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ABPL30053(702386) FORMATIVE HISTORIES OF ARCHITECTURE

SUBJECT GUIDE 2011 SEMESTER 2


BACHELOROFENVIRONMENTS UNIVERSITYOFMELBOURNE FACULTYOFARCHITECTURE,BUILDINGANDPLANNING SubjectCoordinator: Lecturers: AssociateProfessorHannahLewi ArchBuildingrm508 ProfPhilipGoad,DrDerhamGroves,AssocProf HannahLewi,ProfMilesLewis,DrAnomaPieris, AssocProfPaulWalker HelenStitt,ArchBuildingrm506,tel:83448684, email:stitth@unimelb.edu.au StudentConsultationHours: Wednesday11.3012.30;Thursday10.0011.00 David Brand, Hingwah Chau, Joshua Haddad, FrancisLin,YvettePutra,LibbyRichardson,Helen Stitt,FrankVitelli

SeniorTutor:

Tutors:

Index
SubjectOverview LearningObjectives SubjectActivities:lectures,tutorialsandsitevisits ClassRegistration LectureandTutorialPrograms Tutorials LMS:thelearningmanagementsystem LearningResources Assessment Latesubmissions,extensionsandspecialconsideration PlagiarismPolicy AssessmentGradeDefinition AssessmentTask1:detailedinstructions AssessmentTask2:detailedinstructions AssessmentTask3:detailedinstructions AssessmentTask4 AssessmentTask5 LectureNotes TutorialGuide 2 2 2 3 4 5 5 6 9 10 11 14 16 19 20 23 24 25 67

Subject Overview
Thissubjectwillsurveytheemergingimportanceoftheoryandideasinarchitectureinthe 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, technologiesandemergingtheoriesofarchitecture.

LearningObjectives
Oncompletionofthissubject,studentswillbeableto: a. Demonstrateabroadunderstandingofthehistoryofarchitectureandurbanism fromancientoriginstotheseventeenthcenturyinboththeEastandtheWest; b. Analysebuildingsandplacesintermsoftheircontext,function,form,planning, styleandconstruction; c. Demonstrateanunderstandingofthesocial,culturalandenvironmentalcontextof architecture; d. Demonstrateanunderstandingofhistoryasadisciplineandasaprocess; e. Useandunderstanddesignandarchitecturalterminology; f. Writeasynopsis,essay,reportandbibliographytoundergraduatestandard.

SubjectActivities
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 selfguided walkingtouroutsideclasstime. Studentsarealsorequiredtoundertakeweeklypreparationfortutorialsbyreadingsettexts intheTutorialReader.Assessmenttasksareoutlinedfurtheronp.10.

ContactHours:
Therearethreecompulsorycontacthoursforthissubjectasfollows:

Lectures
Wednesday2.153.15 JHMichellTheatre, RichardBerryBuilding 1hour Thursday12.001.00 JHMichellTheatre, RichardBerryBuilding Attendance at lectures is compulsory as the content is closely connected with the themes addressedinthetutorialsessionsandallassessmenttasks,includingthefinalexamination. 1hour

Lectures will be delivered by academics from the Faculty of Architecture, Building and Planning.Foradditionalreference,thelectureswillberecordedandavailableonLectopia.

Tutorials:
1hour Allocatedtutorialoneither WednesdayorThursday Variousroomsinthe ArchitectureBuildingand DavidCaroPodium

ClassRegistration:
You need to register your position in a tutorial group via Class Registration, the ISIS studentmanagementsystem.Thesegroupsarecappedat16participants. *** 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 confirmedtopicinthecorrecttutorial.*** Failuretodosowillresultinzeropercentforthisassessmenttask.Seep.16oftheSubject Guideformoreinformationonpresentingthetutorialpaper(AssessmentTask1). IfyouneedhelpinhowtouseClassRegistrationtoenrolinatutorialgroup,contactthe BachelorofEnvironmentsStudentCentre.

Lecture and Tutorial Programs:


Lect Date 1 2 3 4 5 6 7 8 9 10 11 27Jul 28 Lecture Introduction:Architecture,Enlightenmentand Modernity(HL) TheItalianBaroqueanditsInfluence(HL) TutorialActivity Tutorial1:allocationoftopics andHowtoDeliveranOral TutorialPresentationguide CampusWalkingTour TheBaroqueandBeyond: Cities,Buildings& Landscapes ThePicturesque:Paintingor Landscape? TheLanguageofClassicism: ElasticityandEndurance

3Aug ThePalladianLegacy(ML) 4 10 11 17 18 24 25 31 Neoclassicism(ML) ThePicturesque(ML) TheImpactofIron(ML) RenaissanceandGreekRevivalism(PG) JohnSoane:EclecticismandDeath(HL) Colonialism:EastandWest(AP) BeauxArtsandtheEducationofanArchitect (PG) ArchaeologyandSearchingforOrigins:Semper (HL)

12 13 14 15 16 17 18 19 20 21 22 23

Orientalism:Explorationor 1Sept GothicRevivalism:PuginandMoralityinEnglish Exploitation? Architecture(HL) 7 8 14 15 5Oct 6 12 13 19 20 26 Work,NatureandModernity:theImportanceof RuskinandMorris(HL) Melbourne:aNineteenthCenturyCity(ML) London:theRiseofModernInstitutions(HL/HS) ViolletleDuc:HistoryandConservation(HL) NONTEACHINGPERIOD ColonialGothic:IndiaandNewZealand(PW) TheForgottenChineseArchitectureofArthur Purnell(DG) TheCrystalPalace(ML) ArchitectureandEngineering(ML) Chicago:aModernCity(HL) Paris:RemakingtheCityBeautiful(HL) NatureandModernity:theArtNouveau(HL) Vienna:OrnamentversusAbstraction(HL) TheBeauxArtsConcours: theEsquisse Nopresentations Colour,Materialsand Surfacein19thCArchitecture NONTEACHINGPERIOD Morality,Ethicsand Architecture WalkingTourevaluations Nopresentations Thewayforward: EngineeringorArchitecture? Ornament,Natureand Abstraction

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Tutorials:
Theimportanceofreadinginthissubjectcannotbeoverstated.Itisessentialtoreinforceand 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 historyassistsinunderstanding,assessinganddevelopingarchitecturalideasandpracticein the present day. Exposure to continuing traditions, theories, architectural typologies and builtexamplesprovidesarelevantfoundationfordevelopingabroaddesign,historicaland philosophicalunderstandingandvocabulary.

SigningUp:
Youneedtosignuptoatutorialgroup.RefertoClassRegistration,SubjectGuidep.3.

Preparation:
Yourtutorialpreparationshouldconsistof: ReadingALLtheessentialreadingsforyourtutorialtopicandcompletingasmanyof thereadingsrecommendedforpresentersandrespondentsaspossible. Takingnotesonthereadings.**Askyourselfwhowrotetheextractandwhy;whatis thefocuswhatarethemajorthemes;whatargumentsdoestheauthorpresentand what examples support these arguments; how does the extract relate to the other tutorialreadingsunderthesametopicorthelecturecontent? Compilealistofyourquestionsandideasstimulatedbythereadingstobringtoclass itwillbeausefulpromptforgroupdiscussion. *Refer to ASU and AIRport resources on active learning, critical reading and analysis and notetaking,aslistedbelow.

Attendance:
Tutorial participation is included in your assessment and includes weekly attendance, participation in all activities (walking tours and esquisse exercise), participation in class discussionandyourperformanceasarespondent. Attendancelistswillbekeptforalltutorials.

Resources:
TheASUhasresourcesontutorialparticipation: http://www.services.unimelb.edu.au/asu/speaking/participation/index.html AIRporthasinteractiveresourcesontutorialparticipationat: http://www.courseworks.unimelb.edu.au/scholarlylife/seminarandtutorialparticipation.php ANDresourcesonthinkingcriticallyandcreativelyat: http://www.courseworks.unimelb.edu.au/scholarlylife/thinkingcriticallyandcreatively.php

LMS:
The Learning Management System is your first reference point for this subject. Students shouldlogintotheFormativeHistoriesofArchitectureLearningManagementSystem(LMS) 5

siteregularlyasitcontainssubjectannouncements,thesubjectandtutorialguides,learning resources,lecturesrecordingsandassignmentbriefs. Makesureyoualsocheckyouruniversityemailaccountsforemailannouncements. Copies of the Subject Guide, Subject Bibliography and assignment sheets will be downloadableviatheLMS. OthersubjectinformationwillbeuploadedtotheLMSasrelevantthroughoutthesemester. TheFormativeHistoriessubjectsitecanbeaccessedat: http://www.lms.unimelb.edu.au/login/

LMSDiscussionBoard:
StudentsareencouragedtousetheLMSDiscussionBoardtoaskquestionsiftheanswersare not already available on the LMS or they cannot be answered by tutors within class time. IndividualemailsdirectedtotheSubjectCoordinator,theSeniorTutororindividualtutors willberepostedhereiftheanswerisdeemedrelevantorusefultootherstudents.

InquiriesandConsultation:
**Pleasedirectyourquestionstotutorswithintutorialswhereverpossible,oratthelectures. IfyoucannotfindwhatyouneedontheLMS,pleaseemailtheSeniorTutor,HelenStitt,at stitth@unimelb.edu.auoraskherinpersonfollowingthelectureorduringherconsultation hours:Wednesdays11.3012.30andThursdays10.0011.00inrm506,ArchitectureBuilding.

Learning Resources
SubjectReader:
ItiscompulsorytopurchaseaSubjectReaderfromtheBookroom.TheReadercompileskey 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 selectedtoprovidedifferentaspectsofbackgroundknowledge,exposuretoprimarysources andengagementwithscholarlyresearch,argumentandcriticism.

PrimaryandSecondarySources:
Writtensourcescangenerallybedefinedintotwobroadtypes:primaryordocumentary (usuallywrittenatthetimebyaneyewitness,directparticipantorcloseobserver)and secondaryorscholarlysources(usuallyinterpretationsandexplanationswrittenafterthe factbysomeoneanalysingtheprimaryordocumentarysources).Visualevidenceproduced atthetimeisalsoclassedasaprimarysourceandcaninclude,butisnotlimitedto, buildings,paintingsandarchitecturalplansanddrawings. Primary sources are invaluable for gaining an understanding of the sociohistorical 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 monumentina way thatiscloser tohowit wasread and understoodbythe peopleofthe day. These are mostly provided for you in the course reader, in the lists of recommended

texts,andinsomeoftherecommendedwebsources.Theiruseisstronglyrecommendedfor boththetutorialpresentationandtheessay. Secondary sources suitable for academic research are peerreviewed publications such as academicbooksandacademicjournalarticles.TheycanbelocatedviatheUniversitylibrary catalogueandSuperSearch,bothaccessedonthelibraryhomepageat: http://www.library.unimelb.edu.au OnlinetutorialstoassistyouinusingthelibrarycatalogueandSuperSearcheffectivelyare availableat: http://www.library.unimelb.edu.au/services/help_yourself/online_tutorials Thelibrarysitealsocontainsinformationtohelpyoudevelopyourresearchskillsat: http://www.lib.unimelb.edu.au/sg/tools.html andinformationonhowtoaccessbooksfromotherlibrariesviaBONUS+,CAVALandinter campusloansat: http://www.library.unimelb.edu.au/services

Usingonlineresources:
Thefollowingonlineresourcesarerecommendedforresearchingassignments: TheVictorianWeb:http://www.victorianweb.org/index.htmleditedbyProfessorGeorge Landow,DepartmentofEnglishandArtHistory,BrownUniversity,USA Modern History Sourcebook: http://www.fordham.edu/halsall/mod/modsbook.html editedbyDrPaulHalsall,FordhamUniversity,USA TheEncyclopediaofDiderot&dAlembert: http://quod.lib.umich.edu/d/did/index.htmlacollaborativetranslationprojectdirected by:ProfDenaGoodman,UniversityofMichigan;AssocProfJenniferPopiel,SaintLouis UniversityandAssocProfSeanTakats,GeorgeMasonUniversity GreatBuildings:http://www.greatbuildings.com/publishedbyArchitectureWeek Web Gallery of Art: http://www.wga.hu/index1.html created by Dr Emil Kren and DanielMarx,BudapestUniversityofTechnologyandEconomics

AwarningonusingWikipedia(andsimilarsitessuchaswww.answers.com):
Wikipedia can be a useful resource for getting quick, basic information however it is not suitableasanacademicsource.Theauthorofthetextisnotcited andyouhave no wayof knowing whether or not they are an expert in their field or are providing reliable information.ItMUSTNOTbeusedasasourceforessaysandassignments.

Keytexts:
Thereisnoonekeytextforthissubject,apartfromtheSubjectReader,howeveranumberof booksarerecommended.ThesearelistedintheseparateSubjectBibliography,availableon 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, ArchitectureBuilding.

FormoreinformationontheABPLibraryCollectionsandServicesgoto: http://www.lib.unimelb.edu.au/collections/architecture/collections.html

YoucansearchtheReserveListsbyCourseontheUniversityLibraryCatalogue:
http://cat.lib.unimelb.edu.au/

TworecommendedtextshavebeenorderedfortheBookroom: * Bergdoll, Barry, European Architecture 17501890, New York: Oxford University Press, 2000.
*Middleton,Robin&DavidWatkin,ArchitectureoftheNineteenthCentury,London:Phaidon, 2003. Itisalsorecommendedthatyoupurchaseanarchitecturaldictionary: Fleming,Johnetal.,ThePenguinDictionaryofArchitectureandLandscapeArchitecture,London, Penguin,1999[1998]and/or Burden,Ernest,IllustratedDictionaryofArchitecture,NewYork:McGrawHill,2002[1998].

Study Skills and Time Management


Your understanding and enjoyment of the topics covered in Formative Histories of Architecturewillsubstantiallyincreaseifyoutakeadvantageofthefullrangeoflibraryand information sources available. We cannot emphasise enough the importance of reading to yourstudy,andtothesuccessfulcompletionofallassessmenttasks.Setasideatleast4hours weeklyfortutorialreadingandreadingtosupplementthelectures.Learntoreadcarefully andactively.Thereisarangeofonlineresourcesavailabletohelpyoustudyefficientlyand effectively.

TheASUhasinformationtohelpyouwith:
ActiveLearningat: http://www.services.unimelb.edu.au/asu/study/activelearning/index.html ReadingStrategiesat: http://www.services.unimelb.edu.au/asu/reading/strategies/index.html CriticalReadingat: http://www.services.unimelb.edu.au/asu/download/ReadingCriticalReadingflyer.pdf Notetaking:http://www.services.unimelb.edu.au/asu/reading/notetaking/index.html

AIRporthasinteractiveresourceson:
StudySkillsandTimeManagementat: https://airport.unimelb.edu.au/gate1/study_skills/ CriticalReadingandAnalysisat: https://airport.unimelb.edu.au/gate2/writing/critical/ Notetaking at: https://airport.unimelb.edu.au/gate2/writing/research/sample.php and good tipsonhowtostructureyournotesat: http://www.courseworks.unimelb.edu.au/gettingorganised/notetaking.php AIRport Gate 3 has videos and activities specifically designed for Bachelor of Environmentsstudents.

