ARCH1121 Course Outline AndProject Submission Descriptions

8/10/2019 ARCH1121 Course Outline AndProject Submission Descriptions

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ARCH1121 Architectural History and Theory 1Semester 2, 2014


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TABLE OF CONTENTS

Course Information 3Course Staff 3

Course Overview 3Course Details 3Description 3Topics Covered 4Aims 4Learning Outcomes 5Graduate Attributes 5

Teaching Strategies and approach to learning 5Expectation of Students 5Weekly Lecture Readings 6Student Feedback 6Assessment 6

Written Assignments 6Tests 7Assessment Criteria 7

Lecture Topics and Schedule 7Administrative Matters 21

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COURSE INFORMATION

Units of Credit: 6

TimeWednesday; Lecture 9-11am; Tutorials 11-1pm (Students are allocated to either the first or second

hour tutorial class)

LocationLecture: Chemical Sciences Building M 18 (Class 2074) (K-F10-M18)

TutorialsW11A, Class 2075, Quad 1045W11B, Class 2076, Quad 1046W11C, Class 2077, Quad 1047W11D, Class 2078, Quad 1048W11E, Class 2079, Quad G025W11F, Class 2080, Quad G026

W11G, Class 2081, Quad G031

COURSE STAFF

Course Convener:Dr. Peter KohaneThe Red Centre, Room 2011E-mail:[email protected] by appointment (please email first)

Tutors:Alix Verge

Katherine GuinessNathan DunnePrajakta SaneSimon SoonIan PearlmanMark Stiles

COURSE DETAILS

Description

The course is concerned with the history of Western architecture, specifically its classical tradition.

Students will be introduced to classical design principles. While first outlined in antiquity, theseremained vital to architects working in subsequent historical epochs.

Lectures focus on particular architects and theorists, as well as key issues and transitional momentsin history. Such an approach contributes to a facet of the course, which is to critically engage withcurrent beliefs and work. For instance, our anxiety about the alienating character of modernbuildings and cities can prompt an inquiry into substantial past achievements. These offeralternative strategies for design, including those founded on an assumed relationship between ahuman being and a building. The course shows that principles formulated in the past can bereinterpreted to stimulate new design schemes.

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mailto:[email protected]:[email protected]:[email protected]:[email protected]


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Topics Covered

We will look to history to reconsider topics in architecture that demand our attention now,including:

ornament (also discussed as dressing) analogy

proportion the profile or contour of forms (which can be regarded as the diction of architecture) eurythmy the angle of view empathy decorum memory (which can be understood as a dream of history) the site the critical function of architecture

All these topics are relevant to an inquiry into the reasons why a person may feel an affinity witharchitectural forms and spaces. This can also be understood in terms of a relationship between the

constitutions of a human being and architecture.

The course will introduce the six principles outlined by the ancient Roman architect and theorist,Vitruvius. While these have been given different names, and defined in various ways, we will viewthem as: order, disposition, proportion (including analogiaand eurythmy), symmetry, decorum andeconomy. Particular emphasis is placed on disposition, proportion and decorum.

Students will learn about each of these in lectures. The course aims to show how Vitruviussprinciples can be applied to the design and judgment of buildings, past and present. This involvesconsidering:

An analogy between a human being (valued as a type of perfection) and the formal andspatial qualities of a building.

The relationship of a building to its landscape or urban setting. The relationship between the interior and exterior of a building. The role of the orders, doors, windows and moldings in the design of an expressive building.

According to the classical tradition, a good building will: Exhibit the quality of order. Have a rhythmic measure (which stresses that architectural forms and spaces accord with

the actions of human beings).

Strike the beholder as a moral deed.

Aims

Instead of presenting a comprehensive survey of Western architectural styles, each lecture on anhistorical period will show how classical principles inform selected buildings. The works ofarchitects and writers are analyzed. Where possible, the relevance of their achievements to ourcurrent debates will be considered. The aim is to show how the classical tradition has survivedover a long period of time.

In specific terms, the course aims to: Introduce renowned buildings and principles belonging to the classical tradition. Identify the formal qualities of classical buildings and cities. Develop an understanding of the principles underlying classical architecture. Gain insight into the steps involved in the design of a classical building.

Recognize that a building can have an expressive character, which is appreciated by aperson in the city.

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Show how a classical architect strives to create elemental (or primordial) forms, whichaccord with the constitution of the human being.

Consider the relevance of the classical tradition to twentieth century and current architecture.

Learning OutcomesAt the conclusion of the course, a student will be able to:

1. identify the works of major classical architects and theorists.2. invoke classical themes to clarify the nature of debates continuing into the present on

architectural theory and practice.3. apply principles of design in the past to current practice. This involves a connection between

the course and the series of design studios in the Bachelor of Architectural Studies.

Graduate Attributes

Students will cultivate an array of skills, including: scholarly research; analytical and criticalthinking; engagement in independent and reflective learning; information literacy (locate, evaluateand use relevant information); respect for ethical practice and social responsibility; andcommunication.

UNSW Graduate Attribute Activity/Assessment

scholarly research All assignments

analytical and critical thinking Tests, critical reflection, classdiscussions

engagement in independent and reflective learning Assignments, class discussions

information literacy (locate, evaluate and use relevantinformation

Peer review, class discussions

respect for ethical practice and social responsibility Peer review, class discussions

communication Peer review, class discussions,assignments

TEACHING STRATEGIES AND APPROACH TO LEARNING

Two hour lectures are accompanied by a one hour tutorial. The themes for the lecture and tutorial

are generally linked. The tutorial will be organized to facilitate discussion amongst students.Before each lecture and tutorial, students must have read the relevant sections from DavidWatkins book,A History of Western Architecture.

A Moodle site is set up for this course. It contains the course guide. However, this course has beenorganized for you to engage with your tutor in class. As a consequence, information is shared inclasses. The Moodle site will not play a major role.

