with new plans based on the elongated
cross and oval); 4. Movement ( accentuated expression of movement in planning, facades and surface
detailing); 5. Decoration and Synthesis of all the Arts; 6. Illusion and Theatre; 7. Symbolism
Key Buildings / Places / Works: Piazza del Popolo, Rome ‐ Carlo RAINALDI, Gian Lorenzo BERNINI & Carlo FONTANA, 1662‐1667. Piazza Navona, Rome – including S. Agnese by BORROMINI and BERNINI’S ‘Fountain of the Four Rivers’. St Peter’s Rome ‐ re‐modelling of piazza and colonnade, 1657‐1667 by Bernini. Il Gesu, Rome – Giacomo VIGNOLA, and Giacomo della PORTA, 1568‐76 Borromini: S. Carlo alle Quattro Fontane, Rome, Francesco Borromini, 1638‐41. S. Ivo alla Sapienza, Rome, Borromini, 1642‐50. Pallazo Spada, colonnade, Borromini, 1652. Bernini: S. Andrea al Quirinale, Rome, Gian Lorenzo Bernini, 1658‐1661. Bernini, three projects for the east facade of the Louvre, 1665 Baldacchino, St Peter’s, Rome, Bernini, 1623‐34 Cornaro Chapel, S. Maria della Vittoria, Rome, Bernini, 1647‐52, ‘The Ecstasy of St. Teresa’. Guarini: S. Lorenzo, Turin, Guarini, plan and dome, 1666‐1679 . Chapel of the Holy Shroud, Turin, Guarini, 1668‐1694. The Palace : Vaux‐le‐Vicomte, France, Louis Le Vau, 1612‐70. Palace of Versailles, France, Andre le Notre, Louis Le Vau, and Jules Hardouin‐Mansart, 1668‐86. Upper Belvedere, Vienna, Johann Lucas von Hildebrandt, 1721‐23
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English Baroque: Inigo JONES, Christopher WREN, John VANBRUGH, and Nicholas HAWKSEMOOR St Paul’s Cathedral, London, Sir Christopher Wren, 1675‐1709. Castle Howard, Sir John Vanbrugh and Nicholas Hawksmoor, 1699‐1712 Blenheim Palace, Sir John Vanbrugh and Nicholas Hawksmoor, Oxfordshire, 1705‐24 Some Painters: Andrea POZZO, CARAVAGGIO, Claude LORRAIN, Nicolas POUSSIN, REMBRANDT, Johannes VERMEER, Peter Paul RUBENS
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LECTURE 3: The Palladian Legacy Topics: The triumphant call of authority Colen Campbell Lord Burlington William Kent The nature of the Georgian Georgian house types Urban houses Bath Some architects: Colen Campbell 1676‐1729 JamesGibbs 1682‐1754 William Kent 1685‐1748 Giacomo Leoni 1686‐1746 Richard Boyle, Lord Burlington 1694‐1753 Henry Flitcroft 1697‐1769 John Wood I 1704‐1754 Edward Shepherd ‐1747 Isaac Ware ‐1766 John Wood (the Elder) 1704‐1754 James Paine 1717‐1789 John Wood (the Younger) 1728‐1781 Some buildings: St Mary‐le‐Strand, London, by Gibbs, 1714‐1717. Wanstead, Essex, by Campbell, 1715‐1720. Wentworth Woodhouse, Yorkshire, by Flitcroft, begun 1733. Prior Park, Bath, by Wood (and Richard Jones), begun 1735. Mereworth Castle, Kent, by Campbell, 1723. Newby‐on‐Swale, Yorkshire, design by Campbell, c 1720. Stourhead, Wiltshire, by Campbell, 1720‐1722. Marble Hill, Twickenham, by Pembroke & Morris, 1724‐9. Burlington House, Picadilly, facade by Campbell, 1717. Bagno, Chiswick, by Burlington, 1717. General Wadeʹs house, Great Burlington St, by Burlington, 1723. Chiswick House, Twickenham, by Burlington, begun 1725. Holkham Hall, Norfolk, by Kent, begun 1725. Grosvenor Square, London, by Edward Shepherd, c.1727. Wrotham Park, Middlesex, by Isaac Ware, 1754. No.7 Old Palace Yard, Westminster, attributed to Isaac Ware, 1755‐6. Stone Buildings, Lincolns Inn Fields, by Taylor, 1756.
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Bath: Prior Park, by John Wood the elder (and Richard Jones), 1735‐c.1750. Queen Square, Bath, by John Wood the Elder, 1729‐36. House of John Wood the Elder, 41 Gay Street (corner Queen Square) c.1750. The Circus, by John Wood the Elder, from 1754. Royal Crescent, by John Wood the Younger, 1767‐74. Camden Crescent, by John Eveleigh, 1782. Somerset Place, by John Eveleigh, c 1790. Some books: Colen Campbell, Vitruvius Britannicus. I, 1715; II, 1717. Giacomo Leoni & Nicholas Dubois, The Architecture of Andrea Palladio. 1715‐1716. William Kent. Designs of Inigo Jones. 1727. Richard Boyle [Lord Burlington], Fabbriche Antiche disegnate da Andrea Palladio. 1730. Isaac Ware, Designs of Inigo Jones and Others. c.1733. Edward Hoppus, The Third and Fourth Books of Palladioʹs Architecture. 1733‐1735. William Salmon. Palladio Londinensis, or London Art of Building. 1738. Isaac Ware, The Four Books of Andrea Palladioʹs Architecture. 1738. John Vardy, Some Designs of Mr Inigo Jones and Mr William Kent. 1744
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LECTURE 4: Neoclassicism Topics: The bases of Neoclassicism Neoclassical theory The archetypal hut Archaeological sources The Adam brothers The Greek Revival French examples The Romantic Classicists Some architects and theorists: Carlo Lodoli 1690 ‐ 1761 Jean‐Nicholas Servandoni 1695 ‐ 1766 Pierre Contant dʹIvry 1698 ‐ 1777 Ange‐Jaques Gabriel 1698 ‐ 1782 Germain Soufflot 1713 ‐ 1780 Marc‐Antoine Laugier 1713 ‐ 1769 James Stuart 1713‐1788 Robert Adam 1728‐1792 James Adam 1732‐1794 Richard Mique 1728 ‐ 1794 Etienne‐Louis Boullée 1728 ‐ 1799 Claude‐Nicolas Ledoux 1736 – 1806 George Dance II 1741‐1825 Jean‐Jacques Lequeu 1758 ‐ c1824 Some buildings: St‐Sulpice, Paris (1655 onwards), facade by J‐N Servandoni, 1736‐1752, &c. St‐Germain lʹAuxerrois, Paris, choir redecorated by Claude Baccarit & Louis‐ Claude Vasse, 1756. La Madeleine, Paris, uncompleted scheme by Pierre Contant dʹIvry, c 1757‐1764. Ste‐Geneviève (le Panthéon), Paris, by Germain Soufflot, 1757‐1790. Garden Temple of Thesus at Hagley, by Stuart, 1758 Newgate Prison, by George Dance II, from 1769. Le Hameau de Trianon, Versailles, by Richard Mique1782‐5 Columnar house, Desert du Retz, 1771 Ange‐Jaques Gabriel Place Louis XV (Place de la Concorde), Paris, by A‐J Gabriel (1755),1757‐75. Petit Trianon, Versailles, by A‐J Gabriel, 1761‐1768. The Adams Kedlestone Hall, Derbyshire, by Matthew Brettingham from 1757, James Paine from c 1761, and Robert Adam c 1760‐1770. Osterley Park, Middlesex, remodelled by the Adam brothers, 1761‐1780. The Adelphi, London, by the Adam brothers, 1768‐1772.
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Boullée: Hôtel de Brunoy, Paris, 1774‐9 Boullée (projects): Stadium, no date Library, c 1780‐90 Tomb for Isaac Newton, 1784 Conical cenotaph, 1790s Ledoux: Hôtel dʹUzes, Paris, 1764‐7 Hôtel dʹHallwyl, Paris, c 1764‐6 Music Pavilion, Louveciennes, 1770‐1 Ice house, Louveciennes, mid‐1770s Hotel Guimard, Paris, 1773 Théatre, Besançon (1774) 1775‐85 Saline [salt works] de Chaux, Arc‐et‐Senans, 1775‐9 Barrière [Rotonde] de la Villette, Paris, 1784‐7 Barrière dʹEnfer, Paris, 1785‐9 Barrière de lʹÉtoile, Paris, 1785‐9 Ledoux (projects): Town of Chaux (project), after 1775 House for the Surveyors of the River, Chaux, no date Oikèma, or Temple of Love, Chaux, no date Design for a gaol in Aix‐en‐Provence, 1787 Lequeu (projects): Tomb for the most Illustrious and Wisest Men, no date Palace of Justice (or Temple of the Highest Wisdom), 1794 Le Rendezvous de Bellevue, nd Gate of the Arch of the People, nd Princeʹs Hunting Gate, nd Cowʹs stable in a cool meadow Some books: J L de Cordemoy, Nouvelle Traité de toute lʹArchitecture, Paris 1706. M‐A Laugier, Essai sur lʹArchitecture. Paris 1752. Robert Wood, The Ruins of Palmyra, otherwise Tedmor, in the Desart, London 1753. Robert Wood, The Ruins of Balbec, otherwise Heliopolis in Coelosyria. London 1757. J D Le Roy, Les Ruines des plus beaux Monuments de la Grèce., 1758. James Stuart & Nicholas Revett, Antiquities of Athen,. I, 1762: II, 1790. Robert Adam, Ruins of the Palace of the Emperor Diocletian at Spalatro in Dalmatia. 1764. Richard Chandler & Nicholas Revett, Ionian Antiquities. I, 1769, II, 1797.