Assessment
Assessmentsandassessmenttaskscompriseofthefollowingtasks:
AssessmentTask 1 Tutorial Presentation 2 Tutorial Participation 3 EssayOutline 4 Essay 5 Exam Weight 15% DueDate Asassigned BriefDescription Oraltutorialpresentationandwritten tutorialoutlinesubmission TutorialparticipationandWalkingTour participation Essaythesisstatementandannotated bibliography Essayonaselectedtopictakinginto accountfeedbackprovidedontheessay outline 2hourwrittenexam

10%

10% 30%

Tutorial10 (Walking Tour) 11.00am, Wed.24Aug 11.00am, Mon.3Oct TBA

35%

Requiredformatforwrittenassignments:
Yourassignmentsmustbe: 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/HeaderandFooter) Typedin12ptfont 1.5spaced Doublesided(letstrytosavepaper,ifwecan!) Presentedwithmarginsofatleast3cm(leftmargin)and2.5cm(rightmargin) Pagenumbered Stapledtogether

Submissions:
ApaperversionofthewrittencomponentofTask1istobesubmittedtoyourtutoronthe dayofthepresentation.Youmustalsoprovideacopyforeachstudentinyourclass,so17 copies in total (including a copy for yourself). Paper versions NOT submitted at this time willbedeemedtohaveNOTbeenpresentedandwillreceiveZERO.Anelectroniccopyof thewrittencomponentofTask1istobesubmittedthroughtheLMSusingTurnitinBEFORE theassignedpresentationtime(forhowtodothissee: http://www.lms.unimelb.edu.au/animations/Turnitin_submission_student.htm). PaperversionsofTasks2&3aretobesubmittedtotheEnvironmentsandDesignStudent Centre,groundflooroftheBaldwinSpencerBuilding,adjacenttoUnionHouse,by11.00am ontheduedate. An electronic copy of Tasks 2 & 3 TEXT ONLY, WITHOUT ILLUSTRATIONS is to be submittedviatheLMSusingTurnitinby5pmontheduedate.

***Assignments not submitted to Turnitin CANNOT be marked and will receive ZERO.*** CoverSheets:
All work must be submitted accompanied by a coversheet provided by the University. PLEASEMAKESUREYOUFILLINALLBOXESandclearlymarkyourTOPICnumberon your essayoutlineandfinal essaysubmission.Notethatthiscoversheetincludes asigned statementthatyouarepresentingyourownwork.WorknotaccompaniedbytheUniversity coversheetwillnotbeaccepted. ***Keepanelectroniccopyandahardcopyofeachassignmentyousubmit,atleastuntilyou havebeenawardedafinalresult.***

Citation:
AssignmentsMUSTincludeafullbibliographyofallreferencesusedinyourresearch. All quotes and sections paraphrased from another source MUST be acknowledged using footnotes.ThismeansthatyouareNOTtousetheHarvardsystem(intextcitation)andyou MUST include exact page numbers in your footnotes (page numbers citing sections or chaptersofabookareNOTsufficient).Footnotesarenumberedconsecutivelyandreferred tointhebodyofthetextbyasuperscriptnumber.Worddoesthisautomaticallyforyouif youuseInsert/Reference/Footnote. ThesourcesofallillustrationsMUSTbeacknowledged,evenifyouareusingyourown photographsorsketches.Again,seetheAssessmentstabforexamplesofimage 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 theAssessmenttabontheLMS.

Late submissions, extensions and special consideration:


All late assignments without an approved extension or approved application for special considerationwillincurapenaltyof10%perworkingday. Applications for an extension on assignments worth less than 25% of the subjects overall mark and for a period of up to 2 weeks (10 working days) should be made to the Senior Tutor,HelenStitt,atleast3daysbeforetheassessmentduedate. Applicationsforanextensiononassignmentsworthmorethan25%ofthesubjectsoverall 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 AssignmentstaboftheFormativeHistoriesofArchitectureLMSsite)atleast3daysbefore theassessmentduedate. For further information on the University Extensions Policy go to: http://policy.unimelb.edu.au/UOM0374

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Studentsrequiringseekinganextensionofmorethan2weeks(10workingdays),andwho areeligibletodoso,shouldsubmitanapplicationforSpecialConsideration. Forfurtherinformationontheeligibilitycriteriaandalinktotheapplicationformgoto: http://policy.unimelb.edu.au/UOM0376

Plagiarism Policy:
Plagiarism(includingcollusion)isconsideredaformofacademicmisconductandwillbe dealtwithaccordingtotheBachelorofEnvironmentsAcademicMisconductPolicy reproducedbelow.

Chapter1 AcademicMisconductPolicy Overview: This policy applies to students enrolled in the Bachelor of
Environments. ThispolicyisunderpinnedbyUniversityStatute13.1:StudentDiscipline,andshouldbe interpretedwithreferencetothisdocument.InadditiontheUniversityhaspolicieson assessmentthatintersectwiththispolicy. Thispolicyisdesignedtoensurethatstudentsaretreatedinanequitablemannerinrelation toacademicmisconduct,andtoprovidestaffwiththeframeworktodoso. Policy 1. Definition of academic misconduct from Statute 13.1.1: Academic misconductincludes,butisnotlimitedto,cheating,plagiarismandanyotherconduct bywhichastudentseekstogainforhimselforherself,orforanyotherperson,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 relatingtoassessmentmadeunderstatute12.2.10. 2.Definitionofplagiarism:Theactofrepresentingasonesownoriginalworkthecreative worksofanother,withoutappropriateacknowledgmentoftheauthororsource.(Creative worksmayincludepublishedandunpublishedwrittendocuments,interpretations, computersoftware,designs,music,sounds,images,photographs,andideasorideological frameworksgainedthroughworkingwithanotherpersonorinagroup.Theseworksmay beinprintand/orelectronicmedia.) 3.Anyofthefollowing,withoutfullacknowledgementofthedebttotheoriginalsource, wouldbeanexampleofplagiarism:

Directduplication,bycopying(orallowingtobecopied)anotherswork,whether fromabook,article,website,anotherstudentsassignment,etc. Closeparaphrasingofanotherswork,withminorchangesbutwiththeessential meaning,formand/orprogressionofideasmaintained. Piecingtogethersectionsoftheworkofothersintoanewwhole. Submittingonesownworkwhichhasalreadybeensubmittedforassessment purposesinanothersubject.

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4.Collusionisanotherformofplagiarism.Definitionofcollusion:thepresentationbya studentofanassignmentashisorherownwhichisinfacttheresultinwholeorinpartof unauthorisedcollaborationwithanotherpersonorpersons.Collusioninvolvesthe cooperationoftwoormorestudentsinplagiarismorotherformsofacademicmisconduct. Boththestudentpresentingtheassignmentandthestudent(s)willinglysupplying unauthorisedmaterialareconsideredparticipantsintheactofacademicmisconduct. 5.Whereastudentissuspectedofacademicmisconductthefollowingprocesswillbe followed: DetailswillbepresentedbythesubjectcoordinatortotheAssessmentCoordinator fortheBachelorofEnvironments(theChairoftheCourseStandingCommitteeor nominee).TheAssessmentCoordinatoractsonbehalfoftheDeanofArchitecture, BuildingandPlanningascustodialDeanofthedegreeatthisstageofacademic misconductproceedings,andwilladvisetheDeanofallallegationsmade. TheAssessmentCoordinatorwilldeterminehowtoproceedbasedontheextentof theevidenceavailable,thestudentsintentiontoengageinacademicmisconduct,the seriousnessoftheact,andpossibleeducativeresponses. BeforeanypenaltyisappliedtheAssessmentCoordinatorwillgivethestudenta chancetorespondtothecharge,andmayinvitethestudenttoaformalhearingin somecases. Detailsofthechargeandanypenaltyimposedwillberecordedinaconfidential databasemaintainedbytheStudentCentreforthepurposesofidentifyingrepeatand multipleinstancesofacademicmisconduct,whicharelikelytobetreatedespecially seriously. 6.IftheAssessmentCoordinatorisoftheopinionthatthestudentisguiltyofacademic misconduct,oneormoreofthefollowingpenaltiesmaybeapplied: Thestudentmayberequiredtoundertakeadditionalassessmentinthesubject. Thestudentmaybegivenamarkofzeroforthepieceofassessment. Thestudentmaybegivenamarkofzeroforthesubject. ThemattermaybereferredtotheDeanofArchitecture,BuildingandPlanningas custodialDeanofthedegreeregardingthepossiblepresentationofacaseof academicmisconducttoadisciplinecommitteeunderStatute13.1. 7.Themostseriouscasesofacademicmisconductwillbeconsideredbyaformal disciplinecommittee,chairedbytheDeanandincludinganotherseniormemberofBachelor ofEnvironmentsacademicstaffandarepresentativeoftherelevantstudentassociation. StudentswhoarenotsatisfiedwithanypenaltyimposedbytheAssessmentCoordinator mayalsorequestthatthematterbereferredtotheformaldisciplinecommittee. 8.Studentswillbeinvitedtoattendthedisciplinecommitteemeetingandwillhaveachance toexplaintheirconduct.Ifthecommitteeisoftheopinionthatthestudentisguiltyof academicmisconduct,itmaychoosetoapply(oruphold)oneofthepenaltieslistedabove.In themostseriouscases,itmayrecommendtoAcademicBoardthatastudentsenrolmentat theUniversitybesuspendedorterminated.

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9.Disciplinecommitteehearingswillbeheldinaccordancewiththeproceduresand timelinessetoutinStatute13.1. 10.Studentsareentitledtoappealanypenaltiesimposedforacademicmisconductin accordancewiththeproceduresandtimelinessetoutinStatute13.1. 11.Studentscanseekguidanceonhowtoavoidplagiarismfromacademicstaffandfrom learningsupportstaffviatheStudentCentre. 12.Allproceedingsrelatingtoacademicmisconductwillbekeptinthestrictestconfidence. ThispolicyandotherBachelorofEnvironmentspoliciesareavailableat: http://www.benvs.unimelb.edu.au/currentstudents/policiesforms/

Avoiding Plagiarism:
Thebestwaytoavoidplagiarismistobeawareofitsdefinition,keepathoroughrecordof thereferences,includingspecificpagenumbers,thatyouhaveconsultedwhenresearching yourassignments,ensureyouusequotationmarkswhereappropriateandciteallreferences correctlybyusingfootnotes,imagesourcesandabibliography. Itisrecommendedthatallstudentsconsulttheonlineresourcesdesignedtoassistyouin avoidingplagiarism: TheASUhasinformationtohelpyouavoidplagiarismat: http://www.services.unimelb.edu.au/asu/download/WritingProcessesPlagiarism A5flyer.pdf AIRporthasinteractiveresourcesonacademichonestyandplagiarismat: https://airport.unimelb.edu.au/gate1/writing/plagiarism/ StudentsareSTRONGLYADVISEDtocompletetheAIRportplagiarismchecklist, availableviathelinkdirectlyabove,toensuretheyhaveafullunderstandingofthe definitionofplagiarism.

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Assessment Grade Definition


Overallgradesinthesubjectwillbegivenaccordingtothestandardsbelow:
H1(80%100%)is awardedforexcellent workthat: Containsahighlevelofabstract/innovativeconceptualisation relatedtoarchitecturalhistory; Showsanunderstandingofthemajorrelevanttheoretical perspectives; Isthoroughlyresearched,withdatacollecteddiscriminately fromawiderangeofsources; Interpretsthedataconsistentlyandintelligently; Offersasophisticatedstructuralcontrolinpresentingand developingthematerialandinreachingconclusions; Workthatisalsoinsomewayoriginal,excitingorchallenging couldbeawardedmarksinthehigh80s.Marksof90%and abovemaybeawardedtothebeststudentworkintheH1range. Demonstratestheabilitytoanalyseandintegrateabroad rangeofrelevantsourcesandmaterials; Showsanunderstandingofarangeoftheoretical perspectives/practicalresolutionsandhowtheyrelateto architecturalhistory; Iswellresearched,withdatacollectedselectivelyfromawide rangeofexamples/sources; Interpretsdataconsistentlyandwithinsight; Iswellstructured,developslogicalconclusionsthat reflecttheevidenceandargumentspresented. Showsevidenceofgoodresearch,soundpreparation,wide readingand/oruseofothersources; Usessources/examplesappropriately&identifies/builds connectionsbetweenthem; Showsevidenceoftheabilitytodrawimplicationsfromtheory andconclusionsfromexamplesaswellassources; Developsworkthatgivesexcellentcoverageofthetopic Showsevidenceofresearchanddemonstratesagood understandingofappropriatesources; Demonstratesclearunderstandingofthemainissues; Usesrelevantdataalthoughmainlyreworkedexamples; Writtentasksaresuccinctlysummarisedbutlittlemorethan paraphrased; Includesappropriateanalysistopics; Generallysupportscontentionswithappropriateevidence; Developsaworkthatorganisesthematerialclearly.

H2A(75%79%)is awardedforverygood workthat:

H2B(70%74%)is awardedforgoodwork that:

H3(65% 69%isawardedforfair workthat:

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Showsunderstandingofthetask; Usesdata,relevanttothetopic/task/report; Generallyaddressesthetopicandorganisesthematerial clearly; Reliesonprovideddatawithlittletransformation; Maylacksufficientorappropriateanalysisandresolution; Mayincludeargumentsnotproperlysupportedwith appropriateevidence. N(049%) Isconceptuallyorstructurallyunsound;islargelyirrelevant, StudentsawardedanN inaccurateorunsuitable; gradehavefailedthe Showsevidencethatthetaskhasnotbeenunderstood; subjectandwillnot Makesunsustainable(orno)conclusionsfromthedata attaincreditpoints.This presented; gradeisfor Includesunjustifiedorunsubstantiatedclaims;contains unsatisfactoryworkthat unsatisfactoryelements; failstomeetthebasic Confusesopinionwithfact;usesinappropriatematerials; assessmentcriteria Isincoherentinitsdevelopment/resolution.

P(50%64%)is awardedforsatisfactory workthat:

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Assessment:AssessmentTask1 Tutorialpresentationand2pagewrittensubmission
Weight:15% Duedate:duringscheduledtutorialtime

This assignment takes the form of a 10minute illustrated oral presentation on a chosen topicduringthetutorialtime.Youwillbeexpectedtocarefullyandcriticallyconsiderand 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.Inadditionyoumaywishtoconsulttherecommendedtexts,plusanyadditional 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 tutorialandalsoacopyforeachstudentintheclass(***so17intotal,includingoneforyou). Topicswillbeallocatedinthefirsttutorialonthebasisofstudentpreferenceandtheneed toevenlydistributepresentationsacrossthesemester. **Ifyoudonotattendthefirsttutorialyouwillbeassignedatutorialtopic. Itisthetaskofthepresentersto: i)carefullyandcriticallyconsiderandanswerthetopicquestionsusingtheweeklytutorial readings,thelectures(whererelevant),plusanyadditionalbibliographicorvisualmaterial theyfinduseful; ii)leadaninformativeandlivelydiscussionfortherestofthetutorialgroupusingvisual materialtoillustratetheiranswers; iii)restricttheirpresentationtotherequiredtimelimitof10minutes; iv)answerquestionsfromthetutorandthetutorialgroup; iv)presentapapercopyoftheirwrittensummarytotheirtutorandtheirfellowstudentsat thebeginningofthetutorial. SubmissionRequirements: ONE PAGE which summarises in prose your main argument in response to the tutorial questions; ONEPAGEwhichincludes: o a list of the main examples used to support your argument with accompanying annotationsofthreeorfoursentencesexplainingthesignificanceoftheexamples. a 10 minute illustrated oral presentation, to the tutorial group in the allocated tutorialtime; writtensummaryofnomorethanTWOA4PAGEStobesubmittedtoyourtutorat thebeginningofthetutorial.Thesepagesmustcomplytothefollowingrequirements:

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o o o

Athumbnailimageofthesource,ifrelevant. Abibliography AnelectroniccopyofthewrittencomponentofTask1istobesubmittedthroughthe LMSusingTurnitinBEFOREtheassignedpresentationtime(forhowtodothissee: http://www.lms.unimelb.edu.au/animations/Turnitin_submission_student.htm) adherencetotherequiredformatforwrittenassignmentsnotedonp.9oftheSubject Guide

AssignmentImages:
Allimagesmustbefullyreferenced.Thisconsistsof: usingatitlethatincludesthenameofthebuilding,itslocation,architect/sanddate acknowledgingthesourceoftheimage usingfigurenumberstocrossreferencethetexttotheimage. 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 BritishArchitects).Theonlineresourceslistedonp.7arerecommendedsourcesofimages. TheInternetcanbean excellentsource ofpreviouslyscannedimagesBUTa Googleimage search should be used with extreme care as images from personal websites, blogs and commercialsitesarefrequentlymisidentified. **BeforeusingimagesfromANYsitecheckcopyrightrestrictions** Pleasenote:refertop.10formoreinformationonusingandcitingsourcesandpp.1113for animportantwarningagainstplagiarism.