EXPECTATIONS OF STUDENTS

Attendance at lectures and tutorials is a requirement. An integral part of this course is engagement inclass activities. Consequently you will fail the course if you do not attend regularly, even if youcomplete all assignments. You must actively participate in classes and complete all set work to asatisfactory standard as discussed in class. Each week will involve preparation, which includesbackground reading.

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Tests

In addition to these assignments, there will be tests in weeks 7 and 13. These are based onWatkins book and the theoretical ideas presented in lectures. Questions will examine yourunderstanding of key issues developed in the course. Your presence in lectures is needed to passthis test. Please note that little revision is needed for the tests, as they cover material that you

have studied during the session

Note

Tutorials are held in weeks 2, 3, 4, 5, 6, 7, 8, 10, 12.

There are no tutorials in weeks 1, 11 and 13

Week 9 is a non-teaching week.

Criteria for Assessment

See the Guidelines for Writing Brief Essaysdocument available in Moodle. It covers Argument,Rhetoric and Exegesis (3 elements of a good essay), structuring an essay and how to get good

marks.

You will gain marks according to the following criteria:

Use of evidence (using relevantreferences and quotations)

Exegesis (show a coherent understanding of the text)

Commentary (commentary on the text)

Argument (expression and development of your ideas)

Evidence of further reading (extra research)

You will lose marks for the following:

Poor Spelling

Poor Grammar Length

Footnotes (plagiarism/incorrect footnotes)

LECTURE TOPICS AND SCHEDULE

Week 1 - Introductory Lecture

Part A: Brief overview of the courseThe classical tradition: is it relevant to the present?Key buildings and treatises.

Who was Vitruvius; what are his six principles; why have they been so important for later architects?

Part B. Ornament and civic responsibility: James Barnets public buildings in nineteenth centurySydneyBarnet was the Colonial Architect of NSW in the late nineteenth century. He was therefore in chargeof a large office of designers. The lecture will focus on a small number of the many projectsproduced under his supervision. The discussion of these will emphasize the role of buildings inarticulating an urban order. Barnet was able to oversee the construction of monumental buildingsthat allow one to move from Circular Quay to the Post Office in an orderly manner.

The key examples are: Garden Palace (Demolished, but considered in the lecture);

Customs House at Circular Quay (this includes work done in several stages by differentarchitects)

Lands Department on Bridge Street

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General Post Office in Martin Place

The lecture will consider these buildings in terms of: siting overall composition (including an emphasis on horizontal lines) towers colonnades or arcades orders sumptuous entrances ornament and sculpture Barnets buildings shape public space and engage the attention of citizens. For him,

architecture contributes to the making of a public realm.

Additional Buildings(not included in the lecture but worthy of consideration):The Chief Secretarys Building on the corner of Bridge and Macquarie Streets; Paddington PostOffice; Goulburn Court House; and Bathurst Court House.

Additional Reading(not required):C. Johnson, P. Kohane, P. Bingham-Hall, James Barnet, Sydney: Pesaro, 2000.

No Tutorial(No assignment)

Week 2 - Urban order and its critique: the development of Melbourne in thenineteenth century

Buildings constructed in nineteenth-century Melbourne can be understood with reference to theVitruvian principle of decorum. The lecture considers the relationship between terrace houses,small office buildings, post offices, banks, minor and major public buildings, and religious

structures. We will note how the formal massing and judicious ornamentation of a building arecritical to its civic role, which involves adding to an ideal of social order. Urban hierarchy will bediscussed: the Melbourne Club, for instance, defers in its ornament and location to the TreasuryBuilding which, in turn, defers to Parliament House. The demise of such decorum will beexamined through the analysis of certain Boom-period office buildings that, being tall and lavishlyadorned, assume the demeanor of a major public project. Assessed according to Vitruviussprinciples, these office buildings may be exciting and inventive, but are ultimately flawed becauseostentatious and indecorous. They speak out of turn.

Tutorial and AssignmentReading: Watkin. Optional: begin reading chapters on the Renaissance, as well as eighteenth andnineteenth century architecture. Make notes on classical buildings that are relevant to an

appreciation of Barnets Post Office in Sydney. (For instance, consider the relationship betweenSansovinos Library in Venice and Barnets building in Sydney).

The following drawing assignment is to be handed to your tutor in class for week 2.Submit 3 A3 sheets. Each of these must include one or more sketches with accompanying writtencomments. The writing on each sheet must not exceed 100 words. (ie. 300 words overall).

These sheets are to be devoted to the Post Office. (You may visit this building, as well as others inSydney to be analysed in later assignments. If you choose to study the scheme in the city, you mustfind a safe place, away from traffic etc. See notes about safety on visits to buildings). The buildingsmain, north front faces Martin Place. The two smaller fronts face George Street and Pitt Street. Thebuilding no longer functions as a Post Office. It accommodates a hotel.

Your drawings can address some of the following:(a) Analyse the composition of the north front, by focusing on one of its basic elements, namely

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the arcade at street level. How does this form mediate between the interior of the buildingand the urban space outside?

(b) Analyse the composition of the north front, by considering the relationship between two keyelements, the horizontal arcade and the vertical tower.

(c) Study the overall composition from a distance, to note the general disposition of forms,including the horizontal elements, such as the grand cornice. Then move closer to thebuilding, to see how the details and sculptures are now are visible.

(d) Study the sculptures in the spandrel of the arches on the Pitt Street front. These sculpturesare famous for their representations of everyday events. Can you identify some of theillustrated activities? In the nineteenth century, such sculptures were valued as contributing avoice to the building. This meant that the building acquired the ability to speak to the citydweller.

Note: texts can be included on the sheets of A3 paper. As this is the first assignment, and you maynot have the Watkin book, footnotes and bibliography need not be included. Your written statementscan be based purely on your observation of the architecture.

