ARCHITECTURE ARCT2210

ARCHITECTURE: MODERN HISTORY

Semester Semester 1 2007

This unit examines twentieth-century Western architecture from the reformist movements of the late nineteenth century to the contemporary period. The theories and work of designers are discussed in relation to the major themes of Modernism: industrial revolution, abstract formalism, expressionism, utopianism, the relation of architecture and ideology, functionalism, regionalism, and recent reactions to Modernist orthodoxy.

Unit Coordinator: Nigel Westbrook

ARCT2210 Architecture: Modern History

Semester One 2007

Faculty of Architecture, Landscape and Visual Arts, The University of Western Australia, Semester One 2007 Unit Coordinator: Nigel Westbrook

ARCT2210 Architecture: Modern History

Semester One 2007

Contents

Lecture Topics ....................................................................................................... 2 Tutorial Topics........................................................................................................ 3 Introduction............................................................................................................. 4 Reading ................................................................................................................. 6 Assessment ............................................................................................................ 9 Weekly Programs .............................................................................................. ...12 Notes On Essay Writing ...................................................................................... 26

Faculty of Architecture, Landscape and Visual Arts, The University of Western Australia

ARCT2210 Architecture: Modern History

Semester One 2007

Semester Diary
WK DATE 1 LECTURE TOPICS

28 February Framing Modernism Historiography and Modern Architecture Art Nouveau 1890-1910 7 March Chicago: The New Frontier Louis Sullivan and the Chicago School Frank Lloyd Wright and the Prairie School Culture, Industry and the Will to Form The Deutscher Werkbund Expressionism The City: Process, Form and Reactions The Modern City: Vienna, the Ringstrasse and the Secession Adolf Loos The Avant-gardes in Holland and Russia De Stijl Constructivism and Abstract Formalism PROSH - no lectures Non-Teaching Study Week Le Corbusier and Modern Architecture Le Corbusier: Theory, domestic architecture, public buildings Le Corbusier: the new city The Dialectic of the Modern The Bauhaus: from Gropius to Mies The Return to Order and Modernity (WEB-BASED LECTURE) (WEB-BASED LECTURE)

14 March

21 March

28 March

4 April 9 April

18 April

25 April

2 May

Rationalism CIAM and the Issue of Social Housing Modernism, Nationalism, and Neo-Realism Submission of essay Regional Variations Architecture in Scandinavia 1910-65 Le Corbusier: Chandigargh and South American Modernism Modern Architecture in America The Modern American House: Usonia and California Mies, Kahn and the return to Monumentalism Critiques of the Modern Movement Brutalism, the Smithsons, Team X and the end of CIAM Postmodernism No lectures 1st Semester ends

7 May 10 9 May

11

16 May

12

23 May

13 14

30 May 1 June

Faculty of Architecture, Landscape and Visual Arts, The University of Western Australia

ARCT2210 Architecture: Modern History

Semester One 2007

Semester Diary
WK DATE 1 2 27 Feb 6 March TUTORIAL TOPIC No tutorials Tutorial Introduction Reading: A. Colquhoun, Modern Architecture, Oxford University Press, Oxford, 2002, Chapter 1 Library tutorials at times to be advised 13 March Building Case-Study: F. L. Wright, Unity Temple, Oak Park Illinois,1905 Reading: Colquhoun, Chapter 2, pp. 51-55; Frampton, Modern Architecture, pp. 57-63 Discussion of essay abstract Building Case-Study: A. Loos, Mller house, Prague, 1930 Reading: Colquhoun, Chapter 4 Submission of essay abstract Building Case-Study: Melnikov, Soviet Pavilion, Paris Exhibition of Decorative Arts, France, 1925 Reading: Colquhoun, Chapter 6, pp. 120-35 Non-Teaching Study Break- No Tutorials Essay Tutorials Building Case-Study: Le Corbusier, Stein House, Garches, France, 1927 Reading: Colquhoun, Chapter 7, pp. 138-149 Building Case-Study: W. Gropius, Total Theatre for Erwin Piscator (project), Berlin, 1926 Reading: Colquhoun, Chapter 8 Submission of essay Building Case-Study: G. Terragni, Danteum (project for Rome), Italy, 1938 Reading: Colquhoun, Chapter 9, pp. 183-186; Frampton, Modern Architecture, Ch. 23 Building Case-Study: A. Aalto, Carr House, Bazoches-sur-Guyonne, France, 1959 Reading: Colquhoun, Chapter 10, pp. 200-207 Building Case-Study: C. & R. Eames, Case Study House, Pacific Palisades, California, USA, 1949 Reading: Colquhoun, Chapter 12, pp. 231-37 No Tutorials