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PresentationAssessmentCriteria:
ThefollowingcriteriawillbeusedtoassessTask1 CONTENT: Researchtopicisthoroughlyresearched Argumentclearargumentsarepresented Evidenceargumentsaresupportedbywellchosenandwellanalysedexamples VisualContentiswellillustrated

STRUCTUREANDFORMAT: Structureisstructuredintoanintroduction,bodyandconclusion Flowhasalogicalprogressionofideas Formatiscorrectlycitedandillustrated

ORALPRESENTATION: OralDeliveryspeaksclearly&confidently Languageusesappropriateterminology Timelimitdoesnotexceed10minutes Discussionengagesinpostpresentationdiscussion

Resources:
TheASUhasinformationtohelpyouwithpreparinganddeliveringpresentationsat: http://www.services.unimelb.edu.au/asu/speaking/presentations/index.html andtohelpwithpronunciationat: http://www.services.unimelb.edu.au/asu/speaking/pronunciation/index.html AIRporthasavideoonoralpresentationskillsforBEnvsstudentsat: https://airport.unimelb.edu.au/environments/communicate/presentation.php andmorehintsonoralpresentationsat: http://www.courseworks.unimelb.edu.au/researchandwriting/oralpresentations.php andGrammarandESLresourcesat: http://www.courseworks.unimelb.edu.au/researchandwriting/grammarandeslhelp.php

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Assessment:AssessmentTask2 TutorialparticipationandWalkingTourParticipation
Weight:10% Duedates:Week10Tutorial(WalkingTour)
Tutorialparticipationisassessedthroughoutthesemester. TheWalkingTourquestionnairesubmissionisdueintheWeek10Tutorial,i.e.12or13 October.

InformationontheFormativeHistoriesofArchitectureWalkingTour:
YouaretocompleteaguidedwalkofcentralMelbourneduringtheSeptembernonteaching periodwiththeassistanceofadigitalguide.Aquestionnaireaccompaniesthewalkandthis istobesubmittedintheweek10tutorial.Failuretosubmitthewalkingtourquestionnairein thistutorialwillresultinzeropercentforthiscomponentofAssessmentTask2.

N.B.Moreinformationonthewalkingtourwillbeprovidedinlectures,tutorialsandonthe LMSpriortotheSeptembernonteachingperiod.

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Assessment: Assessment Task 3 EssayThesisStatement&AnnotatedBibliography

Weight:15%

Duedate:11.00am,Wednesday24August 300wordthesisstatementplusannotatedbibliography Refer to pp. 1011 for instructions on formatting & citations

WordLimit:

SubmissionFormat: SubmissionProcedure:

Submitahardcopyofyourassignmentalongwithasignedcoversheettothe Environments and Design Student Centre, ground floor Baldwin Spencer Building,viatheessaychute. Mark your chosen essay topic number on the top right hand corner of the coversheet.

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: http://www.lms.unimelb.edu.au/ Goto:TeachingwiththeLMS/Indexofguides/Guidesforstudents/Turnitin SubmittingaTurnitinpaperassignment. ExtensionPolicy:
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Pleaserefertop.10.

AimofAssessmentTask: Thepurposeofthisassignmentittogetyouthinkingaboutyouressaytopicearlyby: choosingatopicanddissectingwhatthequestionisaskingyoutodo; researchingthetopicbysourcingappropriatereferencesandreadingthem; formulatinganessayargument; choosing the key examples you will analyse to provide evidence for your argument. ToaccomplishtheseaimsAssessmentTask2hasTHREECOMPONENTS: 1) EssayTopic Chooseanessaytopicfromthelistprovidedandrepeatthetopicandnumberasthe headingofyourfirstpage 2) EssayThesisStatement In no more than 300 words write your essay thesis statement in prose (not dot points). Thethesisstatementshoulddo2things:
U U U U U

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A Articulateyouressayargument Inanacademiccontext,anargumentisaseriesofrelatedpoints,logicallydeveloped tosupportaparticularopinionorconclusion.Beforeformulatinganessayargument youwillfirstneedtodissectyourtopic,carefullyconsideringallthepartsandthen structuringthemintoaseriesofquestionsandkeypoints.Byresearchingyourtopic withthesequestionsandkeypointsinmind,youwillbeabletoarriveatyourown conclusioninresponsetotheessayquestion. B Explainyourchoiceofkeyexamplestouseasevidence Essaysrequireyoutoselectandanalyseexamplestosupportyourarguments.These examples may be buildings, paintings, cities, texts, plans etc., depending on your essaytopic. 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.Providefulldetailsoftheexamples,i.e.ifabuilding,providethebuilding name, architect, location and date. Make sure you can find sufficient resources to researchyourexamples,bothwrittenandvisual. We suggest going through the following steps to dissect your essay topic but donthandthesein: Firstlyreadtheentirequestioncarefullyandlookfor: contentwordsthattellyouthesubjectarea; limitwordsthattellyoutheessaysscopeorparameters; directionwordsthattellyouwhatyouneedtodowithyourarguments. Secondly highlight and then tease out the key words by explaining and defining them.Assessthegapsyouhaveinyourknowledge,thereadingyouneedtodo,and thequestionsyouneedtoresearch. 3) AnnotatedBibliography A Search:Readandselectatleast5keyreferences,includingarangeofbooks andjournalarticles.Aimtoincludeprimaryaswellassecondarysources(seep.7for notesonprimaryandsecondarysources).Inassessingyourchoiceofreferencesthe focus will be on relevance, so dont include items that were not useful in your researchorthatyouhavenotyetread. B List: For each reference you must provide the author, title, place of publication,publisheranddateofpublication.Refertop.11formoreinformationon howtoformatcitations. C Annotate:Foreachreferenceyoumustwriteaconcisebutdetailedstatement (approximatelytwotofoursentences)explainingwhyyouhaveselecteditandhow itisusefulinaddressingyouressaytopic.
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Refine and Discard: As your research and writing progresses you may wish to discardsomeofyourinitialreferencesandincludenewones.Thatsfine.Takeinto account the tutors feedback on this assignment for your final essay bibliographic selection. Someothertipsandsourcesforplanningyouressay: WedoNOTrequireanessayplanaspartofAssignment2,butyoushouldconsider howyouaregoingtostructureyouressay. The ASU has information to help you with essay writing at: http://www.services.unimelb.edu.au/asu/writing/essay/index.html includingthedownloadableTertiaryEssayWritingguide. AIRporthasinteractiveresourcestohelpyouwithessaywritingat: https://airport.unimelb.edu.au/gate1/writing/ and short online courses on DevelopingAcademicWritingaccessibleviatheAIRporthomepage. AssessmentCriteria: 1. Elaboratestheessayargumentinnomorethan300words; 2. Includes key examples that will provide evidence for the argument and explainsthereasonsforselection; 3. Bibliography is focused on the essay topic, and concisely annotated to showevidenceofthoroughreadingandanalysisofreferences; 4. Conformstosubmissionandformattingrequirements. 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 submitthisassignmentforyournewtopic.
H HU UH

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Assessment:AssessmentTask4 FinalEssay
Weight:30%

Duedate:11.00am,Monday3October 2,000words Refertopp.910forinstructionsonformatting&

WordLimit:

SubmissionFormat: citations SubmissionProcedure:

Submitahardcopyofyourassignmentalongwithasignedcoversheettothe Environments and Design Student Centre, ground floor Baldwin Spencer Building,viatheessaychute. Mark your chosen essay topic number on the top right hand corner of the coversheet. 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: http://www.lms.unimelb.edu.au/ .Goto:TeachingwiththeLMS/Indexof guides/ Guides for students/ Turnitin Submitting a Turnitin paper assignment.
H

ExtensionPolicy:
Pleaserefertop.10.

Tipsforresearching,structuringandwritingyouressay: The ASU has information to help you with essay writing at: http://www.services.unimelb.edu.au/asu/writing/essay/index.html , including the downloadableTertiaryEssayWritingguide.
UH

HU

HU

AIRport has interactive resources to help you with essay writing at: https://airport.unimelb.edu.au/gate1/writing/ and short online courses on DevelopingAcademicWritingaccessableviatheAIRporthomepage.
UH

NB:Pleasereadtheplagiarismpolicycarefullyasallessaysfoundtohavebeenplagiarised
willreceivezero%.Thepolicyislocatedonpp.1113.

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AssessmentCriteria: Argument
1. 2. 3. 4. 5. 6. 7. Demonstratesunderstandingofessayquestion Introducesargument/swellanddevelopsit/themindetail Theoreticalandhistoricalcontentisappropriatetoargument Bibliographicsourcesareappropriateandcriticallyused Selectionofexamplesisappropriateto,andsupports,theargument/s Imagesareusedeffectivelytosupplementandillustratetheargument/s Evidencethatfeedbackfromessaythesisstatementwasaddressed

EvidenceandResearch

GeneralCompetencyofWritingandPresentation
8. 9. 10. 11. 12. Essaystructureiscoherentandiswellsignpostedforreader Clearwrittenexpressionandaccuracyofspelling,namesandterminology Accuracyofcitationsandadherencetothestipulatedcitationstyle Imagesareusedandfullycited Compliestosubmissionrequirementsespeciallyessaytopicnumber, headerandpagenumbers

Assessment: Assessment Task 5 FinalExam

Weight:35%

Examdate:Tobeadvisedintheexaminationperiod

Thefinalexamisdesignedtotestyouroverallknowledgeinthesubjectthroughathreepart 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 shortlist of concepts, examples and terminology to revise will be made available beforeSwotVac. TheexamwilltakeplaceintheofficialUniversityexaminationperiodandmayfall anywherewithinthisperiod.ThedatewillbeavailableontheStudentInformationSystem examinationsearchpageassoonasitisavailable.Thisislocatedat: https://sis.unimelb.edu.au/cgibin/examsearch.pl

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LECTURE NOTES:
LECTURE1:Introduction:Architecture,EnlightenmentandModernity ClassicismTimeline

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LECTURE2:TheItalianBaroqueanditsInfluence Topics:
TheTermBaroquedifferentiatedfromMannerismandRenaissance FeaturesoftheBaroque: 1. Exaggerationandmanipulation; 2. Variationsinscaleofworks; 3. PlanningandGeometry(experimentationwithnewplansbasedontheelongated crossandoval); 4. Movement(accentuatedexpressionofmovementinplanning,facadesandsurface detailing); 5. DecorationandSynthesisofalltheArts; 6. IllusionandTheatre; 7. Symbolism KeyBuildings/Places/Works: PiazzadelPopolo,RomeCarloRAINALDI,GianLorenzoBERNINI&CarloFONTANA, 16621667. PiazzaNavona,RomeincludingS.AgnesebyBORROMINIandBERNINISFountainof theFourRivers. StPetersRomeremodellingofpiazzaandcolonnade,16571667byBernini. IlGesu,RomeGiacomoVIGNOLA,andGiacomodellaPORTA,156876

Borromini:
S.CarloalleQuattroFontane,Rome,FrancescoBorromini,163841. S.IvoallaSapienza,Rome,Borromini,164250. PallazoSpada,colonnade,Borromini,1652.

Bernini:
S.AndreaalQuirinale,Rome,GianLorenzoBernini,16581661. Bernini,threeprojectsfortheeastfacadeoftheLouvre,1665 Baldacchino,StPeters,Rome,Bernini,162334 CornaroChapel,S.MariadellaVittoria,Rome,Bernini,164752,TheEcstasyofSt.Teresa. Guarini: S.Lorenzo,Turin,Guarini,plananddome,16661679. ChapeloftheHolyShroud,Turin,Guarini,16681694.

ThePalace:
VauxleVicomte,France,LouisLeVau,161270. PalaceofVersailles,France,AndreleNotre,LouisLeVau,andJulesHardouinMansart, 166886. UpperBelvedere,Vienna,JohannLucasvonHildebrandt,172123

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EnglishBaroque: InigoJONES,ChristopherWREN,JohnVANBRUGH,andNicholasHAWKSEMOOR StPaulsCathedral,London,SirChristopherWren,16751709. CastleHoward,SirJohnVanbrughandNicholasHawksmoor,16991712 BlenheimPalace,SirJohnVanbrughandNicholasHawksmoor,Oxfordshire,170524 SomePainters: AndreaPOZZO,CARAVAGGIO,ClaudeLORRAIN,NicolasPOUSSIN,REMBRANDT, JohannesVERMEER,PeterPaulRUBENS

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LECTURE3:ThePalladianLegacy

Topics:
Thetriumphantcallofauthority ColenCampbell LordBurlington WilliamKent ThenatureoftheGeorgian Georgianhousetypes Urbanhouses Bath

Somearchitects:
ColenCampbell16761729 JamesGibbs16821754 WilliamKent16851748 GiacomoLeoni16861746 RichardBoyle,LordBurlington16941753 HenryFlitcroft16971769 JohnWoodI17041754 EdwardShepherd1747 IsaacWare1766 JohnWood(theElder)17041754 JamesPaine17171789 JohnWood(theYounger)17281781 Somebuildings: StMaryleStrand,London,byGibbs,17141717. Wanstead,Essex,byCampbell,17151720. WentworthWoodhouse,Yorkshire,byFlitcroft,begun1733. PriorPark,Bath,byWood(andRichardJones),begun1735. MereworthCastle,Kent,byCampbell,1723. NewbyonSwale,Yorkshire,designbyCampbell,c1720. Stourhead,Wiltshire,byCampbell,17201722. MarbleHill,Twickenham,byPembroke&Morris,17249. BurlingtonHouse,Picadilly,facadebyCampbell,1717. Bagno,Chiswick,byBurlington,1717. GeneralWadeshouse,GreatBurlingtonSt,byBurlington,1723. ChiswickHouse,Twickenham,byBurlington,begun1725. HolkhamHall,Norfolk,byKent,begun1725. GrosvenorSquare,London,byEdwardShepherd,c.1727. WrothamPark,Middlesex,byIsaacWare,1754. No.7OldPalaceYard,Westminster,attributedtoIsaacWare,17556. StoneBuildings,LincolnsInnFields,byTaylor,1756.