Week 3 - Ancient Greece

Greek architecture is analysed by referring to three topics:

1. The analogy between the human being and built form. This involves the concept of the humanbody as a type of perfection, its proportions and contours appreciated by Greek sculptors. One ofthese artists was the celebrated Polykleitos, a person who created the canon, which manifesteditself as an actual sculpture and a text. The latter was copied by Vitruvius in his treatise onarchitecture, and formed part of the account of analogia, a term referring to the connection betweenthe human being and architectural form. Sculptures of human figures and Gods are to beconsidered in the lecture, and shown to have a role in the way architecture is designed andperceived. The critical concern is the analogy between the human being and the classical orders.Each of the three Greek orders (Doric, Ionic and Corinthian) has a distinctive human character. Wewill pause to consider Vitruviuss vivid account of the invention of the Corinthian order.

2. The historical situation, in which the Greeks initially constructed a timber temple, to subsequentlyimitate its forms in stone or marble. As a consequence of this superstitious regard for timberorigins, the ornaments of the monumental temple refer to an earlier work. Such a building istherefore enriched by the memory of worthy first builders.

3. The extraordinary formal nature of a Greek temple, which has no straight lines. The oftennuanced convex curves include the entasisof the column shaft and the bowing of the stylobate. Oneexplanation is that such curves were conceived as optical refinements: they compensate for the

angle of view, allowing the beholder of a building to perceive an ideal order. The lecture may alsonote that entasis, as well as the more general human and architectural attribute of profile, involves asubtle swelling and roundness of form, which is appreciated as an embodiment of a persons well-being and health.

We will consider Greek architecture by referring to sculpture and built forms. Some key works are:

Sculpture The canon (or Doryphoros): Polykleitoss theory and representation of the well-proportioned

male athlete. The Parthenon: the Gods and human beings depicted in the frieze, metopes and pediment. The Temple of Apollo Epicurius, Bassae: the battles depicted in the frieze.

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Architecture The Parthenon: the ritual of moving through the city, approaching the acropolis and passing

through the Propylaea, to behold the Parthenon. The Erectheion: the Caryatids as supporting elements. The Temple of Apollo Epicurius, Bassae: the site (a remote and magnificent setting); and the

interior of the cella (in which a rhythmic space is created, through the spur walls with theIonic order and frieze. We will note the interplay between the rhythm of the sculpted figuresin the frieze and the disposition of the architectural order. This analogy is distilled in thesculpted figures and Ionic volutes).

In addition, we may address the ideas of scholars and architects who, in the eighteenth andnineteenth centuries, analysed Greek sculpture and architecture. They claimed that the Greekscreated forms that had never been surpassed. (The key figure is Winckelmann).

Tutorial and AssignmentReading: Watkins book: Chapter on Greece. This text will assist you in writing comments tocomplement the sketches for your drawing assignment (see below).

Submit 3 A3 sheets. Each of these must include one or more sketches with accompanying writtencomments. The writing on each sheet must not exceed 100 words (ie. 300 words overall).

2 or 3 sheets are to be devoted to the Art Gallery of NSW. The part of the building that we will bestudying is made of sandstone, and designed in the early 20 thcentury by the architect Vernon. (Thelater additions were constructed from the 1970s; and include the recently completed Asian Wing.)You may walk around the interiors of the gallery, examining the different kinds of spaces. (The ArtGallery is free to enter. It is open each day from 10 am to 5pm, later on Wednesdays). The Vernondesigned interiors include the entrance foyer and the series of galleries to the right. They contrastwith the modern and flowing spaces. The Asian wing can be visited.

Your drawings, however, will focus on the exterior. You may address some of the following issues:(a) The overall composition of the old part of the building. Study the relationship of the main

west facing front (with the Ionic portico) to the side front, facing to the south. Note how theclassical orders are deployed on these two fronts.

(b) On the south front, consider the disposition of columns and their connection to the walls.Also note the strong base of the building, and the manner in which its robust characterseems to belong to the earth. The refined columns rise from this base.

(c) When examining the main front, study the composition from various viewpoints. Whenapproaching the building along the footpath beside the street, note the shifting relationshipbetween the portico and the overall faade. Also stand back in the park to look straight to theportico.

(d) Focus on the portico. It can be valued as a welcoming gesture, indeed, a gift to the city. One

does not have to enter the building to recognise this statement of civility. It tells people thatthere is a place to pause in the shade.

(e) Study a single classical column of the portico. Make detailed sketches of the base, flutes,capital and entablature. Label these, and additional parts of the order. (It is an Ionic order).Watkins chapter on Greece includes an important diagram of the orders, where the differentparts are labelled. You need to relate this diagram to the actual portico on the Art Gallery. Inyour sketches, also attempt to represent the play of daylight on the order.

You may choose to make two, rather than three, drawings of the Art Gallery, and devote the thirdone to another classical structure nearby. This is a copy of a small building from Athens, known asthe Choragic Monument of Lysacrates. It is located in the Botanic Gardens, to the east of the lake.This beautiful circular sandstone structure has a classical order, that you can study and sketch. (Theoriginal building in Athens is illustrated in Watkins chapter. See fig. 47)

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Additional Reading(not essential)J. Rykwert on the origins of the orders, in his book, The Dancing Column.

Week 4 - The shape of architectural space: Ancient Roman architecture and its

legacy

The Roman concept of a moulded and palpable space is examined by referring to innovations intechnology (including the mastery of concrete), ritual and symbolism. Key buildings include thePantheon in Rome and the Scenic Triclinium at Hadrians Villa. The influence of Roman interiorsis identified in later historical styles and current architecture.

We will consider the following themes: The construction of massive and structurally sound walls that, while impressive in their own

right, support a decorative surface. This involves the application of layers of ornament,including the classical orders.

The often undulating surfaces of walls, domes and vaults, which produce dynamic interiors.This conception of space was novel. It provided opportunities for architects to mould space,

imparting to it human-like rhythms. The influence of Roman space on later architects isaddressed by referring to major twentieth century buildings, such as Louis Kahns KimbellMuseum (Fort Worth, Texas, 1966-72). (Roman architecture can stimulate a reappraisal inthe present of space that does not extend infinitely, but is contained and shaped).