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LECTURE 5: The Picturesque Topics: Introduction Stowe Capability Brown Landscape painting The Sublime Humphrey Repton The Blaise Castle Estate Richard Payne Knight Designers and Theoreticians: William Kent c1685‐1748 Lancelot ‘Capability’ Brown 1716‐1783 Sir William Chambers 1723‐1796 Rev William Gilpin 1724‐1804 Edmund Burke 1729‐1797 Richard Payne Knight 1750‐1824 Humphry Repton 1752‐1818 Sites shown in the lecture: Landscaped estates: Stowe, Buckinghamshire (originally Bridgeman, Vanbrugh, Kent &c), by Capability Brown from the 1740s onwards Blenheim Palace, Woodstock, Oxfordshire (originally Vanbrugh, Wise &c), by Capability Brown, 1760s Longleat, Wiltshire, by Capability Brown from 1757, later Humphry Repton Garnons, Herefordshire, by Humphry Repton, from 1791 Blaise Castle Estate, Henbury, Bristol, by Repton, from 1795 Luscombe, Devon, by Repton, c 1798 Bayham Abbey, Sussex, by Repton, proposed 1800 Michel Grove, Sussex, by Repton, from 1801 Barningham Hall, Norfolk, by Repton, proposed 1805 Buildings: Strawberry Hill, Twickenham, by Horace Walpole & others, 1748‐1792 King Alfredʹs Tower, Stourhead, by Henry Flitcroft, c 1766‐72 Downton Castle, Herefordshire, by R P Knight, interior by Nash, 1774‐8 Waresley Park, proposed remodelling by Repton, 1795 Henbury Hill Gate Lodge, Blaise Castle Estate, by Repton, 1796‐9 Landscape painters: Claude Lorrain [Gellée], lʹOrizonte, Nicholas Poussin, Salvator Rosa
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The Picturesque Controversy (1794): Uvedale Price. Essay on the Picturesque. Richard Payne Knight. The Landscape: A Poem. (theoretical illustrations of contrasting scenes) Humphrey Repton. Sketches and Hints on Landscape Gardening. Reptonʹs ʹRed Booksʹ (e.g. Sheringham Hall, 1812; Reptonʹs own house, 1816) Some contemporary books on rural Italian villas and cottages: T F Hunt, Architettura Campestre. 1827. Charles Parker, Villa Rustica. 1832‐34. Robert Kerr, The Gentlemanʹs House. 1865. Some terms: Beautiful; Sublime; Picturesque Romanticism; Associationism; Arcadia; Elysium ONE ATTEMPT AT A DEFINITION: “Picturesque architecture, then, is not, except in rare instances, a style, but a method of using and combining styles. In accordance with the three meanings of ʹpicturesqueʹ, designs might be so described if they had objective qualities in themselves considered picturesque. Or if they arouse an association of ideas with Italian or classic landscape. Or if the character of the site required a certain style (e.g. a fertile valley demanding monastic gothic) for the general effect to be picturesque. .... a building might be picturesque owing to the nature of the surrounding scenery or the mood of the observer. But design in itself picturesque, made use of qualities which (were) deduced from Italian and, later, English landscape painting. Irregularity best summarises these qualities. Irregularity of plan; the union of different styles in one building; irregularity of elevation ‐‐ produced by breaking the skyline, variegating the windows, and contriving bastion – like projections and shady recesses; variation of colour and texture in surface whether by choice of materials or wall‐planting; ‐‐ these factors in design came to be regarded as ends in themselves.... In addition, picturesque architecture, in this sense, comprised the qualities required by the other senses in the word was understood. It was to recall pictures generally. And was, above all, to harmonise with its setting.” Christopher Hussey, The Picturesque: Studies in a Point of View, London 1927, pp. 217‐219.
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LECTURE 6: The Impact of Iron 1775‐1850 Topics: Introduction Engineering and architecture Cast iron Wrought iron Steel Invention of the factory Strutt’s mills Later mills Iron rib arch bridges Iron voussoir bridges Iron box aqueducts Telford’s arches Suspension bridges Self‐contained spans Some engineers & architects: John Nash 1752‐1835 William Strutt 1756‐1830 Thomas Telford 1757‐1834 George Stephenson 1781‐1848 Robert Stephenson 1803‐1859 Structures Mills: Derby cotton mill by Wiliam Strutt, 1792‐3; also Milford and Belper West. Benyon, Bage & Marshallʹs flax mill, Shrewsbury, by Charles Bage, 1796. Salford Twist Company (Phillips & Lee) Mill, Salford, by Boulton & Watt, 1799‐1801). Belper North mill by Strutt, 1803‐4. Iron Rib Arch Bridges: Robert Mylne design for Inverary Bridge, 1774. T.F. Pritchardʹs design for Coalbrookdale, 1775. Coalbrookdale, possibly by Abraham Darby III, 1775‐9. Bridge at Stanford Court, by Nash, c.1795‐6. Iron Voussoir Bridges John Nashʹs patent cast iron bridge system, 1795. Thomas Paineʹs patent, 1788, and demonstration bridge, 1790. Sunderland Bridge, by Rowland Burdon, 1790‐1796. Iron Box Aqueducts Aqueduct on the Shrewsbury Canal, Longdon, by Thomas Telford, 1795‐6. Pont Cyssylte Aqueduct on the Ellesmore Canal, by Telford, 1795‐1805.
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Telfordʹs Arches Buildwas Bridge, Shropshire, by Telford, 1796. London Bridge design by Telford, 1801. Menai Straits arched bridge design by Telford, 1810. Craigellachie Bridge, near Banff, Scotland, by Telford, 1814‐1815. Suspension Bridges Menai Suspension Bridge by Telford (1815) 1819‐1824. Union Bridge over the Tweed by Samuel Brown, opened 1820. Brighton Chain Pier, by Brown 1822‐3 (destroyed 1836). Conway Suspension Bridge, by Telford, 1822‐1826. Self‐Contained Spans Bridge over the Gaunless on the Stockton & Darlington railway line, attributed to George Stephenson, 1823‐4. Suspension Bridge over the Rhone near Tournon, France, by Mark Seguin, 1824. Railway bridge (cast iron beam), Ware Street, Manchester, by George Stephenson, 1829. High Level Bridge, Newcastle, by Robert Stephenson, c.1845‐9. Conway tubular bridge by Robert Stephenson and Francis Thompson, 1845‐1849. Britannia tubular bridge by Stephenson and Thompson, 1845‐50
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LECTURE 7: Renaissance and Greek Revivalism THE GREEK REVIVAL IN GREAT BRITAIN
Significant architects: England: James Stuart Nicholas Revett Robert Smirke Scotland: Thomas Hamilton WH Playfair Alexander Thomson Important ancient Greek sites: Greece: Delphi, Athens: Acropolis, Parthenon, Erechthion; Propylaea;
Choragic Monument of Lysicrates; Tower of the Winds Italy: Paestum, south of Naples; Segesta; Agrigento; Selinunte, all in Sicily Important publications that popularised the archaeology of Ancient Greece: 1. J. Stuart and N. Revett. Antiquities of Athens. 4 vols,1762‐1816. 2. J.D. Le Roy. Les Ruines des plus beaux monuments de la Grece. Paris 1758. 3. G.M. Dumont. Les Ruines de Paestum. Paris 1769. 4. S. Riou. The Grecian Orders of Architecture. London 1768. Important buildings illustrated: Demosthenes Lanthorn, Shugborough, 1770 (James Stuart). Triumphal Arch, Shugborough, 1764 (James Stuart). Banqueting House, Mt. Stewart, Co. Down, c1780 (James Stuart). Warwick Gaol, 1779 (Thomas Johnson). British Museum, London, 1823‐47 (Robert Smirke). Euston Station, Propylaeum, London, 1836‐39 (Philip Hardwick). St. Katherineʹs Docks, Stepney, London, 1825‐28 (Thomas Telford). Royal High School, Edinburgh, 1825‐29 (Thomas Hamilton). Scottish National Gallery, Edinburgh, 1850‐55 (W.H. Playfair). National Monument, Calton Hill, Edinburgh, 1822‐ (W.H. Playfair & C.L. Cockerell). United Presbyterian Church, Caledonian Rd, Glasgow, 1856‐7 (Alexander Thomson).
THE GREEK REVIVAL IN GERMANY
Significant architects: Carl Gotthard Langhans (1732‐1808) Friedrich Gilly (1772‐1800) Karl Friedrich Schinkel (1781‐1841) Leo von Klenze (1784‐1864) [Johann Joachim Winckelmann (1717‐1768, art historian)] Some terms: Romantic classicism; trabeation; arcuation; Rundbogenstil Important buildings illustrated: The Brandenberg Gate, Berlin, by C.G. Langhans, 1789‐94. Design for a Monument to Frederick the Great, by Friedrich Gilly, 1796. Design for a National Theatre, Berlin, by Friedrich Gilly, 1798. Design for a Mausoleum, by Friedrich Gilly, c.1799.
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Important buildings by K.F. Schinkel: Neue Wache (Royal Guard House), Berlin, by K.F. Schinkel, 1816‐18. Bauakademie, Berlin, by K.F. Schinkel, 1831. Schauspielhaus, Berlin, by K.F. Schinkel, 1818‐21. Altes Museum, Berlin, by K.F. Schinkel, 1823‐33. Schloss Charlottenhof, Potsdam, by K.F. Schinkel, begun 1826. Court Gardenerʹs House, Charlottenhof, by K.F. Schinkel, 1829. Important buildings by Leo von Klenze: Glyptothek, Munich, by L.von Klenze, 1816‐30. Alte Pinakothek, Munich, by L.von Klenze, 1826‐36. Hall of Fame, Munich, by L.von Klenze, 1843‐54. The Walhalla, near Regensberg, by L.von Klenze, designed 1821, built 1830‐42. Leuchtenberg Palais, Munich, by L.von Klenze, 1816. THE RENAISSANCE REVIVAL IN GREAT BRITAIN Important buildings by Sir Charles Barry (1795‐1860): Travellersʹ Club, London, 1829. The Reform Club, London, 1837‐41. Board of Trade, Whitehall, by Charles Barry, 1844‐45. Bridgewater House, London, 1846‐51. British Embassy, Istanbul, Turkey, 1845‐47. Houses of Parliament, Westminster, in conjunction with A.W.N. Pugin, 1836‐ Some important Renaissance Revival buildings: Athenaeum Club, Pall Mall, London, by Decimus Burton, c 1827. Carlton Club House, London, by Sydney Smirke, 1847. Army and Navy Club, London by Parnell and Smith, 1848‐51. Conservative Club House, London, by George Basevi, 1843‐44. Athenaeum Club, Sheffield, by George Alexander, 1845‐46. Athenaeum, Philadelphia, USA, by John Notman, 1845‐47. Villard Houses, New York, USA, by McKim Mead and White, 1883‐5. Melbourne Club, Melbourne, Australia, by Leonard Terry, 1858‐9, 1883. Ashmolean Museum & Taylor Institute, Oxford, C R Cockerell, 1841‐45 Treasury Building, Melbourne, Australia, by J.J. Clark, 1857‐61. Some important Italianate buildings: Osborne House, Isle of Wight, by Thomas Cubitt and Prince Albert, 1845‐48. Government House, Melbourne, Australia, by Public Works Department (William Wardell), 1872‐6
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Some important Roman Revival buildings: St. Georgeʹs Hall, Liverpool, by H. L. Elmes, then C. R. Cockerell, 1839‐40: 1841‐54. Royal Opera House, Covent Garden, London, by E. M. Barry, 1857‐59. Town Hall, Leeds, by Cuthbert Brodrick, 1855‐58. Parliament House, Melbourne, Australia, by Knight & Kerr, 1856, 1859‐61, 1877‐79
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LECTURE 8: John Soane: Eclecticism and Death John Soane (1753 - 1837) Important formal themes: Domed ceiling over segmental arches Shallow cross vault Tribune or open well Primitivism Ruins and decay Context and related Styles: Regency Period – as a political and a cultural period in England at the turn of the 19th century Influence of archaeology and the collecting of museum pieces from Greece and elsewhere Greek Revivalism Important buildings: Triumphal Bridge, 1779 Design for a Dairy at Hammels Park, Grofton Grange, Herts, 1783 12 Lincoln's Inn Fields, 1792 Bank of England, London Bank Stock Office 1792-3 (demolished 1927) Rotunda, 1796 Old Dividend Office 1818-23 Colonial Office, 1818-23 "Tivoli" corner 1805, derived from the Temple of Vesta, Tivoli, Rome Loggia in the Governor's Court Tyringham, Buckinghamshire: Gate, Bridge, Stables, Mausoleum, 1792-1800 Pitzhanger Manor, Ealing, c1800 Dulwich College of Art, Gallery and Mausoleum, 1811-1814 13 Lincoln's Inn Fields, (the Soane Museum) London, c 1812 Stables at the Royal Hospital, Chelsea 1814-17 Court of Exchequer, Westminster, 1820-24 Court of Common Pleas, Westminster, 1820-24 Privy Council Chamber, Whitehall, 1824 Council Chamber, Freemasons Hall, London, 1828 Court of Chancery, Westminster, 1830-4 (from 1883) Additions to 10 Downing Street, London (up to 1825) Some references: Tilman Mellinghoff et al., John Soane, London 1983 Stefan Buzas, Sir John Soane's Museum, London, Tübingen c1994 Gillian Darley, John Soane: an accidental romantic, London 1999 Ptolemy Dean, Sir John Soane and the country estate, Aldershot, 1999 Pierre de la Ruffinierre Du Prey, John Soane, the making of an architect, Chicago 1982 Dorothy Stroud, John Soane, architect, London 1984 David Watkin, Sir John Soane : enlightenment thought and the Royal Academy lectures, Cambridge 1996
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LECTURE 9: Colonialism: East and West Colonialism: East and West, Orient, Orientalist, Orientalism, Orientalising the self. ʺMy contention is that Orientalism is fundamentally a political doctrine willed over the Orient because the Orient was weaker than the West, which elided the Orient’s difference with its weakness. . . . As a cultural apparatus Orientalism is all aggression, activity, judgment, will‐to‐truth, and knowledge.ʺ (Said, Orientalism, 204). Orientalism (Said)
o constructed discursively through European scholarship on the orient o applied Michel Foucault’s ideas of Discourse to an analysis of the binary structure of
colonialism. o informed by Antonio Gramsci’s discussion of consent and dominant society in
orientalism and later informs postcolonial critique. Postcolonial investigations
o following Said, scholars from former colonies began to re‐read western theory particularly the scholarship dealing with colonization and capital expansion.
o intention was to identify and critique colonial power hierarchies (political/social; East/West) that persisted post‐independence.