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Bath:
PriorPark,byJohnWoodtheelder(andRichardJones),1735c.1750. QueenSquare,Bath,byJohnWoodtheElder,172936. HouseofJohnWoodtheElder,41GayStreet(cornerQueenSquare)c.1750. TheCircus,byJohnWoodtheElder,from1754. RoyalCrescent,byJohnWoodtheYounger,176774. CamdenCrescent,byJohnEveleigh,1782. SomersetPlace,byJohnEveleigh,c1790. Somebooks: ColenCampbell,VitruviusBritannicus.I,1715;II,1717. GiacomoLeoni&NicholasDubois,TheArchitectureofAndreaPalladio.17151716. WilliamKent.DesignsofInigoJones.1727. RichardBoyle[LordBurlington],FabbricheAntichedisegnatedaAndreaPalladio.1730. IsaacWare,DesignsofInigoJonesandOthers.c.1733. EdwardHoppus,TheThirdandFourthBooksofPalladiosArchitecture.17331735. WilliamSalmon.PalladioLondinensis,orLondonArtofBuilding.1738. IsaacWare,TheFourBooksofAndreaPalladiosArchitecture.1738. JohnVardy,SomeDesignsofMrInigoJonesandMrWilliamKent.1744

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LECTURE4:Neoclassicism

Topics:
ThebasesofNeoclassicism Neoclassicaltheory Thearchetypalhut Archaeologicalsources TheAdambrothers TheGreekRevival Frenchexamples TheRomanticClassicists

Somearchitectsandtheorists:
CarloLodoli16901761 JeanNicholasServandoni16951766 PierreContantdIvry16981777 AngeJaquesGabriel16981782 GermainSoufflot17131780 MarcAntoineLaugier17131769 JamesStuart17131788 RobertAdam17281792 JamesAdam17321794 RichardMique17281794 EtienneLouisBoulle17281799 ClaudeNicolasLedoux17361806 GeorgeDanceII17411825 JeanJacquesLequeu1758c1824

Somebuildings:
StSulpice,Paris(1655onwards),facadebyJNServandoni,17361752,&c. StGermainlAuxerrois,Paris,choirredecoratedbyClaudeBaccarit&Louis ClaudeVasse,1756. LaMadeleine,Paris,uncompletedschemebyPierreContantdIvry,c17571764. SteGenevive(lePanthon),Paris,byGermainSoufflot,17571790. GardenTempleofThesusatHagley,byStuart,1758 NewgatePrison,byGeorgeDanceII,from1769. LeHameaudeTrianon,Versailles,byRichardMique17825 Columnarhouse,DesertduRetz,1771 AngeJaquesGabriel PlaceLouisXV(PlacedelaConcorde),Paris,byAJGabriel(1755),175775. PetitTrianon,Versailles,byAJGabriel,17611768. TheAdams KedlestoneHall,Derbyshire,byMatthewBrettinghamfrom1757,JamesPaine fromc1761,andRobertAdamc17601770. OsterleyPark,Middlesex,remodelledbytheAdambrothers,17611780. TheAdelphi,London,bytheAdambrothers,17681772.

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Boulle:
HteldeBrunoy,Paris,17749 Boulle(projects): Stadium,nodate Library,c178090 TombforIsaacNewton,1784 Conicalcenotaph,1790s

Ledoux:
HteldUzes,Paris,17647 HteldHallwyl,Paris,c17646 MusicPavilion,Louveciennes,17701 Icehouse,Louveciennes,mid1770s HotelGuimard,Paris,1773 Thatre,Besanon(1774)177585 Saline[saltworks]deChaux,ArcetSenans,17759 Barrire[Rotonde]delaVillette,Paris,17847 BarriredEnfer,Paris,17859 Barriredeltoile,Paris,17859

Ledoux(projects):
TownofChaux(project),after1775 HousefortheSurveyorsoftheRiver,Chaux,nodate Oikma,orTempleofLove,Chaux,nodate DesignforagaolinAixenProvence,1787

Lequeu(projects):
TombforthemostIllustriousandWisestMen,nodate PalaceofJustice(orTempleoftheHighestWisdom),1794 LeRendezvousdeBellevue,nd GateoftheArchofthePeople,nd PrincesHuntingGate,nd Cowsstableinacoolmeadow

Somebooks:
JLdeCordemoy,NouvelleTraitdetoutelArchitecture,Paris1706. MALaugier,EssaisurlArchitecture.Paris1752. RobertWood,TheRuinsofPalmyra,otherwiseTedmor,intheDesart,London1753. RobertWood,TheRuinsofBalbec,otherwiseHeliopolisinCoelosyria.London1757. JDLeRoy,LesRuinesdesplusbeauxMonumentsdelaGrce.,1758. JamesStuart&NicholasRevett,AntiquitiesofAthen,.I,1762:II,1790. RobertAdam,RuinsofthePalaceoftheEmperorDiocletianatSpalatroinDalmatia.1764. RichardChandler&NicholasRevett,IonianAntiquities.I,1769,II,1797.

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LECTURE5:ThePicturesque Topics:
Introduction Stowe CapabilityBrown Landscapepainting TheSublime HumphreyRepton TheBlaiseCastleEstate RichardPayneKnight

DesignersandTheoreticians:
WilliamKentc16851748 LancelotCapabilityBrown17161783 SirWilliamChambers17231796 RevWilliamGilpin17241804 EdmundBurke17291797 RichardPayneKnight17501824 HumphryRepton17521818

Sitesshowninthelecture: Landscapedestates:
Stowe,Buckinghamshire(originallyBridgeman,Vanbrugh,Kent&c),byCapabilityBrown fromthe1740sonwards BlenheimPalace,Woodstock,Oxfordshire(originallyVanbrugh,Wise&c),byCapability Brown,1760s Longleat,Wiltshire,byCapabilityBrownfrom1757,laterHumphryRepton Garnons,Herefordshire,byHumphryRepton,from1791 BlaiseCastleEstate,Henbury,Bristol,byRepton,from1795 Luscombe,Devon,byRepton,c1798 BayhamAbbey,Sussex,byRepton,proposed1800 MichelGrove,Sussex,byRepton,from1801 BarninghamHall,Norfolk,byRepton,proposed1805

Buildings:
StrawberryHill,Twickenham,byHoraceWalpole&others,17481792 KingAlfredsTower,Stourhead,byHenryFlitcroft,c176672 DowntonCastle,Herefordshire,byRPKnight,interiorbyNash,17748 WaresleyPark,proposedremodellingbyRepton,1795 HenburyHillGateLodge,BlaiseCastleEstate,byRepton,17969

Landscapepainters:
ClaudeLorrain[Gelle],lOrizonte,NicholasPoussin,SalvatorRosa

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ThePicturesqueControversy(1794):
UvedalePrice.EssayonthePicturesque. RichardPayneKnight.TheLandscape:APoem. (theoreticalillustrationsofcontrastingscenes) HumphreyRepton.SketchesandHintsonLandscapeGardening. ReptonsRedBooks(e.g.SheringhamHall,1812;Reptonsownhouse,1816)

SomecontemporarybooksonruralItalianvillasandcottages:
TFHunt,ArchitetturaCampestre.1827. CharlesParker,VillaRustica.183234. RobertKerr,TheGentlemansHouse.1865.

Someterms:
Beautiful;Sublime;Picturesque Romanticism;Associationism;Arcadia;Elysium ONEATTEMPTATADEFINITION: Picturesquearchitecture,then,isnot,exceptinrareinstances,astyle,butamethodofusing andcombiningstyles.Inaccordancewiththethreemeaningsofpicturesque,designsmight besodescribediftheyhadobjectivequalitiesinthemselvesconsideredpicturesque.Orif theyarouseanassociationofideaswithItalianorclassiclandscape.Orifthecharacterofthe siterequiredacertainstyle(e.g.afertilevalleydemandingmonasticgothic)forthegeneral effecttobepicturesque. ....abuildingmightbepicturesqueowingtothenatureofthesurroundingsceneryorthe moodoftheobserver.Butdesigninitselfpicturesque,madeuseofqualitieswhich(were) deducedfromItalianand,later,Englishlandscapepainting.Irregularitybestsummarises thesequalities.Irregularityofplan;theunionofdifferentstylesinonebuilding;irregularity ofelevationproducedbybreakingtheskyline,variegatingthewindows,andcontriving bastionlikeprojectionsandshadyrecesses;variationofcolourandtextureinsurface whetherbychoiceofmaterialsorwallplanting;thesefactorsindesigncametobe regardedasendsinthemselves....Inaddition,picturesquearchitecture,inthissense, comprisedthequalitiesrequiredbytheothersensesinthewordwasunderstood.Itwasto recallpicturesgenerally.Andwas,aboveall,toharmonisewithitssetting. ChristopherHussey,ThePicturesque:StudiesinaPointofView,London1927,pp.217219.

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LECTURE6:TheImpactofIron17751850

Topics:
Introduction Engineeringandarchitecture Castiron Wroughtiron Steel Inventionofthefactory Struttsmills Latermills Ironribarchbridges Ironvoussoirbridges Ironboxaqueducts Telfordsarches Suspensionbridges Selfcontainedspans

Someengineers&architects:
JohnNash17521835 WilliamStrutt17561830 ThomasTelford17571834 GeorgeStephenson17811848 RobertStephenson18031859

Structures Mills:
DerbycottonmillbyWiliamStrutt,17923;alsoMilfordandBelperWest. Benyon,Bage&Marshallsflaxmill,Shrewsbury,byCharlesBage,1796. SalfordTwistCompany(Phillips&Lee)Mill,Salford,byBoulton&Watt,17991801). BelperNorthmillbyStrutt,18034.

IronRibArchBridges:
RobertMylnedesignforInveraryBridge,1774. T.F.PritchardsdesignforCoalbrookdale,1775. Coalbrookdale,possiblybyAbrahamDarbyIII,17759. BridgeatStanfordCourt,byNash,c.17956.

IronVoussoirBridges
JohnNashspatentcastironbridgesystem,1795. ThomasPainespatent,1788,anddemonstrationbridge,1790. SunderlandBridge,byRowlandBurdon,17901796.

IronBoxAqueducts
AqueductontheShrewsburyCanal,Longdon,byThomasTelford,17956. PontCyssylteAqueductontheEllesmoreCanal,byTelford,17951805.

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TelfordsArches
BuildwasBridge,Shropshire,byTelford,1796. LondonBridgedesignbyTelford,1801. MenaiStraitsarchedbridgedesignbyTelford,1810. CraigellachieBridge,nearBanff,Scotland,byTelford,18141815.

SuspensionBridges
MenaiSuspensionBridgebyTelford(1815)18191824. UnionBridgeovertheTweedbySamuelBrown,opened1820. BrightonChainPier,byBrown18223(destroyed1836). ConwaySuspensionBridge,byTelford,18221826.

SelfContainedSpans
BridgeovertheGaunlessontheStockton&Darlingtonrailwayline,attributedto GeorgeStephenson,18234. SuspensionBridgeovertheRhonenearTournon,France,byMarkSeguin,1824. Railwaybridge(castironbeam),WareStreet,Manchester,byGeorgeStephenson, 1829. HighLevelBridge,Newcastle,byRobertStephenson,c.18459. ConwaytubularbridgebyRobertStephensonandFrancisThompson,18451849. BritanniatubularbridgebyStephensonandThompson,184550

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LECTURE7: enaissanceandGreekRevivalism R

THEGREEKREVIVALINGREATBRITAIN

Significantarchitects:
England: Scotland: JamesStuart ThomasHamilton NicholasRevett WHPlayfair RobertSmirke AlexanderThomson

ImportantancientGreeksites:
Greece:Delphi,Athens:Acropolis,Parthenon,Erechthion;Propylaea; ChoragicMonumentofLysicrates;ToweroftheWinds Italy:Paestum,southofNaples;Segesta;Agrigento;Selinunte,allinSicily

ImportantpublicationsthatpopularisedthearchaeologyofAncientGreece:
1. 2. 3. 4. J.StuartandN.Revett.AntiquitiesofAthens.4vols,17621816. J.D.LeRoy.LesRuinesdesplusbeauxmonumentsdelaGrece.Paris1758. G.M.Dumont.LesRuinesdePaestum.Paris1769. S.Riou.TheGrecianOrdersofArchitecture.London1768.

Importantbuildingsillustrated:
DemosthenesLanthorn,Shugborough,1770(JamesStuart). TriumphalArch,Shugborough,1764(JamesStuart). BanquetingHouse,Mt.Stewart,Co.Down,c1780(JamesStuart). WarwickGaol,1779(ThomasJohnson). BritishMuseum,London,182347(RobertSmirke). EustonStation,Propylaeum,London,183639(PhilipHardwick). St.KatherinesDocks,Stepney,London,182528(ThomasTelford). RoyalHighSchool,Edinburgh,182529(ThomasHamilton). ScottishNationalGallery,Edinburgh,185055(W.H.Playfair). NationalMonument,CaltonHill,Edinburgh,1822(W.H.Playfair&C.L.Cockerell). UnitedPresbyterianChurch,CaledonianRd,Glasgow,18567(AlexanderThomson). THEGREEKREVIVALINGERMANY

Significantarchitects:
CarlGotthardLanghans(17321808)FriedrichGilly(17721800) KarlFriedrichSchinkel(17811841) LeovonKlenze(17841864) [JohannJoachimWinckelmann(17171768,arthistorian)]

Someterms:
Romanticclassicism;trabeation;arcuation;Rundbogenstil

Importantbuildingsillustrated:
TheBrandenbergGate,Berlin,byC.G.Langhans,178994. DesignforaMonumenttoFredericktheGreat,byFriedrichGilly,1796. DesignforaNationalTheatre,Berlin,byFriedrichGilly,1798. DesignforaMausoleum,byFriedrichGilly,c.1799.

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ImportantbuildingsbyK.F.Schinkel:
NeueWache(RoyalGuardHouse),Berlin,byK.F.Schinkel,181618. Bauakademie,Berlin,byK.F.Schinkel,1831. Schauspielhaus,Berlin,byK.F.Schinkel,181821. AltesMuseum,Berlin,byK.F.Schinkel,182333. SchlossCharlottenhof,Potsdam,byK.F.Schinkel,begun1826. CourtGardenersHouse,Charlottenhof,byK.F.Schinkel,1829.

ImportantbuildingsbyLeovonKlenze:
Glyptothek,Munich,byL.vonKlenze,181630. AltePinakothek,Munich,byL.vonKlenze,182636. HallofFame,Munich,byL.vonKlenze,184354. TheWalhalla,nearRegensberg,byL.vonKlenze,designed1821,built183042. LeuchtenbergPalais,Munich,byL.vonKlenze,1816. THERENAISSANCEREVIVALINGREATBRITAIN

ImportantbuildingsbySirCharlesBarry(17951860):
TravellersClub,London,1829. TheReformClub,London,183741. BoardofTrade,Whitehall,byCharlesBarry,184445. BridgewaterHouse,London,184651. BritishEmbassy,Istanbul,Turkey,184547. HousesofParliament,Westminster,inconjunctionwithA.W.N.Pugin,1836

SomeimportantRenaissanceRevivalbuildings:
AthenaeumClub,PallMall,London,byDecimusBurton,c1827. CarltonClubHouse,London,bySydneySmirke,1847. ArmyandNavyClub,LondonbyParnellandSmith,184851. ConservativeClubHouse,London,byGeorgeBasevi,184344. AthenaeumClub,Sheffield,byGeorgeAlexander,184546. Athenaeum,Philadelphia,USA,byJohnNotman,184547. VillardHouses,NewYork,USA,byMcKimMeadandWhite,18835. MelbourneClub,Melbourne,Australia,byLeonardTerry,18589,1883. AshmoleanMuseum&TaylorInstitute,Oxford,CRCockerell,184145 TreasuryBuilding,Melbourne,Australia,byJ.J.Clark,185761.

SomeimportantItalianatebuildings:
OsborneHouse,IsleofWight,byThomasCubittandPrinceAlbert,184548. GovernmentHouse,Melbourne,Australia,byPublicWorksDepartment(WilliamWardell), 18726

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SomeimportantRomanRevivalbuildings:
St.GeorgesHall,Liverpool,byH.L.Elmes,thenC.R.Cockerell,183940:184154. RoyalOperaHouse,CoventGarden,London,byE.M.Barry,185759. TownHall,Leeds,byCuthbertBrodrick,185558. ParliamentHouse,Melbourne,Australia,byKnight&Kerr,1856,185961,187779

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LECTURE8:JohnSoane:EclecticismandDeath 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:
TilmanMellinghoffetal.,JohnSoane,London1983 Stefan Buzas, Sir John Soane's Museum, London, Tbingen 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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LECTURE9:Colonialism:EastandWest

Colonialism: EastandWest,Orient,Orientalist,Orientalism,Orientalisingtheself. MycontentionisthatOrientalismisfundamentallyapoliticaldoctrinewilledoverthe OrientbecausetheOrientwasweakerthantheWest,whichelidedtheOrientsdifference withitsweakness....AsaculturalapparatusOrientalismisallaggression,activity, judgment,willtotruth,andknowledge.(Said,Orientalism,204). Orientalism(Said) o constructeddiscursivelythroughEuropeanscholarshipontheorient


o o appliedMichelFoucaultsideasofDiscoursetoananalysisofthebinarystructureof colonialism. informedbyAntonioGramscisdiscussionofconsentanddominantsocietyin orientalismandlaterinformspostcolonialcritique.