Roman building types: including Fora(examples of which include the Roman Forum and the Forumof Nerva); Gateways to, and within, cities (including the Arch of Constantine); and Baths (such asthe Baths of Caracalla).

Detailing of forms. In the nineteenth century, Roman details could be seen to have a mechanicalshape, unlike the subtle, life-like profiles created by Greek architects.

Tutorial and AssignmentTwo sheets of A3 paper are to be submitted. On these, make general and detailed sketches of theArch of Constantine in Rome. Analyze the relationship of the piers and arches to the attachedcolumns. Consider the interlocking of parts. A brief text is to be added to the drawings (300 wordsmaximum). Your comments should be based on reading Watkins chapters on both Greek andRoman architecture. You will need to address the ways in which the Roman wall system (which caninclude the articulation of piers and arches) accommodates the Greek conception of columnarorders.

Week 5 - The Renaissance in Italy. Part 1. Brunelleschi, Alberti and Bramante

The Renaissance, as opposed to the middle-ages, was characterized by a conscious revival ofantiquity. Architecture was enriched by the discovery and translation of Vitruviuss treatise, as wellas the study of ancient Roman ruins.

This lecture is an introduction to the forms of Renaissance buildings, as well as underlying theories.Reference is made to the early 15thcentury work of Brunelleschi, where forms generally have aplanar character. This will be compared with the approach of Bramante, whose interpretation ofRoman ruins contributed to the shaping of tactile forms and rhythmic spaces.

The ancient Vitruvian analogy between the human body and architecture was reconsidered in theRenaissance by Alberti. His writings emphasise the role of the body as an ideal type, worthy of

representation in the visual arts. According to Alberti, beauty in architecture is innate, which meansthat the beholder cannot help but respond in a positive way to a well-proportioned building. Albertieven assumed that an army may enter a city with the intention of destroying it. If the buildings are

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beautiful, however, the warriors will lay down their weapons and act in a peaceful and civil manner.This utopian theory provides insight into architectures extraordinary role of maintaining civic life. Inhis theoretical text, Alberti assisted an architect by outlining the steps to be followed when designinga building.

The influence of the Renaissance on modern architecture is considered by showing how the cloisterat Santa Maria della Pace, which was designed by Bramante, inspired Kahns reading area for hisPhillips Exeter Academy Library (Exeter, New Hampshire, 1965-72).

Key buildings(ones with an asterisk [*] will be considered in the lecture):Brunelleschi:

*San Lorenzo, Florence, 1420 Pazzi Chapel, Florence, 1430 Santo Spirito, Florence, 1436

Alberti: *Rucellai Palace, Florence, c. 1446, (The relationship of the order to the wall).

*Santa Maria Novella, Florence, 1458-70, (Memory; historical types). *San Sebastiano, Mantua, 1460, (Memory; historical types). *Tempio Malatestiano, Rimini, 1450, (Front and side elevations). *San Andrea, Mantua, 1470, (The relationship of the interior to the exterior).

Bramante: Choir of Santa Maria della Grazie, Milan, 1493 Tempietto, Rome, 1502 St Peters plan and elevation, Rome, 1506 Belvedere, Rome, 1505. (Treatment of wall: its complex rhythm) Cloister of Santa Maria della Pace, Rome

Additional theorists and designers: Francesco di Giorgio Martini, Filarette, Leonardo, Colonna(whose text is titled, The Hypnerotomachia Polifili).

Tutorial and AssignmentOn two sheets of A3 paper, combine sketches and texts to analyse the exterior and interior ofAlbertis San Andrea. With regard to the exterior, draw both the Arch of Constantine (which weconsidered earlier) and the main front of the Alberti building. Explore similarities and differencesbetween the two structures. Also examine the relationship between the exterior and interior of SanAndrea.(The word limit for the texts that accompany the drawings is 300 words)

Additional References(not essential)

R. Wittkower,Architectural Principles in the Age of Humanism, first published 1948.J. Rykwert, N. Leach and R. Tavernor, On Alberti and the Art of Building, 1998.

Week 6 - The Renaissance in Italy. Part 2. The influence of Bramante: Michelangeloand Palladio

Buildings and projects by Michelangelo and Palladio are analysed in terms of the innovative useof the classical orders, windows and doors. The articulation of interiors is considered, as well asthe contribution of a buildings exterior to the making of a civic space.

Michelangelo is especially relevant to our course, as he can be seen to have added to the Greek

conception of architecture, which involved the analogy between a sculptors representation of thehuman figure and an architects articulation of built forms. Classicists in the nineteenth century couldclaim to inherit a tradition, which included Greek architects and Michelangelo. In this, a designer

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would draw the profile of a form, its outer line exhibiting a human vitality. Like a representation of aliving person, the design for a building is characterised by the quality of movement.

Following Alberti, Palladio outlined a concept of beauty in architecture, which was based on theideal proportions of the human being and the works of the ancients. A building would have a strikingimpact on citizens. We will study Palladios churches in Venice and villas in their landscape settings.Emphasis, however, is placed on Vicenza, a city whose character is enriched by Palladios theatre,Basilica, and numerous palaces. In his designs, the columns, windows and balconies are elementsthat engage the attention of a beholder. Palladios buildings show how the ancient forms can beadapted for the modern context of Vicenzas streets.