Themes East and West as discrete geographical territories around the processes of colonisation and European imperialism The figure of the orientalist (William Jones and James Fergusson) Conquest, Islam and the harem Orientalism as theorized by Edward Said, Dialectics of colonialism and its construction of East and West along lines of class, race and gender distinction between the indigenous and the colonial city World’s fairs and exhibitions as ‘theatres of colonialism’, compared with representations of industry and progress in the European and American exhibits Self‐colonization and indigenization, Primitive hut and indigenous habitat evolves into a discussion of regionalism Return of indigenous motifs and production of an exotic and orientalist version of the self for the tourist industry in resort hotels The Singapore girl
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Maps Colonial Empires in 1772, 1914 and the Tropical Zone, Alexander Tzonis, L. Lefaivre and Bruno Stagno, Tropical Architecture, Critical Regionalism in an Age of Globalization, London: Wiley‐Academy 2001. Map of Beijing, Forbidden City Map of Colonial Calcutta 1945 Melaka, Penang and Singapore 19th Century Cairo 1736 Artworks Jean Leon Gerome: Napoleon and his army in Egypt 1863; The snake charmer 1889; Pool in a harem 1876 Jean‐Auguste‐Dominique Ingres, The Grand Odalisque 1814; Odalisque with Slave 1842, The Turkish Bath, 1862 (Roger Benjamin, Orientalism: Delacroix to Klee, the Art Gallery of New South Wales, 1997). Eugene Delacroix: Odalisque 1857; Algerian Women in their chamber, 1834. Henri Matisse: Arab Coffee House 1912‐13; Moorish Screen 1917‐21; Three Sisters 1917; Laurette in a white turban 1916 17th century pilgrims map from the National Library Bangkok Mt Meru, Wat Sakhet, Bangkok Beijing, Ming Dynasty painting (1368‐1644) Alfred Russel Wallace, The Malay Archipelago, Macmillan and Company [1869], 1906. Images from Herge, Tintin in the Congo, Casterman, 1931. Fronticepiece (Marc‐Antoine Laugiere, Essay on Architecture 2nd ed. [1755] trans. A. Hermann and W Hermann, Hennessey & Ingalls, 1985). Chisholm, sketches of houses and the palace at Trivandrum (Thomas Metcalf, An Imperial Vision ‐ Indian Architecture and Britain’s Raj, Oxford university Press, 1989) Bahga et al., New Indian home: an architectural renaissance , N Delhi: Galgotia 1997. Aboriginal man and two Aboriginal women in European dress, 1864‐68, National gallery of South Australia (photo) Tropical Houses, Robert Powell, The Tropical Asian House, Singapore: Select Books, 1996. Tropical Resorts, Tan Hock Beng, Asian Resorts, Singapore: Pageone, 2003 Brain Brace Taylor, Geoffrey Bawa, MIMAR, 1986 Exhibitions The World’s Columbian Exposition, 1893 (Eric Mattie, World Fairs, Princeton Architectural Press, 1998) St Louis Exhibition, 1904). British Empire Exhibition 1820 Colonial and Indian Exhibition 1886 (Burton Benedict, The Anthropology of World’s Fairs, Berkeley, Lowie Museum, 1983). Franco British Exhibition 1908 1931 Colonial Exposition, Paris, (Patricia Morton, Hybrid Modernities, The MIT Press, 2000)
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LECTURE 10: Order, Composition and the Grand Vision: the Architecture of the French Beaux‐Arts tradition Some terms: Académie Royale dʹArchitecture; ancien régime Institut National des Sciences et des Arts aspirant; élève de lʹEcole des Beaux‐Arts première classe; seconde classe prix dʹémulation Grand Prix de Rome; pensionnaire; envoi atelier – studio analytique – analytical study of anelement of architecture (eg wall, window, an Order of Architecture) undertaken as a formal esquisse ancient – a veteran student; nouveaux – a young/new student bienséance – good sense, commonsense bon gout – good taste caractère – character, feeling evoked by the plan, elevations or perpsective concours ‐ competition en loge – the design work is done in a locked room, sometimes in individual small private cubicles en charette – literally ‘in a cart’, the last rush to complete the project entourage – all the features of the landscape, urban setting, people etc surrounding a plan esquisse – a small scale sketch prepared in a brief, invariably set, period of time hors de concours – outside the competition, disqualified marche – the orderly relation of spaces through which a spectator moves mosaic – the decoration of the plan nègre – young student set to work for older students parti – the overall conception shown on the plan, i.e. the plan strategies or organisational strategies patron; maitre – patron or master of the atelier (studio) poché – sections of a design – walls and piers etc. shown on plan and generally blackened in or shaded projet rendu – rendered project Important buildings: Palais des Etudes, Ecole des Beaux‐Arts, Paris, by Felix Duban, 1834‐8 (Salle des Etudes, completed 1864) Opera, Paris, by Charles Garnier, 1861‐74 Concert Hall and Casino, Monte Carlo, by Garnier, 1878‐9 (hall); 1881‐2 (casino) Bibliothèque Sainte‐Geneviève, Paris, by Henri‐P.‐F. Labrouste, 1839/ 1843‐50 Bibliothèque Nationale, Paris, Reading Room, by Labrouste, 1862‐68 Galerie des Machines, Paris, by Dutert & Contamin, 1889 Petit Palais, Universal Exposition, Paris, by Charles Girault, 1895‐1900
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Worldʹs Columbian Exposition, Chicago, 1893 Fine Arts Building, by Charles Atwood Transportation Building, by Louis Sullivan Allegheny Court House, Pittsburgh, Pennsylvania, by HH Richardson, 1884‐88 Boston Public Library, Boston, Massachusetts, by McKim Mead & White, 1887‐95 Guaranty Building, Buffalo, New York, by Louis Sullivan, 1894‐95 Pennsylvania Station, New York, by McKim Mead & White, 1906‐10 New York Public Library, New York, by Carrere & Hastings, 1897‐1911 Hartford County Building, Connecticut, by Cret, Smith & Barrett, 1925‐29 Imperial Hotel, Tokyo, Japan, by Frank Lloyd Wright, 1915‐22 Meeting house, Salk Institute for Biological Studies, La Jolla, California, by Louis Kahn, 1965 Parliament House, Canberra, ACT, 1980‐88, Mitchell Giurgola Thorp Significant architects: Felix Duban 1797 ‐ 1870 Henri Labrouste 1801 ‐ 1875 Jean Louis Charles Garnier 1825 – 1898 Ferdinand Dutert 1845 ‐ 1906 Charles Girault 1851 ‐ 1932 Julien Guadet, Eléments and théorie de lʹArchitecture, 4 vols, 1901‐04 American architects who were at the École des Beaux‐Arts in Paris: Henry Hobson Richardson 1821 ‐ 1886 Charles Follen McKim 1849 ‐ 1909 Louis Sullivan 1856 – 1924 John Carrere 1858 – 1911 Thomas Hastings 1860 ‐ 1929 Further reading: Arthur Drexler (ed), The Architecture of the Ecole des Beaux Arts, London: Secker & Warburg, 1977. Donald Drew Egbert (ed), The Beaux Arts tradition in French architecture, Princeton, NJ.: Princeton University Press, 1980. Christopher Curtis Mead, Charles Garnier’s Paris opera: architectural empathy and the renaissance of French classicism, Cambridge, Mass.: MIT Press, 1991. Robin Middleton (ed), The Beaux Arts and nineteenth century French architecture, Cambridge, Mass.: MIT Press, 1982. David Van Zanten, Designing Paris: the architecture of Duban, Labrouste, Duc, and Vaudoyer, Cambridge, Mass.: MIT Press, 1987.
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LECTURE 11: Archaeology and Searching for Origins: Semper
Key architects: Jakob Ignaz Hittorff 1792‐1867 Gottfried Semper 1803‐1879 Important texts: Gottfried Semper.
Preliminary Remarks on Polychrome Architecture and Sculpture in Antiquity. 1834. The Four Elements of Architecture: A Contribution to the Comparative Study of Architecture. 1851. Science, Industry and Art: Proposals for the Development of a National Taste in Art at the Closing of the London Industrial Exhibition. 1852. Style in the Technical and Tectonic Arts or Practical Aesthetics. 1860. On Architectural Styles. 1869.
Some built works: Dresden Hoftheater, Dresden, Germany, 1834‐41 Dresden Art Gallery, Dresden, Germany, 1839‐55 Eidgenossiche Technische Hochschule, Zurich, Switzerland, 1858‐64 Winterhur Town Hall, Switzerland, 1864‐70 Second Hoftheater, Dresden, Germany, 1870‐78 Art History Museum, Vienna, Austria, 1896‐91 Semper’s legacy:
The theory of polychromy in ancient buildings that challenged the dominance of “white” in classical scholarship.
Four elements of the origins of architecture: the hearth; the mound; the enclosure; the roof.
The concept of dressing and the symbolism of ornamentation that challenged previous concepts of the wall as structure.
The re‐assessment of “primitive” design from Pacific and Indigenous regions The re‐invigoration of surface ornamentation in postmodern architecture
Further reading: Harry Francis Mallgrave, ʺIntroductionʺ, in Gottfried Semper, The Four Elements of Architecture and Other Writings (translated by Harry Francis Mallgrave and Wolfgang Hermann), Cambridge, 1989. Harry Francis Mallgrave, Gottfried Semper: Architect of the Nineteenth Century, New Haven, 1996.