Postcolonialinvestigations
o o followingSaid,scholarsfromformercoloniesbegantorereadwesterntheory particularlythescholarshipdealingwithcolonizationandcapitalexpansion. intentionwastoidentifyandcritiquecolonialpowerhierarchies(political/social; East/West)thatpersistedpostindependence.

Themes
EastandWestasdiscretegeographicalterritoriesaroundtheprocessesofcolonisationand Europeanimperialism Thefigureoftheorientalist(WilliamJonesandJamesFergusson) Conquest,Islamandtheharem OrientalismastheorizedbyEdwardSaid, DialecticsofcolonialismanditsconstructionofEastandWestalonglinesofclass,raceand genderdistinctionbetweentheindigenousandthecolonialcity Worldsfairsandexhibitionsastheatresofcolonialism,comparedwithrepresentationsof industryandprogressintheEuropeanandAmericanexhibits Selfcolonizationandindigenization, Primitivehutandindigenoushabitatevolvesintoadiscussionofregionalism Returnofindigenousmotifsandproductionofanexoticandorientalistversionoftheselffor thetouristindustryinresorthotels TheSingaporegirl

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Maps
ColonialEmpiresin1772,1914andtheTropicalZone,AlexanderTzonis,L.Lefaivreand BrunoStagno,TropicalArchitecture,CriticalRegionalisminanAgeofGlobalization,London: WileyAcademy2001. MapofBeijing,ForbiddenCity MapofColonialCalcutta1945 Melaka,PenangandSingapore19thCentury Cairo1736

Artworks
JeanLeonGerome:NapoleonandhisarmyinEgypt1863;Thesnakecharmer1889;Poolinaharem 1876 JeanAugusteDominiqueIngres,TheGrandOdalisque1814;OdalisquewithSlave1842,The TurkishBath,1862(RogerBenjamin,Orientalism:DelacroixtoKlee,theArtGalleryofNew SouthWales,1997). EugeneDelacroix:Odalisque1857;AlgerianWomenintheirchamber,1834. HenriMatisse:ArabCoffeeHouse191213;MoorishScreen191721;ThreeSisters1917;Laurettein awhiteturban1916 17thcenturypilgrimsmapfromtheNationalLibraryBangkok MtMeru,WatSakhet,Bangkok Beijing,MingDynastypainting(13681644) AlfredRusselWallace,TheMalayArchipelago,MacmillanandCompany[1869],1906. ImagesfromHerge,TintinintheCongo,Casterman,1931. Fronticepiece(MarcAntoineLaugiere,EssayonArchitecture2nded.[1755]trans.A. HermannandWHermann,Hennessey&Ingalls,1985). Chisholm,sketchesofhousesandthepalaceatTrivandrum(ThomasMetcalf,AnImperial VisionIndianArchitectureandBritainsRaj,OxforduniversityPress,1989) Bahgaetal.,NewIndianhome:anarchitecturalrenaissance,NDelhi:Galgotia1997. AboriginalmanandtwoAboriginalwomeninEuropeandress,186468,Nationalgalleryof SouthAustralia(photo) TropicalHouses,RobertPowell,TheTropicalAsianHouse,Singapore:SelectBooks,1996. TropicalResorts,TanHockBeng,AsianResorts,Singapore:Pageone,2003 BrainBraceTaylor,GeoffreyBawa,MIMAR,1986

Exhibitions
TheWorldsColumbianExposition,1893(EricMattie,WorldFairs,PrincetonArchitectural Press,1998) StLouisExhibition,1904). BritishEmpireExhibition1820 ColonialandIndianExhibition1886(BurtonBenedict,TheAnthropologyofWorldsFairs, Berkeley,LowieMuseum,1983). FrancoBritishExhibition1908 1931ColonialExposition,Paris,(PatriciaMorton,HybridModernities,TheMITPress,2000)

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LECTURE10:Order,CompositionandtheGrandVision:theArchitectureofthe FrenchBeauxArtstradition

Someterms:
AcadmieRoyaledArchitecture;ancienrgime InstitutNationaldesSciencesetdesArts aspirant;lvedelEcoledesBeauxArts premireclasse;secondeclasse prixdmulation GrandPrixdeRome;pensionnaire;envoi atelierstudio analytiqueanalyticalstudyofanelementofarchitecture(egwall,window,anOrderof Architecture)undertakenasaformalesquisse ancientaveteranstudent;nouveauxayoung/newstudent biensancegoodsense,commonsense bongoutgoodtaste caractrecharacter,feelingevokedbytheplan,elevationsorperpsective concourscompetition enlogethedesignworkisdoneinalockedroom,sometimesinindividualsmallprivate cubicles encharetteliterallyinacart,thelastrushtocompletetheproject entourageallthefeaturesofthelandscape,urbansetting,peopleetcsurroundingaplan esquisseasmallscalesketchpreparedinabrief,invariablyset,periodoftime horsdeconcoursoutsidethecompetition,disqualified marchetheorderlyrelationofspacesthroughwhichaspectatormoves mosaicthedecorationoftheplan ngreyoungstudentsettoworkforolderstudents partitheoverallconceptionshownontheplan,i.e.theplanstrategiesororganisational strategies patron;maitrepatronormasteroftheatelier(studio) pochsectionsofadesignwallsandpiersetc.shownonplanandgenerallyblackenedin orshaded projetrendurenderedproject

Importantbuildings:
PalaisdesEtudes,EcoledesBeauxArts,Paris,byFelixDuban,18348 (SalledesEtudes,completed1864) Opera,Paris,byCharlesGarnier,186174 ConcertHallandCasino,MonteCarlo,byGarnier,18789(hall);18812(casino) BibliothqueSainteGenevive,Paris,byHenriP.F.Labrouste,1839/184350 BibliothqueNationale,Paris,ReadingRoom,byLabrouste,186268 GaleriedesMachines,Paris,byDutert&Contamin,1889 PetitPalais,UniversalExposition,Paris,byCharlesGirault,18951900

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WorldsColumbianExposition,Chicago,1893 FineArtsBuilding,byCharlesAtwood TransportationBuilding,byLouisSullivan AlleghenyCourtHouse,Pittsburgh,Pennsylvania,byHHRichardson,188488 BostonPublicLibrary,Boston,Massachusetts,byMcKimMead&White,188795 GuarantyBuilding,Buffalo,NewYork,byLouisSullivan,189495 PennsylvaniaStation,NewYork,byMcKimMead&White,190610 NewYorkPublicLibrary,NewYork,byCarrere&Hastings,18971911 HartfordCountyBuilding,Connecticut,byCret,Smith&Barrett,192529 ImperialHotel,Tokyo,Japan,byFrankLloydWright,191522 Meetinghouse,SalkInstituteforBiologicalStudies,LaJolla,California,byLouisKahn,1965 ParliamentHouse,Canberra,ACT,198088,MitchellGiurgolaThorp

Significantarchitects:
FelixDuban 17971870 HenriLabrouste 18011875 JeanLouisCharlesGarnier 18251898 FerdinandDutert 18451906 CharlesGirault 18511932 JulienGuadet,ElmentsandthoriedelArchitecture,4vols,190104 AmericanarchitectswhowereatthecoledesBeauxArtsinParis: 18211886 HenryHobsonRichardson CharlesFollenMcKim 18491909 LouisSullivan 18561924 JohnCarrere 18581911 ThomasHastings 18601929

Furtherreading:
ArthurDrexler(ed),TheArchitectureoftheEcoledesBeauxArts,London:Secker& Warburg,1977. DonaldDrewEgbert(ed),TheBeauxArtstraditioninFrencharchitecture,Princeton, NJ.:PrincetonUniversityPress,1980. ChristopherCurtisMead,CharlesGarniersParisopera:architecturalempathyandthe renaissanceofFrenchclassicism,Cambridge,Mass.:MITPress,1991. RobinMiddleton(ed),TheBeauxArtsandnineteenthcenturyFrencharchitecture, Cambridge,Mass.:MITPress,1982. DavidVanZanten,DesigningParis:thearchitectureofDuban,Labrouste,Duc,and Vaudoyer,Cambridge,Mass.:MITPress,1987.

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LECTURE11:ArchaeologyandSearchingforOrigins:Semper

Keyarchitects:
JakobIgnazHittorff GottfriedSemper 17921867 18031879

Importanttexts:
GottfriedSemper. PreliminaryRemarksonPolychromeArchitectureandSculptureinAntiquity.1834. TheFourElementsofArchitecture:AContributiontotheComparativeStudyofArchitecture. 1851. Science,IndustryandArt:ProposalsfortheDevelopment of a NationalTasteinArt atthe ClosingoftheLondonIndustrialExhibition.1852. StyleintheTechnicalandTectonicArtsorPracticalAesthetics.1860. OnArchitecturalStyles.1869.

Somebuiltworks:
DresdenHoftheater,Dresden,Germany,183441 DresdenArtGallery,Dresden,Germany,183955 EidgenossicheTechnischeHochschule,Zurich,Switzerland,185864 WinterhurTownHall,Switzerland,186470 SecondHoftheater,Dresden,Germany,187078 ArtHistoryMuseum,Vienna,Austria,189691

Semperslegacy:
The theory of polychromy in ancient buildings that challenged the dominance of whiteinclassicalscholarship. Fourelementsoftheoriginsofarchitecture:thehearth;themound;theenclosure;the roof. The concept of dressing and the symbolism of ornamentation that challenged previousconceptsofthewallasstructure. ThereassessmentofprimitivedesignfromPacificandIndigenousregions Thereinvigorationofsurfaceornamentationinpostmodernarchitecture

Furtherreading:
Harry Francis Mallgrave, Introduction, 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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LECTURE12:GothicRevivalism:PuginandMoralityinEnglishArchitecture

AWNPugin(18151852) Somethemes: Commissionerschurches Puginschurches Keywritings:ContrastsandTruePrinciplesofChristianorPointedArchitecture


andargumentsfortheGothicastheappropriatestyleforBritishchurcharchitecture. WestminsterNewPalace GothicandMedievalinspiredfurnishings

Associatedarchitects:
CharlesBARRY WilliamWilkinsonWARDELL GeorgeGILBERTSCOTT

Somebuildings:
WestminsterNewPalace,byCharlesBarry(withPugin),(from1835)18401860 StGiles,CamberwellChurchStreet,London,byScott&Mofatt,18421844 StPatrick,Kilmore,Victoria,byJoseph&CharlesHansom,18571860,completedby Wardell,c1871 StMariesGrange,nearSalisbury,Wiltshire,1835 ScarisbrickHall,nearOrmskirk,Lancashire,18371838;completedEWPugin18601868 PuginshouseatRamsgate,Kent,1841 StMary,Bridegate,Derby,18371839 StGeorge,Southwark,variousproposals,18381841 StChadsCathedral,Birmingham,18391841 StGiles,Cheadle,18411846 StBarnabas,Nottingham,18421843 StAugustine,Ramsgate,Kent,1841

Furtherreading:
PaulAtterbury[ed],AWNPugin:MasterofGothicRevival,NewHavenc1995. BrianAndrews,CreatingaGothicParadise:PuginattheAntipodes,Hobart2002. PhoebeStanton,Pugin,London1971. RosemaryHill,GodsArchitect,2006.

JohnRuskin(18191900)andEnglishGothicRevivalArchitects Somethemes:
LookingtoNorthernItalianandVenetianArchitectureofPreRenaissanceperiod; CharacteristicsofGothicbuildingsandbuilders: savageness;rudeness;inventiveness;naturalism; loveofnature;grotesqueness;imagination. AgglutinativePlanning TheoriesofColourandEncrustation

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Socialvirtuesoftraditionalartsandcrafts; PolychromaticBrickwork

Keywritings:
AWNPugin,Contrasts,London1836. Ecclesiologist.Firstpublishedin1841withfiveissueseachyear. WilliamButterfield,InstrumentaEcclesiastica,London18441847. JohnRuskin,SevenLampsofArchitecture,London1849. JohnRuskin,OntheNatureofGothic,Ch6,Vol2ofTheStonesofVenice,London18511853.

SomeotherGothicRevivalarchitects:
WilliamButterfield EdwardBucktonLamb GeorgeGilbertScott RichardCromwellCarpenter SamuelSaundersTeulon GeorgeEdmundStreet WilliamBurges AlfredWaterhouse EdwinGodwin 18141900 18061869 18111878 18121855 18121873 18241881 18271881 18301905 18331886

Somebuildingsmentioned:
UniversityMuseum,Oxford,byDeane&Woodward,architects,withinvolvementbyJohn Ruskin,185560. AlbertMemorial,London,byGGScott,from1864 StPancrasStationandHotel,London,byGGScott,from1865 RoyalCourtsofJustice,London,competitiondesign,byGEStreet,1866 VillageatBaldersbyStJames,NorthYorkshire,1856 AllSaints,MargaretStreet,London,started1849/185059 StAugustine,Penarth,1864 AllSaints,Babbacombe,Devon,1865 StPaulsCathedral,Melbourne,1877 KebleCollegeandChapel,Oxford,186670 RugbyNewSchool,1860

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LECTURE13:Work,NatureandModernity:theImportanceofRuskinandMorris

Somearchitects,designersandartists:
OwenJones HenryCole AWNPugin JohnRuskin PhilipWebb WilliamMorris ErnestBarnsley RichardNormanShaw 18061889 18081882 18121852 18191900 18311915 18341896 18611926 18311912

Somebuildingsanddesigns:
DesignforaMusicRoom,byM.H.BaillieScott,1902 610Meadway,HampsteadGardenSuburb,London,byM.H.BaillieScott,1902 TheRedHouse,BexleyHeath,byPhilipWebb,185460 WallpaperandchintzdesignsbyWilliamMorris WilliamMorrisslibraryatKelmscottHouse,London KelmscottManor,Oxfordshire

SomeotherArtsandCraftsarchitects(notcoveredinlecture):
ESPrior CFAVoysey WilliamRLethaby CRAshbee ErnestGimson EdwinLLutyens 18521932 18571941 18571931 18631942 18641919 18691944

Someprimarysources:
ThomasCarlyle,SignsoftheTimes,EdinburghReview,London1829. JohnRuskin,SevenLampsofArchitecture,1849. JohnRuskin,TheStonesofVenice,3volumes,London185153.Vol.2,Chapter6,Onthe NatureofGothic. OwenJones,GrammarofOrnament,London1856.

Somesecondarysources:
CHarvey&JPress,WilliamMorris,DesignandEnterpriseinVictorianBritain,Manchester 1991. KLochnanetal(ed.)TheEarthlyParadise:ArtsandCraftsbyWilliamMorrisandhis irclefrom C CanadianCollections,Montreal1993. FMacCarthy,WilliamMorris:ALifeforOurTime,London1995. JWMackail,LifeofWilliamMorris,London1899. CMenz,Morris&Company,PreRaphaelitesandtheArtsandCraftsMovementinSouth Australia,Adelaide1994. GNaylor(ed.),WilliamMorrisbyhimself:designsandwritings,London1989. LParry,WilliamMorrisTextiles,London1983.

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CPoulson,WilliamMorris,London1989. PThompson,TheWorkofWilliamMorris,London1967. AVallance,WilliamMorris:hisArt,hiswritingsandhispubliclife,London1897.