(While the lecture emphasises Michelangelo and Palladio, students should consider additionalRenaissance architects, including Raphael, Vignola, Peruzzi, Sansovino, Sanmicheli and Romano.Their buildings include formal themes that were subsequently incorporated within an ongoingclassical tradition.)Key buildings, paintings and drawingsMichelangelo:

*Sistine ceiling (In the frescoed ceiling, we can identify a relationship between the figuresand depiction of architectural frames). The Faade of San Lorenzo, Florence, 1515-20 (In this unbuilt project, note the frames for

sculpture). *Drawings of the human figure (Consider the quality of contrapposto, ie. counterpoise) *The Medici Chapel, Florence, 1520-34 (Note the articulation of elements like aedicules and

wall planes) *The Library of San Lorenzo (Laurentian Library), Florence, 1523-59 (A radical rethinking of

the nature of a wall). *Drawings for the Laurentian Library (Note the interplay between representations of the

human figure and built form). *The Capitoline Hill (Palaces), Rome, 1538 (Interlaced orders). The Basilica of St. Peter, Rome, 1546-64 The Porta Pia, Rome, 1561-65

Palladio San Giorgio Maggiore, Venice, 1565-75, 1580-85, 1599-1610

Redentore, Venice, 1577 *Villa Rotunda, 1566-69 *Villa Barbaro, at Maser, 1554 (Note the central pavilion, with its centrally located balcony,

arched opening and broken entablature. The life of the interior, celebrated in Veronesespaintings, is invoked on the exterior).

Villa Foscari (La Malcontenta), 1558-1561 *Palazzo Chiericati, Vicenza, 1551-54 (Consider the loggias; angle of view; idea of a building

as a gateway to city; and the articulation of profiles. An ideal life within the building isrepresented through the ornamented exterior. The life of the city is enhanced).

Basilica, Vicenza, 1549 Teatro Olympico, Vicenza, 1580-85 (The angle of view, perspective) Palazzo Thiene, Vicenza, 1542, 1546-58 *Palazzo Valmarana, Vicenza, 1565 (The forms are appropriate for the angle of view: seen

from its narrow street, one is impressed by the layered wall). Porto Breganze, 1571. (The interweaving of the balconies and order. The angle of view: the

large scale of the order is appropriate for the urban setting of a square not a street). *Loggia del Capitaniato, Vicenza, 1571-74 (The powerful forms have an impact on us,

perhaps enticing us to stand up!).

Sangallo and Michelangelo Palazzo Farnese, Rome, 1517. (In the absence of traditional columns or pilasters, the

windows serve as a fenestral order, to impart a human scale to the exterior).

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Sansovino Library of S. Marco, Venice, 1536.

Tutorial and AssignmentSubmit 2 sheets of A3 paper. By referring to Watkins book and additional sources, make a series ofsketches, with accompanying texts (word limit 300 words), to explore the ways in which architectscompose the exterior of buildings. In specific terms, you will focus on the rhythmic interplay of forms.Analyze Michelangelos scheme for the Capitoline palaces, noting the relationship between thelarger and smaller orders. Does such interweaving enrich the exterior of a palace? Comparisons canbe made with other Renaissance buildings. These could avoid the interlacing of parts, as in AlbertisRucellai Palace. On the other hand, the relevant examples could, like Michelangelo, employ a giantorder. Examples include Albertis San Andrea and Palladios Loggia del Capitaniato. Your drawingsand texts should consider the relationship between the orders. The distinctive nature of an order isalso significant. For instance, an order in a building can be a pilaster or a column, the latter eitherattached to a wall or standing in front of it. Your analysis of the disposition of the parts across afaade should refer to classical notions, such as the human bodys role as a type, which informs the

proportions of all aspects of a building, including the windows, doors and details.

Additional ReferencesJ. Ackerman, Michelangelos Theory of Architecture, ch. 1 of The Architecture of Michelangelo,Harmondsworth, Middlesex, 1970.B. Boucher,Andrea Palladio. The Architect in His Time, New York, London and Paris: AbbevillePress, 1998J. Ackerman, Palladio, Harmondsworth: Penguin, 1966

Week 7 - The class will comprise a test and lecture.

The test will follow the lecture and be held in the Lecture Theatre. The test will take 30 minutes)

Lecture. A crisis of representation: the debate between the ancients and moderns.(Architecture and the Enlightenment)

In the late seventeenth century, the French theorists Francois Blondel and Claude Perrault engagedin debate about the meaning of classical architecture.

Respecting the wisdom of the ancients, Blondel defended an already existing tradition, which hadevolved from the Renaissance. Theorists like Alberti assumed that, by regarding the ancients as anauthoritative guide, new buildings would have an intrinsic and innate beauty. The key element indesign was the orders, as they best encapsulate the proportions of the divine human form. With its

correctly proportioned and profiled columns, a building will inevitably make an impression of abeholder. He or she appreciates a positive beauty.

Perrault was skeptical of this theory of architecture. Drawing on emerging modern ideas, hechallenged the notion that innate beauty resides in the orders. For him, this argument was foundedon a no longer supportable assumption, involving a person both seeing and hearing the perfectproportions of a built form. Such a mode of perception could not be explained in the Enlightenmentsterms of reason and modern science. Articulating the viewpoint of the moderns, Perrault introduceda novel theory of architecture; one that was not encumbered by superstitious ideas about divinelysanctioned proportions.

Perraults radical critique of the traditional classical theory could not be ignored by later designers.

Our lecture focuses on the eighteenth century, when Enlightenment architects and theorists re-evaluated the nature of architecture, offering new design strategies, while invoking reason andscience to explain how forms delight a beholder. We will consider the works of Lodoli, Piranesi,

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Laugier, Soufflout and Boullee. Several novel concepts are examined, including nature, structuralrationalism, new aesthetic categories (which include beauty, the picturesque and the sublime), ruins,and the poetry of light.

In the last part of the lecture, these varied topics are discussed in terms of their synthesis in designsby Soane. This relationship between architectural theory and practice is explored in the scheme forthe Bank of England, as well as the Soane House and Museum.