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LECTURE 12: Gothic Revivalism: Pugin and Morality in English Architecture A W N Pugin (1815‐1852) Some themes: Commissioners’ churches Pugin’s churches Key writings: ʺContrastsʺ and ʺTrue Principles of Christian or Pointed Architectureʺ and arguments for the Gothic as the appropriate style for British church architecture. Westminster New Palace Gothic and Medieval‐inspired furnishings Associated architects: Charles BARRY William Wilkinson WARDELL George GILBERT SCOTT Some buildings: Westminster New Palace, by Charles Barry (with Pugin), (from 1835) 1840‐1860 St Giles, Camberwell Church Street, London, by Scott & Mofatt, 1842‐1844 St Patrick, Kilmore, Victoria, by Joseph & Charles Hansom, 1857‐1860, completed by Wardell, c 1871 St Marieʹs Grange, near Salisbury, Wiltshire, 1835 Scarisbrick Hall, near Ormskirk, Lancashire, 1837‐1838; completed E W Pugin 1860‐1868 Puginʹs house at Ramsgate, Kent, 1841 St Mary, Bridegate, Derby, 1837‐1839 St George, Southwark, various proposals, 1838‐1841 St Chadʹs Cathedral, Birmingham, 1839‐1841 St Giles, Cheadle, 1841‐1846 St Barnabas, Nottingham, 1842‐1843 St Augustine, Ramsgate, Kent, 1841
Further reading: Paul Atterbury [ed], A W N Pugin: Master of Gothic Revival, New Haven c 1995. Brian Andrews, Creating a Gothic Paradise: Pugin at the Antipodes, Hobart 2002. Phoebe Stanton, Pugin, London 1971. Rosemary Hill, Godʹs Architect, 2006. John Ruskin (1819‐1900) and English Gothic Revival Architects Some themes: Looking to Northern Italian and Venetian Architecture of Pre‐Renaissance period; Characteristics of Gothic buildings and builders: savageness; rudeness; inventiveness; naturalism; love of nature; grotesqueness; imagination. Agglutinative Planning Theories of Colour and Encrustation
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Social virtues of traditional arts and crafts; Polychromatic Brickwork Key writings: A W N Pugin, Contrasts, London 1836. Ecclesiologist. First published in 1841 with five issues each year. William Butterfield, Instrumenta Ecclesiastica, London 1844‐1847. John Ruskin, Seven Lamps of Architecture, London 1849. John Ruskin, ʹOn the Nature of Gothicʹ, Ch 6, Vol 2 of The Stones of Venice, London 1851‐1853. Some other Gothic Revival architects: William Butterfield 1814‐1900 Edward Buckton Lamb 1806 ‐ 1869 George Gilbert Scott 1811 ‐ 1878 Richard Cromwell Carpenter 1812 ‐ 1855 Samuel Saunders Teulon 1812 ‐ 1873 George Edmund Street 1824 ‐ 1881 William Burges 1827 ‐ 1881 Alfred Waterhouse 1830 ‐ 1905 Edwin Godwin 1833 ‐ 1886 Some buildings mentioned: University Museum, Oxford, by Deane & Woodward, architects, with involvement by John Ruskin, 1855‐60. Albert Memorial, London, by G G Scott, from 1864 St Pancras Station and Hotel, London, by G G Scott, from 1865 Royal Courts of Justice, London, competition design, by G E Street, 1866 Village at Baldersby St James, North Yorkshire, 1856 All Saints, Margaret Street, London, started 1849/1850‐59 St Augustine, Penarth, 1864 All Saints, Babbacombe, Devon, 1865 St Paulʹs Cathedral, Melbourne, 1877 Keble College and Chapel, Oxford, 1866‐70 Rugby New School, 1860
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LECTURE 13: Work, Nature and Modernity: the Importance of Ruskin and Morris
Some architects, designers and artists: Owen Jones 1806 ‐ 1889 Henry Cole 1808 ‐ 1882 A W N Pugin 1812 ‐ 1852 John Ruskin 1819 ‐ 1900 Philip Webb 1831 ‐ 1915 William Morris 1834 ‐ 1896 Ernest Barnsley 1861 ‐ 1926 Richard Norman Shaw 1831 ‐ 1912 Some buildings and designs: Design for a Music Room, by M.H. Baillie Scott, 1902 6‐10 Meadway, Hampstead Garden Suburb, London, by M.H. Baillie Scott, 1902 The Red House, Bexley Heath, by Philip Webb, 1854‐60 Wall paper and chintz designs by William Morris William Morrisʹs library at Kelmscott House, London Kelmscott Manor, Oxfordshire Some other Arts and Crafts architects (not covered in lecture): E S Prior 1852 ‐ 1932 C F A Voysey 1857 – 1941 William R Lethaby 1857 ‐ 1931 C R Ashbee 1863 ‐ 1942 Ernest Gimson 1864 ‐ 1919 Edwin L Lutyens 1869 – 1944 Some primary sources: Thomas Carlyle, ʹSigns of the Timesʹ, Edinburgh Review, London 1829. John Ruskin, Seven Lamps of Architecture, 1849. John Ruskin, The Stones of Venice, 3 volumes, London 1851‐53. Vol. 2, Chapter 6, ʹOn the Nature of Gothicʹ. Owen Jones, Grammar of Ornament, London 1856. Some secondary sources: C Harvey & J Press, William Morris, Design and Enterprise in Victorian Britain, Manchester 1991. K Lochnan et al (ed.) The Earthly Paradise: Arts and Crafts by William Morris and his Circle from Canadian Collections, Montreal 1993. F MacCarthy, William Morris: A Life for Our Time, London 1995. J W Mackail, Life of William Morris, London 1899. C Menz, Morris & Company, Pre‐Raphaelites and the Arts and Crafts Movement in South Australia, Adelaide 1994. G Naylor (ed.), William Morris by himself: designs and writings, London 1989. L Parry, William Morris Textiles, London 1983.
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C Poulson, William Morris, London 1989. P Thompson, The Work of William Morris, London 1967. A Vallance, William Morris: his Art, his writings and his public life, London 1897.
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LECTURE 14: Melbourne: a Nineteenth Century City Topics Urban form An instant city Portable buildings Terraces and villas Brick and iron The boom The bust Timeline 1835 settlement on the Yarra 1850 Melbourne Building Act [passed 1849] 1851 discovery of gold 1851 Separation from New South Wales 1852‐55 gold rushes 1880‐89 the Boom 1890‐99 the Bust 1901 Federation of Australia
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LECTURE 15: London: the Rise of Modern Institutions A lecture note handout will be provided on the day.
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LECTURE 16: Viollet‐le‐Duc: History and Conservation
Some architects and engineers: Eugène‐Emmanuel Viollet‐le‐Duc 1814‐1879 Victor Horta 1861‐1947 Hector Guimard 1867‐1942 Important texts: Eugène‐Emmanuel Viollet‐le‐Duc : Dictionnaire Raisonné de lʹArchitecture Française du XIme au XVIme siècle, 1854‐68. Entretiens sur lʹArchitecture. 1863‐72. LʹHistoire dʹune Maison. 1873. Some buildings and structures: Designs from Entretiens sur lʹArchitecture (townhouse, concert hall, market hall, joints, metal details), by Viollet‐le‐Duc Palacio Guell, Barcelona, by Antoni Gaudi, 1885‐89 Walker Warehouse, Chicago, by Adler & Sullivan, 1888‐89 Tour Eiffel, Paris, by Gustave Eiffel, 1889 Hotel Tassel, Brussels, by Victor Horta, 1893 École de Sacre Coeur, Paris, by Hector Guimard, 1895 Maison du Peuple, Brussels, by Victor Horta, 1895‐99 Paris Metro entrances, by Hector Guimard, 1900 Legacy of ideas from Viollet‐le‐Duc’s theories: The revival of interest in the French Gothic through histories and conservation This challenged neo‐classicism and the École des Beaux Arts. Experimentation with cast and wrought iron to find a new modern language based on medieval principles. Interest in naturalism and the organic through an expression of physical forces and gravity and a looking to geology and anatomy for inspiration. Belief in the expression of STRUCTURAL RATIONALISM as derived from the gothic but applied to modern building types and materials.
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LECTURE 17: Colonial Gothic: India and New Zealand
Gothic Revival theory in 19th century Britain: AWN Pugin:
Contrasts, 1836 The True Principles of Pointed or Christian Architecture, 1841 An Apology for the Revival of Christian Architecture in England, 1843
John Ruskin: The Seven Lamps of Architecture, 1849 The Stones of Venice, 1851‐53
These theorists and their work promoted the idea that Gothic architecture was appropriate to English institutions, history, and climate (Pugin) and that Gothic building practices offered a model of how architecture should be made in contemporary England through collaboration between knowledge, skill and labour (Ruskin). Together they promote a view that architecture is based in coherent social structures and enterprise. But in the colonial contexts of the British Empire, such social cohesion was problematic. What implications did this have for colonial architecture? New Zealand: Frederick Thatcher, born 1814; arrived NZ 1843; moved to Auckland 1845; returned to England 1868, died 1890. Trained as an architect in England; closely associated in NZ with the first Anglican Bishop of NZ, George Selwyn, both as an architect and as an ordained minister. Before his departure for NZ in 1842, Selwyn sought the advice of colleagues in the Cambridge‐Camden Society as to the best style for building in NZ. They suggested ‐ instead of the High Gothic they usually advocated – the Norman as this was appropriate to NZ’s (and Maori?) level of development. On the ground in NZ, Selwyn & Thatcher, however, were obliged to adapt timber to their purposes, and found themselves working primarily in the building of parish rather than missionary churches. Key works by Thatcher: St John’s College Chapel, Auckland, 1847 All Saints’, Howick, 1847 Bishopscourt, Auckland, 1862‐65 St Paul’s, Wellington, 1862‐66 Benjamin Woolfield Mountfort, born 1825; trained by Richard Carpenter (member Cambridge Camden Society); arrived Christchurch NZ, 1850; died 1898. Strongly influenced by Pugin (idea of ‘picturesque utility’ particularly lent itself to piecemeal development of buildings in colonial NZ) and Ruskin (on collaborative relationship between architect and building artisans).