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LECTURE14:Melbourne:aNineteenthCenturyCity Topics
Urbanform Aninstantcity Portablebuildings Terracesandvillas Brickandiron Theboom Thebust

Timeline
1835 1850 1851 1851 185255 188089 189099 1901 settlementontheYarra MelbourneBuildingAct[passed1849] discoveryofgold SeparationfromNewSouthWales goldrushes theBoom theBust FederationofAustralia

49

LECTURE15:London:theRiseofModernInstitutions
Alecturenotehandoutwillbeprovidedontheday.

50

LECTURE16:ViolletleDuc:HistoryandConservation

Somearchitectsandengineers:
EugneEmmanuelViolletleDuc VictorHorta HectorGuimard 18141879 18611947 18671942

Importanttexts:
EugneEmmanuelViolletleDuc: DictionnaireRaisonndelArchitectureFranaiseduXImeauXVImesicle,185468. EntretienssurlArchitecture.186372. LHistoireduneMaison.1873.

Somebuildingsandstructures:
DesignsfromEntretienssurlArchitecture(townhouse,concerthall,markethall,joints, metaldetails),byViolletleDuc PalacioGuell,Barcelona,byAntoniGaudi,188589 WalkerWarehouse,Chicago,byAdler&Sullivan,188889 TourEiffel,Paris,byGustaveEiffel,1889 HotelTassel,Brussels,byVictorHorta,1893 coledeSacreCoeur,Paris,byHectorGuimard,1895 MaisonduPeuple,Brussels,byVictorHorta,189599 ParisMetroentrances,byHectorGuimard,1900

LegacyofideasfromViolletleDucstheories:
TherevivalofinterestintheFrenchGothicthroughhistoriesandconservation ThischallengedneoclassicismandthecoledesBeauxArts. Experimentationwithcastandwroughtirontofindanewmodernlanguagebasedon medievalprinciples. Interestinnaturalismandtheorganicthroughanexpressionofphysicalforcesandgravity andalookingtogeologyandanatomyforinspiration. BeliefintheexpressionofSTRUCTURALRATIONALISMasderivedfromthegothicbut appliedtomodernbuildingtypesandmaterials.

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LECTURE17:ColonialGothic:IndiaandNewZealand

GothicRevivaltheoryin19thcenturyBritain:
AWNPugin: Contrasts,1836 TheTruePrinciplesofPointedorChristianArchitecture,1841 AnApologyfortheRevivalofChristianArchitectureinEngland,1843 JohnRuskin: TheSevenLampsofArchitecture,1849 TheStonesofVenice,185153 ThesetheoristsandtheirworkpromotedtheideathatGothicarchitecturewasappropriateto Englishinstitutions,history,andclimate(Pugin)andthatGothicbuildingpracticesoffereda modelofhowarchitectureshouldbemadeincontemporaryEnglandthroughcollaboration betweenknowledge,skillandlabour(Ruskin).Togethertheypromoteaviewthat architectureisbasedincoherentsocialstructuresandenterprise. ButinthecolonialcontextsoftheBritishEmpire,suchsocialcohesionwasproblematic. Whatimplicationsdidthishaveforcolonialarchitecture?

NewZealand:
FrederickThatcher,born1814;arrivedNZ1843;movedtoAuckland1845;returnedto England1868,died1890.TrainedasanarchitectinEngland;closelyassociatedinNZwith thefirstAnglicanBishopofNZ,GeorgeSelwyn,bothasanarchitectandasanordained minister. BeforehisdepartureforNZin1842,Selwynsoughttheadviceofcolleaguesinthe CambridgeCamdenSocietyastothebeststyleforbuildinginNZ.Theysuggestedinstead oftheHighGothictheyusuallyadvocatedtheNormanasthiswasappropriatetoNZs (andMaori?)levelofdevelopment.OnthegroundinNZ,Selwyn&Thatcher,however, wereobligedtoadapttimbertotheirpurposes,andfoundthemselvesworkingprimarilyin thebuildingofparishratherthanmissionarychurches.

KeyworksbyThatcher:
StJohnsCollegeChapel,Auckland,1847 AllSaints,Howick,1847 Bishopscourt,Auckland,186265 StPauls,Wellington,186266 BenjaminWoolfieldMountfort,born1825;trainedbyRichardCarpenter(member CambridgeCamdenSociety);arrivedChristchurchNZ,1850;died1898.Stronglyinfluenced byPugin(ideaofpicturesqueutilityparticularlylentitselftopiecemealdevelopmentof buildingsincolonialNZ)andRuskin(oncollaborativerelationshipbetweenarchitectand buildingartisans).

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KeyworksbyMountfort:
AllSaints,Lyttelton,1852(demolished1857) CanterburyProvincialCouncilBuildings,18571865 CanterburyMuseum(18691882):stronglyinfluencedbyDeane&WoodwardsOxford Museum(1855)inwhichdesignRuskinhadakeyrole.Freehandallowedthestonemasons onthebuildingcontrastswiththestricturesplacedonMaoriartisans(workingonthe meetinghouseHauteAnanuioTangaroaforthemuseum)nottodeviatefromtradition. ChristchurchCathedral,18651900(designbyGeorgeGilbertScott);Mountfortsupervising architectfrom1870s StMarysProCathedral,Auckland,188698

India:
RobertFellowesChisholm,bornc1840;inCalcuttaby1864;winscompetitionfordesignof twobuildingsinMadras1865;consultingarchitecttotheMadrasgovt,1869till1886; workingalsoinBarodafromearly1880s,andsubsequentlybecomesgovernmentarchitect there;retirestoEngland1900;dies1915. Chisholmclaimstohavefollowedgothicprinciplesthroughouthiscareer,buthedesignedin multiplestyles.InthisheseemstohavebeeninfluencedbytheviewsofLordNapier, GovernorofMadrasinhisearlyyearsthere.In1870,NapierpublishedanarticleinThe BuilderModernArchitectureinIndiaarguingthatwhileEnglandhasbutoneappropriate architectureGothicinIndiamultiplestyleswerenecessarytoarchitecturaldevelopment. ThisisbecauseinEnglandthereisasinglehomogenouscommunitytowhomtheGothic mannerisproper,whileIndiahasmultiplecommunitiesEuropean;Moslem;Hindueach ofwhichhasitsownarchitecturalmanner.

KeyworksbyChisholm:
PresidencyCollege,Madras,c1870,Italianate RevenueBoardOffices,Madras,1870s,renovationof18thcenturypalace,withadditionof blood&bandagestower SenateHouse,MadrasUniversity,1870s,Byzantine?Saracenic? NapierMuseum,Trivandrum,18721880.Inan1873bookletonthisbuilding,Chisholmpays tributetoNapiersviews,anddescribeshischoiceoflocalmaterialsandMalabarstyleas duetotheirsuitabilityforconstructionanddecoratedbylocalcraftsmen. Post&Telegraphbuilding,Madras,early1880s,influencedbyMalabararchitecture BarodaCollege,early1880s,Saracenic? BarodaMuseum,1880s1900,artsandcrafts,againwithMalabarinfluences(anearlierdesign featuringdomeswaspublishedinTheBuilder)

BibliographicSources:
Thatcher: MargaretAlington,AnExcellentRecruit,Auckland:Polygraphia,2008 Mountfort: IanLochhead,ADreamofSpires,Christchurch:CanterburyUniversityPress,1999 Chisholm: ThomasMetcalf,AnImperialVision,London&Boston:Faber,1989

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PaulWalker,InstitutionalAudiencesandArchitecturalStyle:theNapierMuseum, inPeterScriver&VikramadityaPrakash,eds,ColonialModernities:BuildingDwelling andArchitectureinBritishIndiaandCeylon,London:Routledge,2007

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LECTURE18:TheForgottenChineseArchitectureofArthurPurnell
Summary ArthurPurnellwasanAustralianarchitectwholivedandworkedinGuangzhou,China, between1900and1910.In1904heandAmericanengineerCharlesPagetestablishedan architecturalandengineeringfirmthere.Purnell&Pagetdesignedanumberofimportant buildingsinGuangzhou,includingamarvelouscementfactorythatbecameChinese politicalleaderSunYatsensheadquarters.AlmostallofthefirmsbuildingsinGuangzhou wereEuropeanstyle.PurnellreturnedtoAustraliain1910andmaintainedabusy architecturalpractice,workingeitheraloneorinpartnership,virtuallyupuntilhisdeathin 1964.HedesignedhundredsofbuildingsinMelbourne,rangingfromhumblegaragesto hugegrandstands.Asignificantnumberofthesewereinfluencedbyhisyearsin Guangzhou:somebuildingswereforlocalChineseclients,somehadChinesestyleelements, andsomehadChinesenames.Untilrecently,PurnellwastotallyforgotteninGuangzhou andlargelyforgotteninMelbourne. Significantbuildings

ArnholdKarberg&Companybuilding(1908),Guangzhou,Purnell&Paget

SouthChinaCementfactory(1909),Guangzhou,Purnell&Paget

ImperialMaritimeCustomsHouse(19041909),Guangzhou,Purnell&Paget

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Bibliography Cody,JeffreyW.,ExportingAmericanarchitecture18702000,London:Routledge,2003. Gawler,John,ARoofOverMyHead,LothianPublishingCompanyPtyLtd,Sydney,1963. Groves,Derham,FengShuiandWesternBuildingCeremonies(Singapore:GrahamBrashPty. Ltd.,1991,reprinted1994and1997). Groves,Derham,FromCantonClubtoMelbourneCricketClub:TheArchitectureofArthur Purnell(Melbourne:UniversityofMelbourne,2006) Groves,Derham,Geelong,CantonandMelbourne:IntheFootstepsofArthurPurnell,From CantonsGeneralissimosMansiontoMelbournesShameen(Guangzhou:Guangzhou MunicipalBureauofCulture,2007) Groves,Derham,TheForgottenChineseArchitectureofArthurPurnell,LiSumei(ed.)The ArchitecturalArtsofA.W.PurnellandtheModernSocietyofLingnan(Guangzhou:Guangdong PeoplesPublishingHouse,2008) Groves,Derham,TheBarlowFile:AnotherAdventureinBuilding,Collections,no.5, November2009,pp.2433.

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LECTURE19:TheCrystalPalace

SirJosephPaxton18031865 Topics:
Ironbuilding Glassandarchitecture Glasshouses PaxtonatChatsworth Theexhibitionproposal ConstructionoftheCrystalPalace ImpactoftheCrystalPalace Thecontents Criticalreaction Improvingthepalace JamesFergusson Thecrystalmania TheSydneyMint

Someironandglassbuildings:
StGeorges,Birmingham,byThomasRickman,c.1812 StGeorge,Everton,Liverpool,byRickman,181214 StMichaelintheHamlet,Liverpool,byRickman,c.1813 Glasshouse,BrettonHall,Yorkshire,1827(dismantled1833) GreenhouseattheJardindesPlantes,Paris,byRouhault,1833 TheGreatStove,Chatsworth,byPaxton(withDecimusBurton)18361840 PalmStove,Kew,byDecimusBurton,18457 VictoriaRegiaLilyHouse,Chatsworth,byPaxton,184950 GreatExhibition: PremiateddesignbyHectorHoreau,1850 OfficialdesignbytheRoyalCommission1850 PaxtonsfirstCrystalPalacedesign,1850 CrystalPalace,byPaxton,asbuilt,185051 ProposalstoimprovethePalace,byPaxton,SirCharlesBarry,andLCapina,1852 ParkEndStation,Oxford,18512 CrystalPalaceasreerectedatSydenham,byPaxton,1854 CrystalPalace,NewYork,byCastensenandGildemeister,1853 DublinExhibitionBuilding,byJohnBenson,1853 RoyalMint,Sydney,rearwingsof18545 InternationalExhibitionBuilding,London,byFrancisFowke,1862 IpswichRailwayStation,Queensland,bySirCharlesFox&Son,1868

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LECTURE20:ArchitectureandEngineering

Topics:
Ironstructures JohnWalker Morewood&Rogers Railwaystations JamesBogardus France Skyscrapers

People:
JamesBogardus HenriLabrouste RobertStephenson IsambardKingdomBrunel MatthewDigbyWyatt GustaveEiffel 18001874 18011875 18031859 18061859 18201877 18321923

Examplesofprefabrication:
RoofsattheLondonDocksofcorrugatedironaspatentedbyH.R.Palmer,c.1829 FlourmillforConstantinopolebyWilliamFairbairn,c.183941(ironframed) HouseofKingEyambo,CalabarRiver,WestAfrica,byWilliamLaycockofLiverpool,1843 (corrugatedironclad) JamesStarkey&Co.warehouse,SanFrancisco,byJohnGrantham,ofThomasVernon&Co., Liverpool,1849(galvanizedcorrugatediron) EmigrantscottagesbyMorewood&RogersofLondon&Derby,exportedtoMelbournec 1853(galvanizedcorrugatediron) BrownBrothersStore,MercerStreet,Geelong,byRobertson&ListerofGlasgow,1853 (corrugatediron) HousefortheRoyalMailSteamPacketCompany,Chagres,Panama,byJohnWalkerof London,1853(corrugatediron) CoalingStationatCapeTownbyJohnWalker,1854(corrugatediron) ChurchesatMacquarieStreet,Sydney,andunbuilt,Melbourne,byRobertson&Lister,c. 1854(plateandcorrugated) LegislativeCouncilChamber,MacquarieStreet,Sydney,byRobertson&Lister(?),c.1854 (plateandcorrugated) CorioVilla,Geelong,byRobertson&Lister,c.1854,completed1856(plateandcorrugated) Warehouse,JamaicaStreet,Glasgow,byJohnBairdsenior,18556(plateiron)

Otherironandglassstructures: England:
NineElmsGoodsDepot,bySirWilliamTite,1837 TempleMeadsStation,Bristol,byI.K.Brunel,183940 KingsCrossStation,London,byLewisCubitt(1850),18512

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MidlandRailwayStation,Oxford,builtbyFox&Henderson,18512 PaddingtonStation,London,byI.K.BrunelandM.D.Wyatt,18524 BoatShore,SheernessNavalDockyard,byCol.G.T.Greene,185861 InternationalExhibitionBuildings,byFrancisFowke,1862 OrielChambers,Liverpool,byPeterEllis,18645 StPancrasStation,London:ShedbyW.H.Barlow&R.M.Ordish,begun1863 Stationfront&MidlandHotelbySirG.G.Scott,186874

UnitedStates:
JamesBogardussfactory,CenterStreet,NewYork,184850 LaingStore,Washington&MurrayStreets,NewYork,byBogardus,1849 ProjectforNewYorkWorldsFairbyBogardus,1853 Harper&BrothersBuilding,NewYork,byJohnB.Corlies,1854 ATStewart(laterWanamaker)Store,NewYork,byJohnKellum,185960 StatueofLiberty,NewYork,byFrdricBartholdi,sculptor,&GustavEiffel,engineer,1885 FairBuilding,Chicago,byWLBJenney,1891

France:
BibliothqueSteGenevive,Paris,byHenriLabrouste(1839),184350 LesHallesCentrales,Paris,byVictorBaltard,1853 SteEugne,Paris,byLouisAugusteBoileau,18545 ExpositionUniverselle,Paris:MachineryHallbyF.A.Cendrier&J.M.V.Viel,1855 BibliothqueNationale,Paris,byHenriLabrouste,18628 MaisonduBonMarch,Paris,byL.F.Boileau&GustaveEiffel,from1876

Italy:
GalleriaVittorioEammanueleII,Milan,byGiuseppeMengoni,1865

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LECTURE21:Chicago:aModernCity
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.

Worlds 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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LECTURE22:Paris:RemakingtheCityBeautiful
Alecturenotehandoutwillbeprovidedontheday.