Buildings and projects*Le Vau, Lebrun and Perrault, Louvre, east front, Paris, 1667-70.M. A. Laugier, Frontispiece of the 2ndedition of Essai sur larchitecture, 1755.Joseph Wright of Derby, An Experiment on a Bird in the Air Pump, 1768, National Gallery, London.F. Goya, The Sleep of Reason Produces Monsters, c 1797, Prado Museum, Madrid.F. Goya, The Executions of the 3rdMay 1808, 1814, Prado Museum, Madrid.*G. B. Piranesi, etchings titled Carceri(Prisons), ca. 1744 (reissued ca. 1761).*J. G. Soufflout, Church of Sainte Genevieve (Later, The Pantheon), Paris, 1759-90.

E-L. Boullee, Project for Newtons Cenotaph, 1784.E-L. Boullee, Project for a Metropolitan Cathedral, 1781-82.G. Dance, All Hallows Church London Wall, London, 1765-67.*J. Soane, Bank of England, London, 1788-1808.*J. Soane, Sir John Soanes Family Tomb, Old St. Pancras Churchyard, London, 1816.*J. Soane, Soane House and Museum, London, 1792-1824.

Additional Readings(not essential)S. Kostof,A History of Architecture, New York and Oxford: Oxford University Press, 1985, 253-67.J. Rykwert, The first moderns: the architects of the eighteenth century, Cambridge, Mass.: MITPress, 1980, ch. 1, 1-22.

M.A. Laugier, Essay on architecture, tr. W. Herrmann, Los Angeles: Hennessy, 1977, (first pub. inParis, 1773)E.L. Boulle, Treatise on art, in Boulle and visionary architecture, ed. H. Rosenau, London:Academy, 1976, 81-116.T. Knox, Sir John Soanes Museum, London: Merrell, 2009S. Kostof,A History of Architecture, New York and Oxford: Oxford University Press, 1985.

Tutorial and AssignmentThe relevant section in Watkins book (ch.8) provides an introduction to key works from theeighteenth century. The assignment, however, is specific; and will involve you selecting images from

the web or books. On two sheets of A4 paper, include your own interpretive sketches of twoeighteenth century drawings. Choose these historical examples from Piranesis famous series ofetchings titled Carceri(Prisons), or E-L. Boullees projects, such as his monument to Newton; andthe interior of the National Library. Discuss these images, by referring to the inclusion of humanfigures. How are these people related to their accompanying spaces or external forms? Is there acritique of the classicisms regard for an analogy between the scales of the body and architecture?Can the illustrated human figures in drawings by Piranesi and Boullee add to the evocation of vast,sublime architectural forms?

The text has a 300 words maximum. (Please note that there are many books on Piranesisdrawings)

Week 8 - Architecture in the nineteenth century: the rise and dominance of arational technique and persistence of a classical ideal

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The following two themes will be addressed:(a) J.N.L. Durands rational technique and its influence on the Ecole des Beaux Arts. Following thedoctrine of Durand, the Beaux-Arts education comprised the study of compositional principles thatignored traditional speculation on the role of the human body in architecture. Students were taughtto work in a rational manner, when generating the plan, elevation and section, investing the designwith character, and fashioning a fluent marche. Our lecture will note the reductive nature of Durandstheory. This entailed a negation of references to the human being and historical forms, as well asthe traditional notion of the angle of view. Emphasis is placed on design solutions that are justifiedthrough economy, understood in terms of the minimum cost involved in constructing the largestamount of space.

(b) Reconsidering the classical representation of the human being: social ritual, adornment of thebody and empathy in Charles Garniers Paris Opera (1861-75). The transformation of Paris duringthe nineteenth century involved Haussmanns construction of new boulevards, which led from or tomonumental buildings. Many of these had been constructed over the past two centuries. However,the decision to build a new Opera House provided the opportunity to conclude a grand boulevardwith a splendid modern structure, designed by Garnier. A relationship was established between the

relatively subdued facades of buildings facing the street and the expressive front of the OperaHouse.Garnier enlivened the Beaux-Arts approach to design by reconsidering the ancient analogy betweenarchitecture and the human body. For him, a person attending the Paris Opera would dress in anappropriate manner. The stair hall in his building, like the people attending the opera, wassumptuously attired to exhibit a vivid personality and wit. Garnier provided an impressive, stage-likesetting for his audience. In addition, when entering the building one passes figure sculptures, whichassist the architecture in creating a lively mood. (The relationship between sculpture andarchitecture can be understood by recalling earlier analogies between the two arts. Whenapproaching a Greek Temple, for instance, people can proceed along a path that is enriched by thepresence of sculpted figures. In addition, one often enters a medieval cathedral through a porch,which is enriched by sculptures of religious figures).

Tutorial and AssignmentRead the relevant section in Watkins book (ch.9), as well as one of the following:D. Van Zanten, Designing Paris: the architecture of Duban, Labrouste, Duc and Vaudoyer,Cambridge, Mass.: M.I.T. Press, 1987, 83-98; orD. Van Zanten, 'Architectural composition at the Ecole des Beaux-Arts from Charles Percier toCharles Garnier', in The architecture of the Ecole des Beaux-Arts, ed. A. Drexler, Cambridge,Mass.: M.I.T. Press, 1977, 254-88.

Write an essay of 300 words maximum. The topic is specific: Discuss Garniers belief that the vitalpeople attending the opera will empathise with the lively forms of his Paris Opera. The submission ison 2 sheets of A4 paper. On these you can combine the text with illustrations of the Paris Opera. In

these sketches, you could reflect on the ways that citizens would dress. Try to convey the idea thattheir presence was taken into consideration in the dressed surfaces of the exterior, as well as thestair hall.

Additional readingsC.C. Mead, Charles Garniers Paris Opera, Cambridge, Mass. and London: M.I.T. Press, 1991.J. Rykwert, 'The Ecole des Beaux Arts and the classical tradition', in The Beaux Arts and nineteenthcentury architecture, ed. R. Middleton, London: Thames and Hudson, 1982, 8-17.A. Perez-Gomez,Architecture and the crisis of modern science, Cambridge, Mass.: M.I.T. Press,1983, introduction, 3-4; 297-326.