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Key works by Mountfort: All Saints’, Lyttelton, 1852 (demolished 1857) Canterbury Provincial Council Buildings, 1857‐1865 Canterbury Museum (1869‐1882): strongly influenced by Deane & Woodward’s Oxford Museum (1855) in which design Ruskin had a key role. Free hand allowed the stone masons on the building contrasts with the strictures placed on Maori artisans (working on the meeting house Hau‐te‐Ananui‐o‐Tangaroa for the museum) not to deviate from tradition. Christchurch Cathedral, 1865‐1900 (design by George Gilbert Scott); Mountfort supervising architect from 1870s St Mary’s Pro‐Cathedral, Auckland, 1886‐98 India: Robert Fellowes Chisholm, born c1840; in Calcutta by 1864; wins competition for design of two buildings in Madras 1865; consulting architect to the Madras govt, 1869 till 1886; working also in Baroda from early 1880s, and subsequently becomes government architect there; retires to England 1900; dies 1915. Chisholm claims to have followed gothic principles throughout his career, but he designed in multiple styles. In this he seems to have been influenced by the views of Lord Napier, Governor of Madras in his early years there. In 1870, Napier published an article in The Builder ‘Modern Architecture in India’ arguing that while England has but one appropriate architecture – Gothic – in India multiple styles were necessary to architectural development. This is because in England there is a single homogenous community to whom the Gothic manner is proper, while India has multiple communities – European; Moslem; Hindu – each of which has its own architectural manner. Key works by Chisholm: Presidency College, Madras, c1870, Italianate Revenue Board Offices, Madras, 1870s, renovation of 18th century palace, with addition of ‘blood & bandages’ tower Senate House, Madras University, 1870s, Byzantine? Saracenic? Napier Museum, Trivandrum, 1872‐1880. In an 1873 booklet on this building, Chisholm pays tribute to Napier’s views, and describes his choice of local materials and ‘Malabar’ style as due to their suitability for construction and decorated by local craftsmen. Post & Telegraph building, Madras, early 1880s, influenced by Malabar architecture Baroda College, early 1880s, Saracenic? Baroda Museum, 1880s‐1900, arts and crafts, again with Malabar influences (an earlier design featuring domes was published in The Builder) Bibliographic Sources: Thatcher:
Margaret Alington, An Excellent Recruit, Auckland: Polygraphia, 2008 Mountfort:
Ian Lochhead, A Dream of Spires, Christchurch: Canterbury University Press, 1999 Chisholm:
Thomas Metcalf, An Imperial Vision, London & Boston: Faber, 1989
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Paul Walker, ‘Institutional Audiences and Architectural Style: the Napier Museum’, in Peter Scriver & Vikramaditya Prakash, eds, Colonial Modernities: Building Dwelling and Architecture in British India and Ceylon, London: Routledge, 2007
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LECTURE 18: The Forgotten ‘Chinese’ Architecture of Arthur Purnell Summary Arthur Purnell was an Australian architect who lived and worked in Guangzhou, China, between 1900 and 1910. In 1904 he and American engineer Charles Paget established an architectural and engineering firm there. Purnell & Paget designed a number of important buildings in Guangzhou, including a marvelous cement factory that became Chinese political leader Sun Yat‐sen’s headquarters. Almost all of the firm’s buildings in Guangzhou were European‐style. Purnell returned to Australia in 1910 and maintained a busy architectural practice, working either alone or in partnership, virtually up until his death in 1964. He designed hundreds of buildings in Melbourne, ranging from humble garages to huge grandstands. A significant number of these were influenced by his years in Guangzhou: some buildings were for local Chinese clients, some had Chinese‐style elements, and some had Chinese names. Until recently, Purnell was totally forgotten in Guangzhou and largely forgotten in Melbourne. Significant buildings
Arnhold Karberg & Company building (1908), Guangzhou, Purnell & Paget
South China Cement factory (1909), Guangzhou, Purnell & Paget
Imperial Maritime Customs House (1904‐1909), Guangzhou, Purnell & Paget
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Bibliography Cody, Jeffrey W., Exporting American architecture 1870–2000, London: Routledge, 2003. Gawler, John, A Roof Over My Head, Lothian Publishing Company Pty Ltd, Sydney, 1963. Groves, Derham, Feng‐Shui and Western Building Ceremonies (Singapore: Graham Brash Pty. Ltd., 1991, reprinted 1994 and 1997). Groves, Derham, From Canton Club to Melbourne Cricket Club: The Architecture of Arthur Purnell (Melbourne: University of Melbourne, 2006) Groves, Derham, ‘Geelong, Canton and Melbourne: In the Footsteps of Arthur Purnell,’ From Canton’s Generalissimo’s Mansion to Melbourne’s ‘Shameen’ (Guangzhou: Guangzhou Municipal Bureau of Culture, 2007) Groves, Derham, The Forgotten ‘Chinese’ Architecture of Arthur Purnell, Li Sumei (ed.) The Architectural Arts of A.W. Purnell and the Modern Society of Lingnan (Guangzhou: Guangdong People’s Publishing House, 2008) Groves, Derham, ‘The Barlow File: Another Adventure in Building,’ Collections, no.5, November 2009, pp.24‐33.
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LECTURE 19: The Crystal Palace Sir Joseph Paxton 1803‐1865 Topics: Iron building Glass and architecture Glasshouses Paxton at Chatsworth The exhibition proposal Construction of the Crystal Palace Impact of the Crystal Palace The contents Critical reaction Improving the palace James Fergusson The crystal mania The Sydney Mint Some iron and glass buildings: St George’s, Birmingham, by Thomas Rickman, c. 1812 St George, Everton, Liverpool, by Rickman, 1812‐14 St Michael in the Hamlet, Liverpool, by Rickman, c. 1813 Glasshouse, Bretton Hall, Yorkshire, 1827 (dismantled 1833) Greenhouse at the Jardin des Plantes, Paris, by Rouhault,1833 The Great Stove, Chatsworth, by Paxton (with Decimus Burton) 1836‐1840 Palm Stove, Kew, by Decimus Burton, 1845‐7 Victoria Regia Lily House, Chatsworth, by Paxton, 1849‐50 Great Exhibition: Premiated design by Hector Horeau, 1850 Official design by the Royal Commission 1850 Paxton’s first ‘Crystal Palace’ design, 1850 Crystal Palace, by Paxton, as built, 1850‐51 Proposals to improve the Palace, by Paxton, Sir Charles Barry, and L Capina, 1852 Park End Station, Oxford, 1851‐2 Crystal Palace as re‐erected at Sydenham, by Paxton, 1854 Crystal Palace, New York, by Castensen and Gildemeister, 1853 Dublin Exhibition Building, by John Benson, 1853 Royal Mint, Sydney, rear wings of 1854‐5 International Exhibition Building, London, by Francis Fowke, 1862 Ipswich Railway Station, Queensland, by Sir Charles Fox & Son, 1868
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LECTURE 20: Architecture and Engineering
Topics: Iron structures John Walker Morewood & Rogers Railway stations James Bogardus France Skyscrapers People: James Bogardus 1800‐1874 Henri Labrouste 1801‐1875 Robert Stephenson 1803‐1859 Isambard Kingdom Brunel 1806‐1859 Matthew Digby Wyatt 1820‐1877 Gustave Eiffel 1832‐1923
Examples of prefabrication: Roofs at the London Docks of corrugated iron as patented by H.R. Palmer, c. 1829 Flour mill for Constantinopole by William Fairbairn, c. 1839‐41 (iron‐framed) House of King Eyambo, Calabar River, West Africa, by William Laycock of Liverpool, 1843 (corrugated iron clad) James Starkey & Co. warehouse, San Francisco, by John Grantham, of Thomas Vernon & Co., Liverpool, 1849 (galvanized corrugated iron) Emigrants’ cottages by Morewood & Rogers of London & Derby, exported to Melbourne c 1853 (galvanized corrugated iron) Brown Brothers’ Store, Mercer Street, Geelong, by Robertson & Lister of Glasgow, 1853 (corrugated iron) House for the Royal Mail Steam Packet Company, Chagres, Panama, by John Walker of London, 1853 (corrugated iron) Coaling Station at Cape Town by John Walker, 1854 (corrugated iron) Churches at Macquarie Street, Sydney, and unbuilt, Melbourne, by Robertson & Lister, c. 1854 (plate and corrugated) Legislative Council Chamber, Macquarie Street, Sydney, by Robertson & Lister (?), c.1854 (plate and corrugated) Corio Villa, Geelong, by Robertson & Lister, c. 1854, completed 1856 (plate and corrugated) Warehouse, Jamaica Street, Glasgow, by John Baird senior, 1855‐6 (plate iron) Other iron and glass structures: England: Nine Elms Goods Depot, by Sir William Tite, 1837 Temple Meads Station, Bristol, by I.K. Brunel, 1839‐40 Kings Cross Station, London, by Lewis Cubitt (1850), 1851‐2
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Midland Railway Station, Oxford, built by Fox & Henderson, 1851‐2 Paddington Station, London, by I.K. Brunel and M.D. Wyatt, 1852‐4 Boat Shore, Sheerness Naval Dockyard, by Col. G. T. Greene, 1858‐61 International Exhibition Buildings, by Francis Fowke, 1862 Oriel Chambers, Liverpool, by Peter Ellis, 1864‐5 St Pancras Station, London: Shed by W. H. Barlow & R. M. Ordish, begun 1863 Station front & Midland Hotel by Sir G. G. Scott, 1868‐74 United States: James Bogardus’s factory, Center Street, New York, 1848‐50 Laing Store, Washington & Murray Streets, New York, by Bogardus, 1849 Project for New York World’s Fair by Bogardus, 1853 Harper & Brothers Building, New York, by John B. Corlies, 1854 A T Stewart (later Wanamaker) Store, New York, by John Kellum, 1859‐60 Statue of Liberty, New York, by Frédéric Bartholdi, sculptor, & Gustav Eiffel, engineer, 1885 Fair Building, Chicago, by W L B Jenney, 1891 France: Bibliothèque Ste‐Geneviève, Paris, by Henri Labrouste (1839), 1843‐50 Les Halles Centrales, Paris, by Victor Baltard, 1853 Ste‐Eugène, Paris, by Louis‐Auguste Boileau, 1854‐5 Exposition Universelle, Paris: Machinery Hall by F.‐A. Cendrier & J.‐M.‐V. Viel, 1855 Bibliothèque Nationale, Paris, by Henri Labrouste, 1862‐8 Maison du Bon Marché, Paris, by L. F. Boileau & Gustave Eiffel, from 1876 Italy: Galleria Vittorio Eammanuele II, Milan, by Giuseppe Mengoni, 1865
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LECTURE 21: Chicago: a Modern City The importance of the city of Chicago to the development of American Modern Architecture: The opportunities to re-develop given through the Great Fire of Chicago. The evolution of the sky-scraper: 1. Improved fire-proofing 2. Development of the steel frame skeleton construction system 3. The invention of the elevator Debates around the architectural language and style of the new American tall building: as led by HH Richardson, L Sullivan, D Burnham and others listed below. Key American architects of the 19th century: Henry Hobson Richardson: Richardsonian Romanesque Marshall Field Store, Chicago, 1885-87. Brattle Square Church, Boston, 1870-72. William Le Baron Jenney: First Leiter Building; Chicago, 1879. Home Insurance Building, Chicago, 1883-84, additions 1891. Fair Store, Chicago, 1892. Second Leiter Building, Chicago, 1889. Dankmar Adler (1844-1900), Louis Henry Sullivan (b.1856 Boston, d.1924 Chicago): Revell Building, Chicago, 1883. Walker Warehouse, Chicago, 1888-89. Auditorium Building, Chicago, 1886-89. Wainwright Building, St Louis, Missouri, 1890-91. Stock Exchange Building, Chicago, 1893-94. Guaranty or Prudential Building, Buffalo, N.Y., 1895-6. * The importance of the writings of Louis Sullivan: and his ideas about ornament, tall buildings and "form follows function". The legacy of Sullivan as an inspirational architect to future American architects like Frank Lloyd Wright and Walter Burley, and Marion Mahoney Griffin Daniel Burnham and John Wellborn Root: Monadnock Block, Chicago, 1891. Reliance Building, Chicago, 1894. Flatiron Building, New York, 1901-03. The Plan for Chicago, 1909: Civic Centre. World’s Columbian Exposition, Chicago, 1893: Daniel Burnham, Richard Morris Hunt, Frederick Law Olmstead. Administration Building, by Richard Morris Hunt; also 'The Breakers', Vanderbilt resort house, Newport, R.I., by Richard Morris Hunt, 1893. The Women's Building, by Sophia Hayden. Steel tent project, by Harvey Ellis. California Building, by A. Page Brown. Transportation Building, by Adler and Sullivan.
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LECTURE 22: Paris: Re‐making the City Beautiful A lecture note handout will be provided on the day.