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LECTURE23:NatureandModernity:theArtNouveau

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 Louis Comfort Tiffany Charles Harrison Townsend Charles Annesley Voysey Victor Horta Hector Guimard Charles Rennie Mackintosh Antonio Gaudi 1846-1904 1848-1943 1851-1928 1857-1941 1861-1924 1867-1942 1868-1928 1852-1926

Important French texts:


Eugne-Emmanuel Viollet-le-Duc Dictionnaire raisonn de l'architecture francaise du XIe au XVIe sicle. 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 cole 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 Gell, 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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LECTURE24:Vienna:OrnamentversusAbstraction Ideas/concepts:
TheVienneseSecessionMovement:relationshipbetweenArt,CraftandArchitecture Loos:abstractionandthebeginningsofModernism

Someterms:
GesamtkunstwerkGermanfortotalworkofart JugendstilGermanfortheyoungstyle SecessionstilstyleadoptedbytheVienneseSecessionMovement RaumplanorfreeplanspatialapproachtoplanningaspracticedbyAdolfLoos ZeitgeistGermanforspiritofthetime

Sometexts:
VerSacrum(SacredSpring) OttoWagner,ModerneArchitektur,1896 AdolfLoos,OrnamentandCrime,1908

Somearchitects(andanartist):
OttoWagner GustavKlimt(painter) HenrivanderVelde JosefOlbrich JosefHoffman AdolfLoos 18411918 18621918 18631937 18671908 18701956 18701933

Somebuildings:
VillaWagnerI,Vienna,byOWagner,1886 SecessionBuilding,Vienna,byJOlbrich,189798 Majolikahaus,Vienna,byOWagner,1898 KarlplatzStation,Vienna,byOWagner,18991900 SteinhofChurch,Vienna,byOWagner,1902 PostOfficeSavingsBank,Vienna,byOWagner,1904 VillaWagnerII,Vienna,byWagner,1905,191112 AmericanBar,Vienna,byALoos,1907 Loohaus,StoreonMichaelerplatz,Vienna,byALoos,190911 SteinerHouse,Vienna,byLoos,1910 MollerHousebyALoos,Vienna,1928

Belgium:
PalaisStoclet,Brussels,byHoffman,190510

Germany:
ErnstLudwigHaus,Darmstadt,byOlbrich,1899 HausOlbrich,Darmstadt,byOlbrich,1900 GrossesGluckertHaus,Darmstadt,byOlbrich,1900 Hochzeitsturm(WeddingTower),Darmstadt,190508

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CzechoslovakRepublic:
MllerHouse,Prague,byLoos,1930

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ABPL30053(702386) FORMATIVEHISTORIESOFARCHITECTURE

TUTORIALGUIDE2011 SEMESTER2

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Tutorial Guide
Tutorial 1

IntroductionandHowtoDeliveranOralTutorialPresentationGuide
SubjectReader SubjectGuideandAssessment Tutorialtopicallocation Howtoprepareanddeliveranoralpresentation

Allstudentstoreadthesesecondarysources: ThesereadingsprovideanhistoricalintroductiontotheeighteenthandnineteenthcenturiesinBritain andEuropeandabriefintroductiontothearchitecturalhistoriographyoftheperiod(Bergdoll).Make sureyoureadthembeforethelecturesontheeighteenthcenturyinweek2astheywillhelpyou understandthemajorthemes. Bergdoll,Barry,IntroductiontoEuropeanArchitecture,17501890,Oxford:OxfordUniversity Press,2000,pp.15. Black, Jeremy, Chapter 7: Age of Reform and Empire in A History of the British Isles, HampshireandLondon:MacmillanPressLtd,1996,pp.187210. OGorman, Francis [ed.], Timeline in The Cambridge Companion to Victorian Culture, Cambridge:CambridgeUniversityPress,2010,pp.xiixv. Rietbergen, Peter, Chapter 12: A New Society: from Humanism to the Enlightenment in Europe:aCulturalHistory,2nded.,London&NewYork:Routledge,2006[1998],pp.318335.

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Tutorial 2

CampusWalkingTour
***MeetontheconcretelawnsdirectlyinfrontoftheOldCommerceBuilding.*** Youwillbegivenahandouttofillinbringapentowritewithandwetweathergearincase itrains. TheessentialreadingsforthisweekintroducetheMelbourneUniversitynineteenthcentury buildingswewillseeonthecampuswalkingtouranddiscusswhatarchitecturalrevivalism meantinthisperiod. Therecommendedreadingsareextremelyimportantforstudentswhoarenotfamiliarwith the architectural styles, building elements, building types, materials and construction techniquesofAncientGreekandRomanArchitecture,RenaissanceArchitectureandGothic Architecture.Forotherstheyarerecommendedasusefulrevision.Manyofthearchitectural styles we will study this semester are revival styles and take their inspiration from the architectureoftheseseminalperiodsofEuropeanarchitecture. Allstudentstoreadthesesecondarysources: Collins,Peter,Chapter4:TheAwarenessofStylesinChangingIdealsinModernArchitecture 17501950,2nded.,McGillQueensUniversityPress:MontrealandLondon,1998[1965],pp. 6166. Goad, Philip and George Tibbets, Chapter 1: Foundation 18531880 and Chapter 2: Consolidation18801900inArchitectureonCampus:aGuidetotheUniversityofMelbourneand itsColleges,Melbourne:MelbourneUniversityPress,2003,pp.113,1527. Recommendedreadings: Lewis,Miles[ed],ATimelineofArchitecture(pp.2829)andextractsrelatingtoClassicism on:PostandBeam(pp.166169),TheClassicalOrders(pp.176179),TheParthenon(180 181), Greek Temple Construction (pp. 6061), Columns (pp. 172175), Entablature (pp. 186189),Porticoes(pp.158159)andColonnades(182183) andextractsrelatingtotheGothicon: Ribbed Vaults (pp. 210211), Buttresses (pp. 214217), Stained and Decorated Glass (pp. 310313), Turrets (pp. 270271) and Spires (pp. 274275) in Architectura: Elements of ArchitecturalStyle,NewYork:BarronsEducationalSeries,2008. Watkin,David,Chapter5TheGothicExperimentinAHistoryofWesternArchitecture,4thed., NewYork:WatsonGuptillPublications,2005[1986],pp.149159.

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Tutorial 3

Cities,BuildingsandLandscapes:theBaroqueandBeyond

PresentationTopics:
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 centuryandbeyond. MakesureyouarticulatetherelevantBaroquespatialandaestheticdesignelementsinyouranalysis. Topic 3A: Churches: Compare and contract one church by Borromini with one church by Guarini.Payparticularattentiontohowtheinteriorspatialqualitiesareachieved. ** Convey comparisons via VISUAL ANALYSIS examining the spatial qualities of two churches:onebyBorrominiandonebyGuarini.Includediagramsanddrawingsincluding section/plan/photographicviewstoanalyseparticularqualitiesof: Geometry Movement Plasticity VerticalityinSection Youmayalsowanttoconsidertheroleofcolourandsymbolisminyourresponse. Topic 3B: Buildings: the Potala Palace in Tibet compared and contrasted to St. Peters Basilica.Compareandcontrastthesetwobuildings,payingparticularattentiontothedesign of Berninis forecourt at St. Peters. Consider, using VISUAL ANALYSIS and DIAGRAMS, suchaspectsas: Function; site; orientation or axis; approach, composition including symmetry, geometry, scale,symbolism,materialsanduseofcolour Topic3C:Gardens:VersaillescomparedandcontrastedtotheYuanmingyuanGardens,near Beijing. Compare and contrast these two gardens, using VISUAL ANALYSIS to pay particularattentionto: Function; site including interventions on the natural topography; orientation or axis; journey/way; planning including symmetry, geometry, scale; symbolism including the useofsculptureandarchitecture Allstudentstoreadthesesecondarysources: Ching,FrancisD.K.andMarkM.Jarzombek,VikramadityaPrakash,BaroqueItaly(p.502), PotalaPalace(pp.521523),St.PetersBasilica(pp.531534),Versailles(pp.549550)andthe YuanmingGardens(p.572)inAGlobalHistoryofArchitecture,NewYork:Wiley&Sons,2007.

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Kostof,Spiro,extractsfromChapter4:TheGrandManner,pp.2158,2228,2305&26375 inTheCityShaped:UrbanPatternsandMeaningsthroughHistory,London:Thames&Hudson, 1999. Presentersmustalsoread: Harrison,Peter,extractfromChapter17onthePotalaPalace:TheHimalayanRegionin CastlesofGod:FortifiedReligiousBuildingsoftheWorld,Cambridge:theBoydellPress,2004,pp. 261263. Hui,Nan,ThePotalaPalaceofLhasa,Beijing:ChinaEsperantoPress,n.d.,pp.1114,2224,28 32. Jie,Zhu,YuanmingyuanGarden,translatedbyTangBowen,Beijing:ForeignLanguagesPress, 2000,pp.26,1011. NorbergSchulz,Christian,extractfromChapter2onVersailles:TheCityinBaroque Architecture,NewYork:HarryNAbramsInc.Publishers,1971,pp.8589and102. Varriano,John,extractsfromChapter3:FrancescoBorromini(pp.4565),Chapter4: GianlorenzoBernini(pp.7586),Chapter9:GuarinoGuarini(pp.209223)inItalian BaroqueandRococoArchitecture,Oxford:OxfordUniversityPress,1986. Wittkower,Rudolf,Chapter2:TheThirdArmofBerninisPiazzaS.Pietro,inStudiesinthe ItalianBaroque,London:ThamesandHudson,1975,pp.5460.

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Tutorial 4

ThePicturesque:PaintingorLandscape?
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.Whendiscussingoneofthetopicsbelowconsiderandanswerthefollowinggeneralquestions: a. Whatdoesthetermpicturesquemean?(analysedifferentperspectivesfromdifferent authors). b. Isthereanyironyintherelationshipofthepicturesquetonature? c. DefineandillustratethetermssublimeandbeautifulasdescribedbyBurkeandarticulate theirrelationshiptothevariousmeaningsofthePicturesque.

PresentationTopics:
TOPIC4:TAKESTHEMODEOFADEBATE.Aretheprinciplesofthepicturesquemost clearlyseenthroughpaintingorthroughgardensinhistory?

Topic4APainting:
Argue your case through analysis of two examples of paintings which show how painting wasformativeforthepicturesquevision. Analyseyourexamplesvisuallyandpayparticularattentionto: composition,lighting,subjectmatter,emotionalimpact,symbolism,painterlytechnique. Becarefultosituateyourdiscussionchronologically.

Topic4BGardens:
Argue your case through analysis of two examples of gardens (one should be Castle Howard)whichshowhowgardenswereformativeforthepicturesquevision. Analyseyourexamplesvisuallyandpayparticularattentionto: site, planning, scale, journey/way, symbolism including the use of sculpture and architecture(takingnoteofmaterials),emotionalimpact

Allstudentstoreadtheseprimarysources:
Burke,Edmund,extractsfromAPhilosophicalEnquiryintotheOriginofOurIdeasoftheSublime andBeautiful,CharlesW.Eliot[ed],NewYork:P.F.Collier&Son,19091914.Thiseditionwas published online on 5 April, 2001 by Bartleby.com and is also available at: http://www.bartleby.com/24/2/ Gilpin,William,extractfromEssayI:OnPicturesqueBeautyinThreeEssays:onPicturesque Beauty; on Picturesque Travel; and on Sketching Landscape: with a Poem on Landscape Painting, London:T.Cadell&W.Davies,1804,pp.38,2633.

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Allstudentstoreadthesesecondarysources:
Meeks,C.L.V.,PicturesqueEclecticism,ArtBulletin,XXXII(3)1950,pp.226235. 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.118,3340. Presentersmustalsoread: Hunt, John Dixon, Chapter 1: What, How and When was the Picturesque Garden? in The PicturesqueGardeninEurope,ThamesandHudson:London,2002,pp.825. 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.1544.

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Tutorial 5

TheLanguageofClassicism:ElasticityandEndurance
GeneralTutorialTopic:ExplorehowthetheoriesandapplicationoftheprinciplesoftheClassical languageofarchitectureenduredandevolvedintheageofEnlightenmentandbeyond. WhatisNeoclassicism?ComparethetheoriesandbeliefsaboutClassicalarchitectureexpressedinthe primarysourcesandanalysetheprincipalargumentseachauthorexpressesinregardstoClassicism. How is Neoclassicism different to Renaissance Classicism? Why is the theory of Claude Perrault so radical?

PresentationTopics:
Topic5AOriginsandNature:VISUALANALYSIS UsingthewritingsofLaugierontheideaoftheprimitivehutasastartingpoint,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 nineteenthcenturies. Use visual analysis to show your interpretation of natural principles translated into architecturalelements. Topic5BNeoclassicismandNationalIdentity: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 approachtoNeoclassicism.Choosenomorethantwobuildingsbyeachandmakesureyou addressthesequestions: How do their different approaches to Classicism engage with notions of national identityand/ortheroleoftheinstitutioninEnlightenmentEurope? Whatistheroleofstructureanddecorationintheirdesigns? Howdothebuildingsrelatetotheircontext? Allstudentstoreadtheseprimarysources: Laugier, Abbe, extract from Essai Sur LArchitecture (and Framptons 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.3032. Perrault,Claude,extractfromthePrefacetoOrdonnancefortheFiveKindsofColumnsafterthe MethodoftheAncients(1683),inA.KristaSykes[ed],TheArchitectureReader.EssentialWritings fromVitruviustothePresent,GeorgeBraziller,NewYork:2007,pp.6772.

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Vitruvius,SixTermsofArchitecture,Book1,Chapter2ofTenBooksonArchitecture,trans. by Ingrid D. Rowland, commentary and illustrations by Thomas Noble Howe, New York: CambridgeUniversityPress,1999. Allstudentstoreadthissecondarysource: Summerson, John, Chapter 5: The Light of Reason and of Archaeology in The Classical LanguageofArchitecture,London:Thames&Hudson,pp.8997. Presentersmustread: Bergdoll,Barry,extractfromChapter3:ExperimentalArchitecture:LandscapeGardensand Reform Institutions in European Architecture, 17501890, Oxford: Oxford University Press, 2000,pp.86102. Forty, Adrian, extract from Part Two, Nature (pp. 220230) and Order (pp. 240244) in Words and Buildings: a Vocabulary of Modern Architecture, New York: Thames and Hudson, 2000. Levine,Neil,Chapter2:TheAppearanceofTruthandtheTruthofAppearanceinLaugiers PrimitiveHutinModernArchitecture:RepresentationandReality,NewHaven&London:Yale UniversityPress,2009,pp.4674.

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Tutorial 6

Orientalism:ExplorationorExploitation?
General Topic: Explore the influence and/or representations of Orientalist thought in paintings, gardensandarchitecture.Whenanalysingyourtopicsconsiderthefollowingquestions: a. WhatisOrientalismasconceptualisedbyEdwardSaid? b. HowdoesitallowustodiscussbroadersocialconceptsofEastvsWestinrelationtoartistic expressionandarchitecture? PresentationTopics: Topic6: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 imagesoftheOtherwithnorealknowledgebasedonexperience? Use Said to support your arguments and illustrate with at least one painting and one building.

Somepossibleexamplesarchitecture:
RoyalPavilion,Brighton,JohnNashsworkcompleted18151822 ForumBuildingMelbourne,JohnEberson,Bohringer,Taylor&Johnson,1928 JeanAugusteDominiqueIngres,TheTurkishBath,oiloncanvas,1862. EugneDelacroix,TheWomenofAlgiers,oiloncanvas,1834. JeanLonGrme,NapoleoninEgypt,oilonwoodenpanel,186768. Allstudentstoreadthisprimarysource: Edgar,J.G.TheColonialMuseum(1863)reproducedinChapter17:TheCrystalPalaceand the Great Exhibition of 1851 in Imperialism and Orientalism: A Documentary Sourcebook, MassachusettsandOxford:Blackwell,1999,pp.337339. Allstudentstoreadthesesecondarysources: MacKenzie,JohnM.,Chapter4:OrientalisminArchitectureinOrientalism:History, Theory andtheArts,Manchester:ManchesterUniversityPress,1995,pp.71104. Said, Edward, Introduction in Orientalism. Western Conceptions of the Orient, Middlesex: Penguin,1995,pp.112. Presentersmustalsoread: Crinson,Mark,Chapter1:UsefulKnowledge.InterpretingIslamicArchitecture,17001840 inEmpireBuilding:OrientalismandVictorianArchitecture,London&NewYork:Routledge, 1996,pp.1536.