Week 9 - No classes are held this week

(The additional teaching is held in week 13)

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29 September 5 September October- Mid-session break

Week 10 - Classical principles in the nineteenth century: invoking the ancientauthority and wisdom of Vitruvius

Lecturing at the Royal Academy in London from 1841 to 1856, C.R. Cockerell defended theVitruvian analogy between architecture and the human body. His theory will be considered byreferring to the human-like disposition of columns, doors, windows, balconies and mouldings.Cockerell also explored the nature of the creative process by invoking the idea of a dream ofhistory. The architects designs will be analysed with reference to the main door of the Liverpooland London Insurance Office, the animated details of the Liverpool branch of the Bank of London,and the balconies and windows of the Ashmolean Museum and Taylorian Institute (Oxford, 1839-40). The lecture also argues that his project for the Royal Exchange was conceived as a perfectbody, in which its ideal forms reveal, by contrast, the tragic dimension in everyday life.

In addition, the Ashmolean Museum and Taylorian Institute, as well as the Paris Opera, celebratethe relationship between figure sculptures and architectural forms.

Key BuildingsTemple of Aphaia, Aegina, 5thcentury BC*Temple of Apollo Epicurius, Bassae, 5thcentury BC*Charles Robert Cockerell, London and Liverpool Insurance Office, Liverpool, 1855Charles Robert Cockerell, Bank of England, Liverpool, 1845Robert Adam, Kenwood House, London, 1764-73Hawksmoor, St. Mary Woolnoth, Bank, London, 1716-24Charles Robert Cockerell, The Professors Dream, 1848, Watercolour, Royal Academy, London*Charles Robert Cockerell, Ashmolean Museum and Taylorian Institute, Oxford, 1839-45

*Charles Robert Cockerell, Unbuilt Project for the Royal Exchange. London, 1840, Lithograph

Tutorial and AssignmentThe tutorial is devoted to a discussion of your assignment.The assignment complements the one submitted in week 3 on James Barnets Post Office. You willnow consider his design for the Lands Department.

Background reading (not essential)P. Kohane, Order and variety in the work of C. R. Cockerell, Fabrications, 10, 1999, 100-111D. Watkin, C. R. Cockerell, London, 1974

Submit 3 A3 sheets. Each of these must include one or more sketches with accompanying writtencomments. The writing on each sheet must not exceed 100 words. (ie. 300 words overall).These sheets are to be devoted to Barnets Lands Department. The buildings main, north frontfaces Bridge Street and Macquarie Place.

Your drawings can address some of the following issues:(a) The manner in which the building relates to the surrounding four streets. Note how the

building has four distinct facades. Can you see how the tower responds to views from someof the streets?

(b) The role of loggias in establishing a space between the interiors of the building and thestreets outside. Do these loggias enrich the life of the city?

(c) The composition of a single faade. Analyze the role of horizontal lines and the vertical ones

established by the orders.(d) Consider aspects of a faade, such as the relationship between an arch and its surrounding

pilasters (NB A pilaster is a flat column. A column and pilaster are different forms but are

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also considered as two ways of defining the order).(e) Study the door on the Bridge Street front. This is very important to draw. Analyze the

sheltering triangular pediment and the additional classical elements that create the frame forthe opening. Examine the relationship of this door to the human body. Does it have a humanscale and shape? Does it make a valuable frame for ones passage from outside to theinteriors? (NB The building is generally closed to the public, so you will have to imagineentering the interior).

Week 11 - Mechanical or organic life: John Ruskin's critique of classical principles

The challenge to the classical tradition, as well as the ideology of progress throughindustrialization and divided labour, entered the actual process of construction through JohnRuskins influence on Benjamin Woodward, the designer of the Oxford Museum (1856). Ruskin'snotion of the grotesque is of importance today where architectural production strives to reducetolerances.

This lecture introduces Ruskins ideas about society, labour and the imagination. These were

particularly relevant to architecture. In specific terms, the ideology of progress throughindustrialization and divided labour was questioned in his writings and contribution to the makingof buildings. The following aspects of Ruskins theory will be addressed:

an early esteem for Turners drawings and paintings, because they capture the inneressence of nature;

the realization that a similar vitality resides within the richly layered forms of Byzantine,Romanesque and Gothic buildings;

the belief that the skill and creative powers of builders and sculptors were expressed inmedieval buildings. (Ruskin's notion of grotesque ornament, for instance, is of importancetoday, where architectural production strives to reduce tolerances);

the significance of the imagination in the making of the adornments of architecture,

especially as conveyed in his assessment of medieval and Renaissance sculptures on twodifferent sides of the Ducal Palace;

The challenge to mid-nineteenth century architecture, which entered the actual process ofconstruction through Ruskins influence on Benjamin Woodward, the designer of theNatural History Museum in Oxford (Deane and Woodward, 1856).

Architectures ethical role of cultivating the imagination. This involves contrasting theinteriors of the Natural History Museum and the Crystal Palace (London, 1851). A personwithin the Museum appreciates the Gothic-inspired metal structure because its curvedshape stimulates the mind to consider the beauty of natural forms. This mode ofperception was denied to the beholder of the rectilinear forms of the Crystal Palace.