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LECTURE 23: Nature and Modernity: the Art Nouveau Ideas/concepts: The Sinuous Line The new type of the department store Some terms: Art nouveau – French for ‘new art’ (also known as Jugendstil in Austria & Germany, Modernismo in Spain and Arts and Crafts in Britain) Characteristics of the various expressions of Art Nouveau and related styles: i) A move towards anti-historicism – or a deliberate attempt to put an end to the revival of past historical styles. ii) A looking towards natural forms – flowers, plants etc. and natural forces for inspiration. iii) Material Richness – designers attempted to replace historical styles with an architectural language that made great use of the crafting of fine materials, including stone, terracotta, glazed ceramics, stained glass, exotic veneers, wrought iron. Some architects and designers: Emile Galle 1846-1904 Louis Comfort Tiffany 1848-1943 Charles Harrison Townsend 1851-1928 Charles Annesley Voysey 1857-1941 Victor Horta 1861-1924 Hector Guimard 1867-1942 Charles Rennie Mackintosh 1868-1928 Antonio Gaudi 1852-1926 Important French texts: Eugène-Emmanuel Viollet-le-Duc Dictionnaire raisonné de l'architecture francaise du XIe au XVIe siècle. 1854-68. Entretiens sur l'architecture. 1863-72. L'histoire d'une maison. 1873. Important buildings: Art Nouveau in France: Castel Beranger, Paris, by Guimard, 1894-98 École de Sacre Coeur, Paris, by Guimard, 1895 Metro entrances, Paris, by Guimard, around 1900 Grands Magasins de la Samaritaine, Paris, 1905-07 Grands Magasins du Printemps, Paris, c 1907 Art Nouveau in Belgium: Tassel house, 6 Rue Paul-Emile Janson, Brussels, by Horta, completed 1893 Hotel Solvay, 224 Avenue Louise, Brussels, by Horta, 1895-1900 Hotel Van Eetvelde, 4 Avenue Palmerston, Brussels, by Horta, 1895 Maison du Peuple, Brussels, by Horta, 1896-98
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Modernismo in Spain (Catalunya): Casa Battlo, Barcelona, A Gaudi, 1905-7 Casa Mila, Barcelona, A Gaudi, 1905-1910 Parque Güell, Barcelona, A Gaudi, 1900-1914 Sagrada Familia, Barcelona: crypt, 1882-91; apse walls, 1887-93
Arts and Crafts in Great Britain: House, Bedford Park, London, by Voysey, 1888 Whitechapel Art Gallery, London, by Townsend, 1895, 1899-1901 Glasgow School of Art, Glasgow, by CR Mackintosh, 1896 The Hill House, Helensburgh, Scotland, by Mackintosh, 1902 Willow Tea Rooms, Glasgow, by Mackintosh, 1903-19
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LECTURE 24: Vienna: Ornament versus Abstraction Ideas/concepts: The Viennese Secession Movement: relationship between Art, Craft and Architecture Loos: abstraction and the beginnings of Modernism Some terms: Gesamtkunstwerk – German for total work of art Jugendstil – German for the ‘young’ style Secessionstil – style adopted by the Viennese Secession Movement Raumplan or free plan – spatial approach to planning as practiced by Adolf Loos Zeitgeist – German for ‘spirit of the time’ Some texts: Ver Sacrum (Sacred Spring) Otto Wagner, Moderne Architektur, 1896 Adolf Loos, Ornament and Crime, 1908 Some architects (and an artist): Otto Wagner 1841‐1918 Gustav Klimt (painter) 1862‐1918 Henri van der Velde 1863‐1937 Josef Olbrich 1867‐1908 Josef Hoffman 1870‐1956 Adolf Loos 1870‐1933 Some buildings: Villa Wagner I, Vienna, by O Wagner, 1886 Secession Building, Vienna, by J Olbrich, 1897‐98 Majolikahaus, Vienna, by O Wagner, 1898 Karlplatz Station, Vienna, by O Wagner, 1899‐1900 Steinhof Church, Vienna, by O Wagner, 1902 Post Office Savings Bank, Vienna, by O Wagner, 1904 Villa Wagner II, Vienna, by Wagner, 1905, 1911‐12 ‘American’ Bar, Vienna, by A Loos, 1907 ʹLoohausʹ, Store on Michaelerplatz, Vienna, by A Loos, 1909‐11 Steiner House, Vienna, by Loos, 1910 Moller House by A Loos, Vienna, 1928 Belgium: Palais Stoclet, Brussels, by Hoffman, 1905‐10 Germany: Ernst Ludwig Haus, Darmstadt, by Olbrich, 1899 Haus Olbrich, Darmstadt, by Olbrich, 1900 Grosses Gluckert Haus, Darmstadt, by Olbrich, 1900 Hochzeitsturm (Wedding Tower), Darmstadt, 1905‐08
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Czechoslovak Republic: Müller House, Prague, by Loos, 1930
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ABPL30053 (702‐386) FORMATIVE HISTORIES OF ARCHITECTURE
TUTORIAL GUIDE 2011 SEMESTER 2
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Tutorial Guide Tutorial 1 Introduction and ‘How to Deliver an Oral Tutorial Presentation’ Guide
• Subject Reader • Subject Guide and Assessment • Tutorial topic allocation • How to prepare and deliver an oral presentation
All students to read these secondary sources:
These readings provide an historical introduction to the eighteenth and nineteenth centuries in Britain and Europe and a brief introduction to the architectural historiography of the period (Bergdoll). Make sure you read them before the lectures on the eighteenth century in week 2 as they will help you understand the major themes.
Bergdoll, Barry, ‘Introduction’ to European Architecture, 1750‐1890, Oxford: Oxford University Press, 2000, pp. 1‐5. Black, Jeremy, Chapter 7: ‘Age of Reform and Empire’ in A History of the British Isles, Hampshire and London: Macmillan Press Ltd, 1996, pp. 187‐210. O’Gorman, Francis [ed.], ‘Timeline’ in The Cambridge Companion to Victorian Culture, Cambridge: Cambridge University Press, 2010, pp. xii – xv. Rietbergen, Peter, Chapter 12: ‘A New Society: from Humanism to the Enlightenment’ in Europe: a Cultural History, 2nd ed., London & New York: Routledge, 2006 [1998], pp. 318‐335.
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Tutorial 2 Campus Walking Tour
*** Meet on the concrete lawns directly in front of the Old Commerce Building. *** You will be given a handout to fill in ‐ bring a pen to write with and wet weather gear in case it rains. The essential readings for this week introduce the Melbourne University nineteenth century buildings we will see on the campus walking tour and discuss what architectural revivalism meant in this period. The recommended readings are extremely important for students who are not familiar with the architectural styles, building elements, building types, materials and construction techniques of Ancient Greek and Roman Architecture, Renaissance Architecture and Gothic Architecture. For others they are recommended as useful revision. Many of the architectural styles we will study this semester are revival styles and take their inspiration from the architecture of these seminal periods of European architecture. All students to read these secondary sources: Collins, Peter, Chapter 4: ‘The Awareness of Styles’ in Changing Ideals in Modern Architecture 1750‐1950, 2nd ed., McGill‐Queen’s University Press: Montreal and London, 1998 [1965], pp. 61‐66. Goad, Philip and George Tibbets, Chapter 1: ‘Foundation 1853‐1880’ and Chapter 2: ‘Consolidation 1880‐1900’ in Architecture on Campus: a Guide to the University of Melbourne and its Colleges, Melbourne: Melbourne University Press, 2003, pp. 1‐13, 15‐27. Recommended readings: Lewis, Miles [ed], ‘A Timeline of Architecture’ (pp. 28‐29) and extracts relating to Classicism on: ‘Post and Beam’ (pp. 166‐169), ‘The Classical Orders’ (pp. 176‐179), ‘The Parthenon’ (180‐181), ‘Greek Temple Construction’ (pp. 60‐61), ‘Columns’ (pp. 172‐175), ‘Entablature’ (pp. 186‐189), ‘Porticoes’ (pp. 158‐159) and ‘Colonnades’ (182‐183) and extracts relating to the Gothic on: ‘Ribbed Vaults’ (pp. 210‐211), ‘Buttresses’ (pp. 214‐217), ‘Stained and Decorated Glass’ (pp. 310‐313), ‘Turrets’ (pp. 270‐271) and ‘Spires’ (pp. 274‐275) in Architectura: Elements of Architectural Style, New York: Barron’s Educational Series, 2008. Watkin, David, Chapter 5 ‘The Gothic Experiment’ in A History of Western Architecture, 4th ed., New York: Watson‐Guptill Publications, 2005 [1986], pp. 149‐159.
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Tutorial 3 Cities, Buildings and Landscapes: the Baroque and Beyond Presentation Topics:
Your ILLUSTRATED presentation must explore, through comparison and contrast, one of the following three topics focused upon key examples of city, building and garden designs of the 17th century and beyond. Make sure you articulate the relevant Baroque spatial and aesthetic design elements in your analysis. Topic 3A: Churches: Compare and contract one church by Borromini with one church by Guarini. Pay particular attention to how the interior spatial qualities are achieved. ** Convey comparisons via VISUAL ANALYSIS examining the spatial qualities of two churches: one by Borromini and one by Guarini. Include diagrams and drawings including section/plan/ photographic views to analyse particular qualities of: Geometry Movement Plasticity Verticality in Section You may also want to consider the role of colour and symbolism in your response. Topic 3B: Buildings: the Potala Palace in Tibet compared and contrasted to St. Peter’s Basilica. Compare and contrast these two buildings, paying particular attention to the design of Bernini’s forecourt at St. Peter’s. Consider, using VISUAL ANALYSIS and DIAGRAMS, such aspects as: Function; site; orientation or axis; approach, composition – including symmetry, geometry, scale, symbolism, materials and use of colour Topic 3C: Gardens: Versailles compared and contrasted to the Yuanmingyuan Gardens, near Beijing. Compare and contrast these two gardens, using VISUAL ANALYSIS to pay particular attention to: Function; site – including interventions on the natural topography; orientation or axis; journey/way; planning – including symmetry, geometry, scale; symbolism – including the use of sculpture and architecture All students to read these secondary sources: Ching, Francis D.K. and Mark M. Jarzombek, Vikramaditya Prakash, ‘Baroque Italy’ (p. 502), Potala Palace (pp. 521‐523), St. Peter’s Basilica (pp. 531‐534), Versailles (pp. 549‐550) and the Yuanming Gardens (p. 572) in A Global History of Architecture, New York: Wiley & Sons, 2007.
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Kostof, Spiro, extracts from Chapter 4: ‘The Grand Manner’, pp. 215‐8, 222‐8, 230‐5 & 263‐75 in The City Shaped: Urban Patterns and Meanings through History, London: Thames & Hudson, 1999. Presenters must also read: Harrison, Peter, extract from Chapter 17 on the Potala Palace: ‘The Himalayan Region’ in Castles of God: Fortified Religious Buildings of the World, Cambridge: the Boydell Press, 2004, pp. 261‐263. Hui, Nan, The Potala Palace of Lhasa, Beijing: China Esperanto Press, n.d., pp. 11‐14, 22‐24, 28‐32. Jie, Zhu, Yuanmingyuan Garden, translated by Tang Bowen, Beijing: Foreign Languages Press, 2000, pp. 2‐6, 10‐11. Norberg‐Schulz, Christian, extract from Chapter 2 on Versailles: ‘The City’ in Baroque Architecture, New York: Harry N Abrams Inc. Publishers, 1971, pp. 85‐89 and 102. Varriano, John, extracts from Chapter 3: ‘Francesco Borromini’ (pp. 45‐65), Chapter 4: ‘Gianlorenzo Bernini’ (pp. 75‐86), Chapter 9: ‘Guarino Guarini’ (pp. 209‐223) in Italian Baroque and Rococo Architecture, Oxford: Oxford University Press, 1986. Wittkower, Rudolf, Chapter 2: ‘The Third Arm of Bernini’s Piazza S. Pietro’, in Studies in the Italian Baroque, London: Thames and Hudson, 1975, pp. 54‐60.
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Tutorial 4 The Picturesque: Painting or Landscape? General Tutorial Topic: Picturesque ways of thinking originated in English painting, landscape design, writing and architecture in the eighteenth century, and provided a profound and enduring legacy for the evolution of modern design in terms of planning, functionalism, composition and setting. When discussing one of the topics below consider and answer the following general questions:
a. What does the term ‘picturesque’ mean? (analyse different perspectives from different authors).
b. Is there any irony in the relationship of the picturesque to nature? c. Define and illustrate the terms ‘sublime’ and ‘beautiful’ as described by Burke and articulate
their relationship to the various meanings of the Picturesque.