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Nochlin, Linda, Chapter 3: The Imaginary Orient in The Politics of Vision: Essays on NineteenthCenturyArtandSociety,NewYork:Harper&Row,1989,pp.3359. Roberts, J M, extract from Chapter 5: World Hegemony in A History of Europe, Oxford: HeliconPublishingLtd,1996,pp.376394. Said, Edward, Part 3: Orientalism Now in Orientalism. Western Conceptions of the Orient, Middlesex:Penguin,1995,pp.201209.

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Tutorial 7

TheBeauxArtsConcours:theEsquisse The aim of this tutorial is to develop a discussion on classical tradition and the BeauxArtsapproachtodesignthroughaninclassexampleofanesquisse.
*Materialswillbeprovided. THEREARENOINDIVIDUALPRESENTATIONSTHISWEEK.

Thesubjectoftheconcoursis:anArtGalleryinaSmallCountryTown
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 RomewinnerfromthecoledesBeauxArtsmanyyearsbeforeemigratingtoAustraliaasa refugee, but because his training was not recognised in his new country he turned to propertydevelopment.TheconditionofthewillisthattheArtGallerybedesignedinthe traditionofthecolebutmaybeexpressedinacontemporaryidiom. Thesiteisalargerectangularlevelareadirectlyoppositethetownsquareinwhosecentreis afoursidedmonumentintheIonicOrderdedicatedtoEnvironmentalHarmony.

TheconcoursfortheArtGalleryshouldinclude:
Avestibuleandpublicentrancehall Threegalleryspaces,oneofwhichistobetheprincipalexhibitionarea AsuiteofofficesfortheDirectorandstaff Twolecturerooms Roomsformeetings Twoseparatepubliccloakrooms Maleandfemaletoilets Astorageareaforworksofartnotondisplay Courts,corridors,colonnades,cupolas,canopiesetc.maybeintroduced,asrequired, toservicethemajorandminorspaces 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 pleasingcompositiononthepage

Allstudentstoreadthissecondarysource: Jacques,Annie,TheProgrammesoftheArchitecturalSectionsoftheEcoledesBeauxArts inRobinMiddleton[ed],TheBeauxArtsandNineteenthcenturyFrenchArchitecture, Cambridge[Massachusetts]:TheMITPress,1982,pp.5865. Recommendedfurtherreading: Drexler,Arthur[ed],TheArchitectureoftheEcoledesBeauxArts,London:Secker&Warburg, 1977.SeeespeciallytheessaybyDavidVanZanten,ArchitecturalCompositionattheEcole desBeauxArtsfromCharlesPerciertoCharlesGarnier,pp.111323.

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Middleton,Robin[ed],TheBeauxArtsandNineteenthcenturyFrenchArchitecture,Cambridge [Massachusetts]:TheMITPress,1982. N.B. This exercise is to be done during tutorial time, however as in the tradition of the esquisse,itisveryadvisabletopreparebeforehandbyunderstandingthedesignproblem.

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Tutorial 8

ColourandSurfaceinArchitecture PresentationTopics:
Explore one of the following topics focused on the way architects and key historians and thinkers began to reconceptualise the notions of surface, decoration and detail in architectureduringthe18thand19thcenturies.Youmayincludeinyouranalysishowtheir ideashavereemergedasinfluentialincontemporarydesign. AssumetheCHARACTER/VOICEofeitherSemperorButterfieldinpresentingyourwork toanaudienceattheRoyalInstituteofBritishArchitectsemphasisingthefollowingthemes. Useatleastfivekeyimagesinyourpresentation. Topic8ASEMPERCRAFT Inyourpresentationensureyoupersuadeyouraudienceofthewaysinwhichornamentand craft played a role in Gottfried Sempers theories of architecture. Through his voice show how his ideas represent a departure from previous thinking on the origins of architecture? Howwasheinfluencedbycontemporaryeventsinthemid19thcentury? Topic8BBUTTERFIELDMATERIALS InyourpresentationensureyoupersuadeyouraudienceofButterfieldsstrongapproachto the use of colour and its relationship to structure in his architecture. What were the influencesuponButterfieldsapproach?Throughhisvoiceshowhowtherewereparticular contemporarytechnologicaloreconomicconditionsthatinfluencedhisarchitecturaldesign approach. ORAlternatively,analysetheaesthetictheoriesofthewriterJohnRuskin Topic8CRUSKINNATURE Through the character of Ruskin, persuade the audience how the writings of John Ruskin provoked a rethinking of the translation of beauty found in nature to nineteenth century design.UseexamplestoshowRuskinsthinkingontheroleofsurface,colourandornament inarchitecture.DohisideasbearanyresemblancetotheaestheticsofthePicturesque?

Allstudentstoreadtheseprimarysources:
Ruskin, John, extract from The Lamp of Truth in The Seven Lamps of Architecture (first published1849),London:CenturyHutchinsonLtd,1988,pp.5057. Semper,Gottfried,fromPreliminaryRemarksonPolychromeArchitectureandSculpturein Antiquity (1834) in Harry Francis Mallgrave [ed], Architectural Theory. Volume I: An AnthologyfromVitruviusto1870,Malden[Massachusetts]:Blackwell,2006,pp.34850.

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Allstudentstoreadthissecondarysource:
Mallgrave,HarryFrancis,extractfromIntroductiontoGottfriedSemper,TheFourElements of Architecture and Other Writings, trans. H. F. Mallgrave & W. Hermann, Cambridge: CambridgeUniversityPress,1989,pp.116.

Presentersmustread:
Crook, J. Mordaunt, extract from Chapter 2: The Reality of Brick: William Butterfield and Benjamin Webb in The Architects Secret: Victorian Critics and the Image of Gravity, London: JohnMurray,2003,pp.3562. Forty,Adrian,extractfromPartTwo:NatureinWordsandBuildings:AVocabularyofModern Architecture,NewYork:ThamesandHudson,2000,pp.231235. Frampton,Kenneth,extractonGottfriedSemperfromChapter3:TheRiseoftheTectonic: Core Form and Art Form in the German Enlightenment, 17501870 in Studies in Tectonic Culture.ThePoeticsofConstructioninNineteenthandTwentiethCenturyArchitecture,JohnCava [ed],Cambridge[Massachusetts],TheMITPress,1996,pp.8491.

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Tutorial 9

MoralityandArchitecture PresentationTopics:
ExplorethroughthefollowingDEBATEtopictheevolvingandcontestedissuessurrounding notionsoftruth,ethicsandmoralityinnineteenthcenturyarchitecturalthinking.Theseideas canbearguedthroughthewritingsandworkofthreeveryinfluentialfiguresfrommid19th century England: AWN Pugin, John Ruskin and/or William Morris. When analysing your topicconsidertherolereligionplayedinnineteenthcenturyBritishsociety. Topic9A(and)B:DEBATEthefollowingquestion:Isthequalityandbeautyofarchitecture closelyboundupwiththeethicsofhowbuildingsaremade?Canonearchitecturalstylebe moremorallycorrectthananother?ConstructadebatebetweenTWOPRESENTERS. Useoneormoreofthefollowingexamplestosupportyourcase: *AWNPuginhiswritingandworkontheGothicstyleandModernity *John Ruskin and/or William Morris through their writings and decorative work concerningtheethicsoflabourandmaterialsetcasappropriatetomodernity. Allstudentstoreadtheseprimarysources: Morris,William,OnSimplicity(1880),TheAimsofthePeople(1879)andOnPotteryand Glass (1882) in Christine Poulson [ed], William Morris on Art & Design, Sheffield: Sheffield AcademicPress,1996,pp.122124,131135,179182. Pugin,A.W.N.extractsfromTheTruePrinciplesofPointedorChristianArchitecture,London, 1841,pp.12,4067. Ruskin, John, extract from The Nature of Gothic (from The Stones of Venice, 18511853) in John D. Rosenberg [ed], The Genius of John Ruskin: Selections from His Writings, London: GeorgeAllen&UnwinLtd,1964,pp.180184. Allstudentstoreadthissecondarysource: Watkin, David, extract on Pugin from Part 1 The Theme in the Nineteenth Century in Morality&ArchitectureRevisited,London:JohnMurray,1977,pp.1723. Presentersmustread: Cook,Chris,extractfromSection2:SocialandReligiousHistory:ReligioninBritaininthe NineteenthCentury18151914,LondonandNewYork:Longman,1999,pp.172174.

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Crook, John Mordaunt, Chapter Two: Pugin and Ecclesiology in The Dilemma of Style: ArchitecturalIdeasfromthePicturesquetothePostModern,JohnMurray:London,1987,pp.42 68.

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Tutorial 10

WalkingTourEvaluations
The purpose of this tutorial is to discuss your responses to the Melbourne Walking Tour questionsheetandsites,discussthegeneralbackgroundreadings,andgainfeedbackonthe tourformatandcontent.Youmust,therefore,havecompletedyourwalkingtourbeforethis tutorialandbringyourcompletedsheetstoclasstosubmittoyourtutor. Students who do not complete the walking tour before this tutorial, without satisfying the criteriaforspecialconsideration,willnotreceivethemarksallottedforthisexercise. Allstudentstoreadthisprimarysource: Freeman,John,Introduction(pp.viiviii),Melbournein88(pp.113),extractfromWhat We Have In Our Midst (pp. 1416), The Theatres (pp. 6977), The Block (pp. 7885) in LightsandShadowsofMelbourneLife,London:SampsonLow,MarstonSearle&RivingtonLtd, 1888. Allstudentstoreadthissecondarysource: Davison, Graeme and DavidDunstan, ThisMoralPandemonium: ImagesofLow Lifein GraemeDavisonandDavidDunstan[eds],TheOutcastsofMelbourne:EssaysinSocialHistory, Sydney:Allen&Unwin,1985,pp.2957. Recommendedfurtherreading: Goad,Philip,MelbourneArchitecture,Balmain[NSW]:TheWatermarkPress,1999. Lewis, Miles, Melbourne: the Citys History and Development, Melbourne: City of Melbourne, 1995.

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Tutorial 11

TheWayForward:ArchitectureorEngineering?
General Topic: Great advances in materials, construction methods and engineering understanding changedthefaceofbuildingduringthelate18thand19thcenturies.Thesechangesalsoforcedprofound shiftsinwhatwasconsideredavalidworkofarchitecture.Manyarguethatitwasthesetechnological advancesthataboveallsetthestageforModernisminthe20thcentury.Explore,throughthefollowing debate,thevolatilerelationshipbetweenarchitectureandengineeringinthe19thcentury. PresentationTopics: Topic 11 A (and) B: DEBATE the following topic, assuming a role in the positive and negativeasfollows: Present a case to a 19th century audience of the Royal Board of Engineering and the Royal instituteofBritishArchitects,that A)engineeringisexpressiveofmodernityandisthewayforwardforarchitecture OR B) that engineering is not a valid form of architecture and can only create ingenious structuresbutnotbuildingsofbeauty. Allstudentstoreadtheseprimarysources: DeBaudot,JosephEugneAnatole,TheUniversalExpositionof1889FirstVisittoChamp deMars(1889)&LouisGonseTheArchitectureoftheUniversalExpositionof1889(1889) inHarryFrancisMallgrave&ChristinaContandriopoulos[eds],ArchitecturalTheory.Volume II:AnAnthologyfrom18712005,Malden[Massachusetts]:Blackwell,2008,pp.3841. Harlow,B.andM.Carter[eds],extractsfromChapter17:TheCrystalPalaceandtheGreat 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.332337. TheGreatExhibitionfrontpagearticlefromTheIllustratedLondonNews[noauthorcited], no.481,vol.XVIII,3May1851,pp.3434. Allstudentstoreadthissecondarysource: 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. 168211.

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Presentersmustread: Lewis, Miles [ed], extracts on Concrete (pp. 7477), Glass (pp. 8081; 3067), Iron (pp. 647), Lighting(p.316)andSteel(pp.6871;136137)inArchitectura:ElementsofArchitecturalStyle, NewYork:BarronsEducationalSeries,2008. Saint,Andrew,extractsfromChapter2,Part2:ARailwayInterlude(pp.108113),Chapter 2,Part3:Iron:BritainandFrance18501900(pp.151161)inArchitectandEngineer:AStudy inSiblingRivalry,NewHavenandLondon:YaleUniversityPress,2007. See also contemporary images of the construction of the Crystal Palace and illustrations of theexhibitionsat: http://www.victorianweb.org/history/1851/index.html

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Tutorial 12 Ornament,NatureandAbstraction
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 VictoriaInternational,Vienna:Art&Design***NOTEthisexhibitionfinishesOctober9th.

PresentationTopics:
Topic 12A Texts: Through a close analysis of the writings of two of the following three architects,compareanddiscussthecontestedissueoftheroleofornamentattheendofthe 19thcenturyandearlydecadesofthe20thcentury: AdolfLoos; OttoWagner; LouisSullivan. Dependingonyourselection,addressthefollowingquestionsinyouranalysis: *HowweretheAustrianarchitectAdolfLoosviewsonornamentdifferentandchallenging tothestatusquoinViennesearchitecturalcircles? *WhatcontrastingvisionsofmoderndesigndidLoosandWagnerpresentintheirworkand writings?Dotheirdifferencesresonateincontemporaryexamplesofprominentarchitecture? *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.***thisexhibitionfinishesOct.9th*** Fromyourvisitandtheaccompanyingcatalogue,select3objectsandpresentanillustrated reviewoftheseobjectstoshowhowtheydisplaysomekeydesignqualitiesthatreflectthe wider concerns of Vienna as a centre of Modernity. Consider in your analysis, where relevant,theconceptofgesamtkunstwerk,theimportanceofornament,materialsandfunction, themeansofproductionanddesigninfluences. Allstudentstoreadtheseprimarysources: Loos, Adolf, Ornament and Crime (1908) in The Architecture of Adolf Loos: an Arts Council Exhibition,London:ArtsCouncilofGreatBritain,1985,pp.100103. Sullivan, Louis, Ornament in Architecture (1892) in Kindergarten Chats and Other Writings, NewYork:GeorgeWittenborn,Scultz,1947,pp.187190. Wagner,Otto,StylefromModernArchitecture:aGuidebookforHisStudentstothisFieldofArt [1902], introductionand translationbyHarry FrancisMallgrave,Santa Monica[California]: GettyCenterfortheHistoryofArtandtheHumanities,1988,pp.7380.

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Allstudentstoreadthissecondarysource: Hearn,Fil,DecorationandtheIntegrityofDesign,inIdeasthatShapedBuildings,Cambridge [Massachusetts]:TheMITPress,2003,pp.271280. Presentersmustread: Banham, Reyner, Ornament and Crime: The Decisive Contribution of Adolf Loos, ArchitecturalReview,February1957,pp.8588. Frampton, Kenneth, Chapter 6: The Sacred Spring: Wagner, Olbrich and Hoffman 1886 1912andChapter8:AdolfLoosandtheCrisisofCulture18961931inModernArchitecture: ACriticalHistory,London:ThamesandHudson,1980,pp.7883,9095. Mallgrave,Harry,extractfromIntroductioninOttoWagner,ModernArchitecture:a GuidebookforHisStudentstothisFieldofArt[1902],introductionandtranslationbyHarry FrancisMallgrave,SantaMonica[California]:GettyCenterfortheHistoryofArtandthe Humanities,1988,pp.2545.

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