Key imagesJohn Millais, Portrait of John Ruskin, 1853-4, Oil on canvas, Ashmolean MuseumJ.M.W. Turner, Rain, Steam and Speed- the Great Western Railway, 1844, Oil on canvas,National Gallery, LondonFord Madox Brown, Work, Oil on canvas, 1852-65, 1881, Manchester Art GalleryDeane and Woodward, Museum of Natural History, Oxford, 1856-60 (Photo from 1850s of theOshea brothers at work)John Ruskin, Images from The Seven Lamps of Architecture, London, 1849John Ruskin, Images from The Stones of Venice, 3 volumes, London, 1851-53John Ruskin House, Brantwood, Coniston Water, (Now Ruskin Museum) BedroomTurner, Storm Clouds, Looking out to sea, 1845, Watercolour on paper, Tate Gallery. LondonJohn Ruskin, Images from The Seven Lamps of Architecture, London, 1849

John Ruskin, Watercolour sketches prepared for The Stones of Venice, 3 volumes, London, 1851-53Canalleto, Return of the Bucintoro to the Molo on Ascension Day, 1732, Oil on Canvas, Royal

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Collection, WindsorSt Marks Basilica, Venice, 11th-13thSt Marks Basilica, Venice, 11th-13thTwo sculptures of HopePisa Cathedral,1060-1350John Ruskin, Series of sketches of towns and buildings, including two published in The SevenLamps of Architecture, London, 1849Deane and Woodward, Museum of Natural History, Oxford, 1856-60 (Exterior and interior views,sketch of a capital by the architects)Joseph Paxton, Crystal Palace, London, 1851

Background reading (not essential)J. Ruskin, 'The nature of Gothic', in C. Wilmer, ed., Unto this last and other writings by John Ruskin,Harmondsworth: Penguin, 1985. (From Ruskins The Stones of Venice, vol. 2, London: Smith andElder, 1853). (Please note that there are many publications of Ruskins The Stones of Venice.These will include the chapter titled The Nature of Gothic).E. Blau, Ruskinian Gothic. The architecture of Deane and Woodward, 1845-1861, Princeton:Princeton University Press, 1982, ch. 3, 48-81, conclusion, 138-40.

No Tutorial or Assignment

Week 12 - The survival of classical principles in the 20thcentury: the human beingand decorum in the work of Louis Kahn

The lecture discusses the post World War 2 architecture of Kahn. His ideal city comprisedinstitutions that speak to individuals about their place in the larger community. Kahn emphasisedthe principle of agreement. This offers insight into his designs for the Exeter Library, KimbellMuseum and Salk Institute. In each of these, built forms assume the traditional role ofencouraging people to converse in a decorous manner. Like a traditional classical architect, Kahn

believed that a building can have a positive impact on its occupants. Architecture assumes therole of bringing people together.

Tutorial and AssignmentAs background to the tutorial, you should read Watkins final chapters, noting suggestions of thesurvival of classical principles. (However, Watkin does not emphasize or illustrate the works ofKahn).The assignment will focus on Kahns theory and practice. From a close reading of Kahns 1971essay, The room, the street, and human agreement, analyse statements that you think derive fromtraditional principles. You may choose to focus on Kahns account of the human being; as well asthis persons relevance to the shaping of an interior. Could the traditional classical order bereconfigured as a well-proportioned room?

Submit your text on A4 paper. The word limit is 300. (Sketches are optional).

The text is: L. Kahn, in Louis I. Kahn. Writings, lectures, interviews, ed. A. Latour, New York, 1991,263-9. (First published in 1971).

Week 13 - The class will comprise a test and lecture.

(The test will follow the lecture and be held in the Lecture Theatre. The test will take 30 minutes).

Lecture, Part 1, Sum-up of the course

Lecture, Part 2, Recent architecture in Australia: issues of place and ornament

The part of the lecture considers works by architects based in Melbourne and Sydney. The

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buildings are selected on the grounds that they add to debates about a sense of place. Two firmsin Melbourne are discussed: Edmond and Corrigan and ARM (Ashton, Raggatt and McDougall).Their designs are informed by ideas about dressing, ornament and colour. A building mustengage the attention of the beholder. The approaches of the chosen Sydney designers aredifferent. Emphasis will shift to architectural strategies endorsed by Jorn Utzon, Glenn Murcutt andRichard Leplastrier. Their projects are enriched by a relationship between human activities andspatial settings, the latter often defined by a platform and a structural frame. Relationshipsbetween interiors and surrounding landscapes are carefully considered.

Buildings (and drawings)Henri Labrouste, Drawing, Agrigento, 1828Edmond and Corrigan, St. Josephs Church, Box Hill, Melbourne, 1976Edmond and Corrigan, RMIT Building 8, Melbourne, 1994ARM (Ashton Raggatt and McDougall), Storey Hall, RMIT, Melbourne, 1995

Jorn Utzon, Sydney Opera House, 1957-73Glenn Murcutt, Murcutt Farmhouse, Kempsey, 1975

Richard Leplastrier, House at Bilgola, 1973-78Richard Leplastrier, House at Bellingen for Peter Carey and Margot Hutcheson, 1981-84 and1989-90Richard Leplastrier, Tom Uren House, Balmain, Sydney 1988-92

Readings (Not required)Jennifer Taylor,Australian Architecture since 1960, Canberra, Royal Institute of Architects, 1990Leon Van Schaik (ed), Building 8: Edmond and Corrigan at RMIT(3 Volumes), Melbourne,Schwartz Transition Monograph, 1996

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ADMINISTRATIVE MATTERS

The Built Environment and UNSW Academic Policiesdocument supplements this courseoutline providing detail on academic policies and other administrative matters. It is your duty as astudent to familiarise yourself with the policies and guidelines as not adhering to them will beconsidered as academic misconduct. Ignorance of the rules is not an acceptable defence.

The document can be found in your Moodle course as well as:http://www.be.unsw.edu.au/student-intranet/academic-policies

It covers:

Built Environment Student Attendance Requirements

Units of Credit (UOC) and Student Workload

Course and Teaching Evaluation and Improvement (CATEI)

Academic Honesty and Plagiarism

Late Submissions Penalties

Special Consideration - Illness & Misadventure

Extension of Deadlines Learning Support Services

Occupational Health & Safety

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http://www.be.unsw.edu.au/student-intranet/academic-policieshttp://www.be.unsw.edu.au/student-intranet/academic-policieshttp://www.be.unsw.edu.au/student-intranet/academic-policies

Documents

ARCH1121 Course Outline AndProject Submission Descriptions