Presentation Topics:
TOPIC 4: TAKES THE MODE OF A DEBATE. Are the principles of the picturesque most clearly seen through painting or through gardens in history? Topic 4A Painting: Argue your case through analysis of two examples of paintings which show how painting was formative for the picturesque vision. Analyse your examples visually and pay particular attention to: composition, lighting, subject matter, emotional impact, symbolism, painterly technique. Be careful to situate your discussion chronologically. Topic 4B Gardens: Argue your case through analysis of two examples of gardens (one should be Castle Howard) which show how gardens were formative for the picturesque vision. Analyse your examples visually and pay particular attention to: site, planning, scale, journey/way, symbolism – including the use of sculpture and architecture (taking note of materials), emotional impact All students to read these primary sources: Burke, Edmund, extracts from A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful, Charles W. Eliot [ed], New York: P.F. Collier & Son, 1909‐1914. This edition was published online on 5 April, 2001 by Bartleby.com and is also available at: http://www.bartleby.com/24/2/ Gilpin, William, extract from Essay I: ‘On Picturesque Beauty’ in Three Essays: on Picturesque Beauty; on Picturesque Travel; and on Sketching Landscape: with a Poem on Landscape Painting, London: T. Cadell & W. Davies, 1804, pp. 3‐8, 26‐33.
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All students to read these secondary sources: Meeks, C.L.V., ‘Picturesque Eclecticism’, Art Bulletin, XXXII (3) 1950, pp. 226‐235. Macarthur, John, Chapter 1: ‘Introduction’ and extract from Chapter 2: ‘Pictures’ in The Picturesque: Architecture, Disgust and Other Irregularities, London and New York: Routledge, 2007, pp. 1‐18, 33‐40. Presenters must also read: Hunt, John Dixon, Chapter 1: ‘What, How and When was the Picturesque Garden?’ in The Picturesque Garden in Europe, Thames and Hudson: London, 2002, pp. 8‐25. Levine, Neil, Chapter 1: ‘Castle Howard and the Subject Matter of History’ in Modern Architecture: Representation and Reality, New Haven & London: Yale University Press, 2009, pp. 15‐44.
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Tutorial 5 The Language of Classicism: Elasticity and Endurance
General Tutorial Topic: Explore how the theories and application of the principles of the Classical language of architecture endured and evolved in the age of Enlightenment and beyond. What is Neoclassicism? Compare the theories and beliefs about Classical architecture expressed in the primary sources and analyse the principal arguments each author expresses in regards to Classicism. How is Neoclassicism different to Renaissance Classicism? Why is the theory of Claude Perrault so radical? Presentation Topics: Topic 5A Origins and Nature: VISUAL ANALYSIS Using the writings of Laugier on the idea of the ‘primitive hut’ as a starting point, consider how Neoclassicism began to reconsider the origins of architecture, and the primacy of Nature as constructing Order, in the increasingly secular world of the eighteenth and nineteenth centuries. Use visual analysis to show your interpretation of natural principles translated into architectural elements. Topic 5B Neoclassicism and National Identity: DEBATE Choosing 1 building from two architects of different nationality debate how Neoclassicism displayed Nationalism. Are they moderated by context or not, or is Classicism a universal language? Present the work of TWO architects from different European countries and illustrate their approach to Neoclassicism. Choose no more than two buildings by each and make sure you address these questions:
• How do their different approaches to Classicism engage with notions of national identity and/or the role of the institution in Enlightenment Europe?
• What is the role of structure and decoration in their designs? • How do the buildings relate to their context?
All students to read these primary sources: Laugier, Abbe, extract from ‘Essai Sur L’Architecture’ (and Frampton’s comments) in Kenneth Frampton, Studies in Tectonic Culture. The Poetics of Construction in Nineteenth and Twentieth Century Architecture, John Cava [ed], Cambridge [Massachusetts], The MIT Press, 1996, pp. 30‐32. Perrault, Claude, extract from the Preface to Ordonnance for the Five Kinds of Columns after the Method of the Ancients (1683), in A. Krista Sykes [ed], The Architecture Reader. Essential Writings from Vitruvius to the Present, George Braziller, New York: 2007, pp. 67‐72.
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Vitruvius, ‘Six Terms of Architecture’, Book 1, Chapter 2 of Ten Books on Architecture, trans. by Ingrid D. Rowland, commentary and illustrations by Thomas Noble Howe, New York: Cambridge University Press, 1999. All students to read this secondary source: Summerson, John, Chapter 5: ‘The Light of Reason and of Archaeology’ in The Classical Language of Architecture, London: Thames & Hudson, pp. 89‐97. Presenters must read: Bergdoll, Barry, extract from Chapter 3: ‘Experimental Architecture: Landscape Gardens and Reform Institutions’ in European Architecture, 1750‐1890, Oxford: Oxford University Press, 2000, pp. 86‐102. Forty, Adrian, extract from Part Two, ‘Nature’ (pp. 220‐230) and ‘Order’ (pp. 240‐244) in Words and Buildings: a Vocabulary of Modern Architecture, New York: Thames and Hudson, 2000. Levine, Neil, Chapter 2: ‘The Appearance of Truth and the Truth of Appearance in Laugier’s Primitive Hut’ in Modern Architecture: Representation and Reality, New Haven & London: Yale University Press, 2009, pp. 46‐74.
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Tutorial 6 Orientalism: Exploration or Exploitation? General Topic: Explore the influence and/or representations of Orientalist thought in paintings, gardens and architecture. When analysing your topics consider the following questions:
a. What is Orientalism as conceptualised by Edward Said? b. How does it allow us to discuss broader social concepts of East vs West in relation to artistic
expression and architecture?
Presentation Topics: Topic 6: DEBATE Did the fashion for Orientalism in architecture and painting in the 19th century promote awareness and exposure of the East to the West? Or was it a way of forming stereotypical images of “the Other” with no real knowledge based on experience? Use Said to support your arguments and illustrate with at least one painting and one building. Some possible examples ‐ architecture: Royal Pavilion, Brighton, John Nash’s work completed 1815 ‐ 1822 Forum Building Melbourne, John Eberson, Bohringer, Taylor & Johnson, 1928 Jean‐Auguste‐Dominique Ingres, ‘The Turkish Bath’, oil on canvas, 1862. Eugène Delacroix, ‘The Women of Algiers’, oil on canvas, 1834. Jean‐Léon Gérôme, ‘Napoleon in Egypt’, oil on wooden panel, 1867–68.
All students to read this primary source: Edgar, J. G. ‘The Colonial Museum’ (1863) reproduced in Chapter 17: ‘The Crystal Palace and the Great Exhibition of 1851’ in Imperialism and Orientalism: A Documentary Sourcebook, Massachusetts and Oxford: Blackwell, 1999, pp. 337‐339. All students to read these secondary sources: MacKenzie, John M., Chapter 4: ‘Orientalism in Architecture’ in Orientalism: History, Theory and the Arts, Manchester: Manchester University Press, 1995, pp. 71‐104. Said, Edward, ‘Introduction’ in Orientalism. Western Conceptions of the Orient, Middlesex: Penguin, 1995, pp. 1‐12. Presenters must also read: Crinson, Mark, Chapter 1: ‘Useful Knowledge. Interpreting Islamic Architecture, 1700‐1840’ in Empire Building: Orientalism and Victorian Architecture, London & New York: Routledge, 1996, pp. 15‐36.
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Nochlin, Linda, Chapter 3: ‘The Imaginary Orient’ in The Politics of Vision: Essays on Nineteenth‐Century Art and Society, New York: Harper & Row, 1989, pp. 33‐59. Roberts, J M, extract from Chapter 5: ‘World Hegemony’ in A History of Europe, Oxford: Helicon Publishing Ltd, 1996, pp. 376‐394. Said, Edward, Part 3: ‘Orientalism Now’ in Orientalism. Western Conceptions of the Orient, Middlesex: Penguin, 1995, pp. 201‐209.
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Tutorial 7 The Beaux‐Arts Concours: the Esquisse The aim of this tutorial is to develop a discussion on classical tradition and the Beaux‐Arts approach to design through an in‐class example of an esquisse. * Materials will be provided. THERE ARE NO INDIVIDUAL PRESENTATIONS THIS WEEK. The subject of the concours is: an Art Gallery in a Small Country Town A substantial gift of an art collection and a financial bequest have been made to a small country town in the will of a wealthy property developer. The benefactor was a Prix de Rome winner from the École des Beaux‐Arts many years before emigrating to Australia as a refugee, but because his training was not recognised in his new country he turned to property development. The condition of the will is that the Art Gallery be designed in the tradition of the École but may be expressed in a contemporary idiom. The site is a large rectangular level area directly opposite the town square in whose centre is a four‐sided monument in the Ionic Order dedicated to Environmental Harmony. The concours for the Art Gallery should include:
• A vestibule and public entrance hall • Three gallery spaces, one of which is to be the principal exhibition area • A suite of offices for the Director and staff • Two lecture rooms • Rooms for meetings • Two separate public cloak rooms • Male and female toilets • A storage area for works of art not on display • Courts, corridors, colonnades, cupolas, canopies etc. may be introduced, as required,
to service the major and minor spaces • Subsidiary spaces and rooms needed to support the proper functioning of the Art
Gallery • The plan and main elevation are to be drawn at an appropriate scale to create a
pleasing composition on the page All students to read this secondary source: Jacques, Annie, ‘The Programmes of the Architectural Sections of the Ecole des Beaux‐Arts’ in Robin Middleton [ed], The Beaux‐Arts and Nineteenth‐century French Architecture, Cambridge [Massachusetts]: The MIT Press, 1982, pp. 58‐65. Recommended further reading: Drexler, Arthur [ed], The Architecture of the Ecole des Beaux‐Arts, London: Secker & Warburg, 1977. See especially the essay by David Van Zanten, ‘Architectural Composition at the Ecole des Beaux‐Arts from Charles Percier to Charles Garnier’, pp. 111‐323.
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Middleton, Robin [ed], The Beaux‐Arts and Nineteenth‐century French Architecture, Cambridge [Massachusetts]: The MIT Press, 1982. N.B. This exercise is to be done during tutorial time, however as in the tradition of the esquisse, it is very advisable to prepare beforehand by understanding the design problem.
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Tutorial 8 Colour and Surface in Architecture
Presentation Topics: Explore one of the following topics focused on the way architects and key historians and thinkers began to re‐conceptualise the notions of surface, decoration and detail in architecture during the 18th and 19th centuries. You may include in your analysis how their ideas have re‐emerged as influential in contemporary design. Assume the CHARACTER / VOICE of either Semper or Butterfield in presenting your work to an audience at the Royal Institute of British Architects emphasising the following themes. Use at least five key images in your presentation. Topic 8A SEMPER – CRAFT In your presentation ensure you persuade your audience of the ways in which ornament and craft played a role in Gottfried Semper’s theories of architecture. Through his voice show how his ideas represent a departure from previous thinking on the origins of architecture? How was he influenced by contemporary events in the mid‐19th century? Topic 8B BUTTERFIELD – MATERIALS In your presentation ensure you persuade your audience of Butterfield’s strong approach to the use of colour and its relationship to structure in his architecture. What were the influences upon Butterfield’s approach? Through his voice show how there were particular contemporary technological or economic conditions that influenced his architectural design approach. OR Alternatively, analyse the aesthetic theories of the writer John Ruskin Topic 8C RUSKIN – NATURE Through the character of Ruskin, persuade the audience how the writings of John Ruskin provoked a re‐thinking of the translation of beauty found in nature to nineteenth century design. Use examples to show Ruskin’s thinking on the role of surface, colour and ornament in architecture. Do his ideas bear any resemblance to the aesthetics of the Picturesque? All students to read these primary sources: Ruskin, John, extract from ‘The Lamp of Truth’ in The Seven Lamps of Architecture (first published 1849), London: Century Hutchinson Ltd, 1988, pp. 50‐57. Semper, Gottfried, from ‘Preliminary Remarks on Polychrome Architecture and Sculpture in Antiquity’ (1834) in Harry Francis Mallgrave [ed], Architectural Theory. Volume I: An Anthology from Vitruvius to 1870, Malden [Massachusetts]: Blackwell, 2006, pp. 348‐50.
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All students to read this secondary source: Mallgrave, Harry Francis, extract from ‘Introduction’ to Gottfried Semper, The Four Elements of Architecture and Other Writings, trans. H. F. Mallgrave & W. Hermann, Cambridge: Cambridge University Press, 1989, pp. 1‐16. Presenters must read: Crook, J. Mordaunt, extract from Chapter 2: ‘The Reality of Brick: William Butterfield and Benjamin Webb’ in The Architect’s Secret: Victorian Critics and the Image of Gravity, London: John Murray, 2003, pp. 35‐62. Forty, Adrian, extract from Part Two: ‘Nature’ in Words and Buildings: A Vocabulary of Modern Architecture, New York: Thames and Hudson, 2000, pp. 231‐235. Frampton, Kenneth, extract on Gottfried Semper from Chapter 3: ‘The Rise of the Tectonic: Core Form and Art Form in the German Enlightenment, 1750‐1870’ in Studies in Tectonic Culture. The Poetics of Construction in Nineteenth and Twentieth Century Architecture, John Cava [ed], Cambridge [Massachusetts], The MIT Press, 1996, pp. 84‐91.
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Tutorial 9 Morality and Architecture
Presentation Topics: Explore through the following DEBATE topic the evolving and contested issues surrounding notions of truth, ethics and morality in nineteenth century architectural thinking. These ideas can be argued through the writings and work of three very influential figures from mid‐19th century England: AWN Pugin, John Ruskin and/or William Morris. When analysing your topic consider the role religion played in nineteenth century British society. Topic 9 A (and) B: DEBATE the following question: Is the quality and beauty of architecture closely bound up with the ethics of how buildings are made? Can one architectural style be more “morally correct” than another? Construct a debate between TWO PRESENTERS. Use one or more of the following examples to support your case: *AWN Pugin – his writing and work on the Gothic style and Modernity *John Ruskin and/or William Morris – through their writings and decorative work concerning the ethics of labour and materials etc as appropriate to modernity. All students to read these primary sources: Morris, William, ‘On Simplicity’ (1880), ‘The Aims of the People’ (1879) and ‘On Pottery and Glass’ (1882) in Christine Poulson [ed], William Morris on Art & Design, Sheffield: Sheffield Academic Press, 1996, pp. 122‐124, 131‐135, 179‐182. Pugin, A.W.N. extracts from The True Principles of Pointed or Christian Architecture, London, 1841, pp. 1‐2, 40‐67. Ruskin, John, extract from ‘The Nature of Gothic’ (from The Stones of Venice, 1851‐1853) in John D. Rosenberg [ed], The Genius of John Ruskin: Selections from His Writings, London: George Allen & Unwin Ltd, 1964, pp. 180‐184. All students to read this secondary source: Watkin, David, extract on Pugin from Part 1 ‘The Theme in the Nineteenth Century’ in Morality & Architecture Revisited, London: John Murray, 1977, pp. 17‐23. Presenters must read: Cook, Chris, extract from Section 2: ‘Social and Religious History: Religion’ in Britain in the Nineteenth Century 1815‐1914, London and New York: Longman, 1999, pp. 172‐174.
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Crook, John Mordaunt, Chapter Two: ‘Pugin and Ecclesiology’ in The Dilemma of Style: Architectural Ideas from the Picturesque to the Post‐Modern, John Murray: London, 1987, pp. 42‐68.
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Tutorial 10 Walking Tour Evaluations The purpose of this tutorial is to discuss your responses to the Melbourne Walking Tour question sheet and sites, discuss the general background readings, and gain feedback on the tour format and content. You must, therefore, have completed your walking tour before this tutorial and bring your completed sheets to class to submit to your tutor. Students who do not complete the walking tour before this tutorial, without satisfying the criteria for special consideration, will not receive the marks allotted for this exercise.
All students to read this primary source: Freeman, John, ‘Introduction’ (pp. vii‐viii), ‘Melbourne in ‘88’ (pp. 1‐13), extract from ‘What We Have In Our Midst’ (pp. 14‐16), ‘The Theatres’ (pp. 69‐77), ‘The Block’ (pp. 78‐85) in Lights and Shadows of Melbourne Life, London: Sampson Low, Marston Searle & Rivington Ltd, 1888. All students to read this secondary source: Davison, Graeme and David Dunstan, ‘‘This Moral Pandemonium’: Images of Low Life’ in Graeme Davison and David Dunstan [eds], The Outcasts of Melbourne: Essays in Social History, Sydney: Allen & Unwin, 1985, pp. 29‐57. Recommended further reading: Goad, Philip, Melbourne Architecture, Balmain [NSW]: The Watermark Press, 1999. Lewis, Miles, Melbourne: the City’s History and Development, Melbourne: City of Melbourne, 1995.
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Tutorial 11 The Way Forward: Architecture or Engineering? General Topic: Great advances in materials, construction methods and engineering understanding changed the face of building during the late 18th and 19th centuries. These changes also forced profound shifts in what was considered a valid work of architecture. Many argue that it was these technological advances that above all set the stage for Modernism in the 20th century. Explore, through the following debate, the volatile relationship between architecture and engineering in the 19th century. Presentation Topics: Topic 11 A (and) B: DEBATE the following topic, assuming a role in the positive and negative as follows: Present a case to a 19th century audience of the Royal Board of Engineering and the Royal institute of British Architects, that A) engineering is expressive of modernity and is the way forward for architecture OR B) that engineering is not a valid form of architecture and can only create ingenious structures but not buildings of beauty. All students to read these primary sources: De Baudot, Joseph Eugène Anatole, ‘The Universal Exposition of 1889 – First Visit to Champ de Mars’ (1889) & Louis Gonse ‘The Architecture of the Universal Exposition of 1889’ (1889) in Harry Francis Mallgrave & Christina Contandriopoulos [eds], Architectural Theory. Volume II: An Anthology from 1871‐ 2005, Malden [Massachusetts]: Blackwell, 2008, pp. 38‐41. Harlow, B. and M. Carter [eds], extracts from Chapter 17: ‘The Crystal Palace and the Great Exhibition of 1851’, including Introduction and extracts by Queen Victoria and Lytton Strachey, in Imperialism and Orientalism: A Documentary Sourcebook, Massachusetts and Oxford, 1999, pp. 332‐337. ‘The Great Exhibition’ front page article from The Illustrated London News [no author cited], no. 481, vol. XVIII, 3 May 1851, pp. 343‐4. All students to read this secondary source: Mignot, Claude, ‘Engineering: Architecture of the Future?’ in Architecture of the Nineteenth Century in Europe, trans. by Office du Livre, Fribourg, New York: Rizzoli, 1984 [1983], pp. 168‐211.
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Presenters must read: Lewis, Miles [ed], extracts on Concrete (pp. 74‐77), Glass (pp. 80‐81; 306‐7), Iron (pp. 64‐7), Lighting (p. 316) and Steel (pp. 68‐71; 136‐137) in Architectura: Elements of Architectural Style, New York: Barron’s Educational Series, 2008. Saint, Andrew, extracts from Chapter 2, Part 2: ‘A Railway Interlude’ (pp. 108‐113), Chapter 2, Part 3: ‘Iron: Britain and France 1850‐1900’ (pp. 151‐161) in Architect and Engineer: A Study in Sibling Rivalry, New Haven and London: Yale University Press, 2007. See also contemporary images of the construction of the Crystal Palace and illustrations of the exhibitions at: http://www.victorianweb.org/history/1851/index.html
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Tutorial 12 Ornament, Nature and Abstraction
General Topic: The tutorial explores the changing views on ornament, as inspired by nature and translated into modern design. How does ornament represent a continuing dilemma for designers today? This tutorial will make reference to the exhibition currently on show at the National Gallery of Victoria International, ‘Vienna: Art & Design’ *** NOTE this exhibition finishes October 9th. Presentation Topics: Topic 12A Texts: Through a close analysis of the writings of two of the following three architects, compare and discuss the contested issue of the role of ornament at the end of the 19th century and early decades of the 20th century: Adolf Loos; Otto Wagner; Louis Sullivan. Depending on your selection, address the following questions in your analysis: *How were the Austrian architect Adolf Loosʹ views on ornament different and challenging to the status quo in Viennese architectural circles? * What contrasting visions of modern design did Loos and Wagner present in their work and writings? Do their differences resonate in contemporary examples of prominent architecture? *How did Sullivan draw inspiration from both the details of nature and the American landscape? What relationships did he create between structure and ornament? Was it problematic? Topic 12B Exhibition Review: Visit the current exhibition at the NGV international, ‘Vienna: Art & Design’. *** this exhibition finishes Oct. 9th*** From your visit and the accompanying catalogue, select 3 objects and present an illustrated review of these objects to show how they display some key design qualities that reflect the wider concerns of Vienna as a centre of Modernity. Consider in your analysis, where relevant, the concept of gesamtkunstwerk, the importance of ornament, materials and function, the means of production and design influences.
All students to read these primary sources: Loos, Adolf, ‘Ornament and Crime’ (1908) in The Architecture of Adolf Loos: an Arts Council Exhibition, London: Arts Council of Great Britain, 1985, pp. 100‐103. Sullivan, Louis, ‘Ornament in Architecture’ (1892) in Kindergarten Chats and Other Writings, New York: George Wittenborn, Scultz, 1947, pp. 187‐190. Wagner, Otto, ‘Style’ from Modern Architecture: a Guidebook for His Students to this Field of Art [1902], introduction and translation by Harry Francis Mallgrave, Santa Monica [California]: Getty Center for the History of Art and the Humanities, 1988, pp. 73‐80.
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All students to read this secondary source: Hearn, Fil, ‘Decoration and the Integrity of Design’, in Ideas that Shaped Buildings, Cambridge [Massachusetts]: The MIT Press, 2003, pp. 271‐280. Presenters must read: Banham, Reyner, ‘Ornament and Crime: The Decisive Contribution of Adolf Loos’, Architectural Review, February 1957, pp. 85‐88. Frampton, Kenneth, Chapter 6: ‘The Sacred Spring: Wagner, Olbrich and Hoffman 1886‐1912’ and Chapter 8: ‘Adolf Loos and the Crisis of Culture 1896‐1931’ in Modern Architecture: A Critical History, London: Thames and Hudson, 1980, pp. 78‐83, 90‐95. Mallgrave, Harry, extract from ‘Introduction’ in Otto Wagner, Modern Architecture: a Guidebook for His Students to this Field of Art [1902], introduction and translation by Harry Francis Mallgrave, Santa Monica [California]: Getty Center for the History of Art and the Humanities, 1988, pp. 25‐45.