2 3

4 5

20 March 27 March

2 April 6 3 April

9 April 7 8 17 April 24 April

1 May

7 May 10 8 May

11

15 May

12

22 May

13

29 May

Faculty of Architecture, Landscape and Visual Arts, The University of Western Australia

ARCT2210 Architecture: Modern History

Semester One 2007

INTRODUCTION
This unit offers an account of architectural Modernism, examining selected aspects of twentieth century Western architecture and urban design, viewed in relation to the transformations of culture and society from the reformist movements of the late nineteenth century to the contemporary period. The theories and works of designers are discussed in relation to the major themes of Modernism, as they emerge out of the political, cultural, economic and industrial transformations of the Nineteenth Century, which in turn grew out of the secularist revolutionary ferment of the French Revolution, and the industrial expansionism of the nineteenth-century nation states. If the various diverse, and sometimes incompatible, practices of Modernism are considered in relation to each other, they constitute less a single picture of cultural progress than a wide-ranging debate. Thus, beginning with the Arts and Crafts movement there is a whole strand of Modernism that grows out of the Romantic movement that is, at best, ambivalent towards industrial progress. The Futurists, on the other hand, sought to forge a new culture out of the transformation of perceptions brought about by industrialization producing, in effect, a machine aesthetic. In contrast to the seductive representation of speed and dynamism in Futurist art and architecture, the attention to form and design that permeated De Stijl was, for all its Modernist trappings, a means of subordinating the technological to the aesthetic, through the abstraction of the natural world. The post-Second World War period witnessed the apparent triumph of Modernism as the dominant cultural form, but also, paradoxically, the weakening of its ideological basis. The implicit political, reformist agenda of Modernism did not survive its transition to either an American, or an Australian context, while in Europe the techniques and practices of Modernism were required to confront the crisis of their bomb-ravaged cities, in the ethical shadow cast by the Holocaust. The issues of prewar CIAM congresses were re-addressed to deal with an urgent need for mass housing and urban infrastructure. In England, the Mediterranean basin, Germany and Scandinavia, pre-war Modernist cultures were revived and re-evaluated, with greater emphasis on the humane qualities of the traditional city. The new sciences of sociology and anthropology complicated the idea of the modern, calling into question simplistic organic or mechanical models of the city and human habitation. Thematic issues discussed in this unit will include: responses to the industrial revolution, abstract formalism, expressionism, utopianism, the relation of architecture and ideology, functionalism, regionalism, and recent reactions to Modernist orthodoxy. It is intended that the course will provide a useful introduction to the themes and issues found in the contemporary culture of architecture, both international and local.

Learning outcomes
Students obtain an understanding of the key themes and developments in modern architecture, focusing on the period from the late nineteenth century to the period of critiques of the Modern Movement. They gain experience in the articulation and presentation of architectural concepts in relation to the evaluation of architectural projects and learn to communicate effectively through verbal and written submissions.

Content
This unit examines twentieth-century Western architecture from the reformist movements of the late nineteenth century to the contemporary period. The theories and work of designers are discussed in relation to the major themes of Modernism: industrial revolution, abstract formalism, expressionism, utopianism, the relation of architecture and ideology, functionalism, regionalism, and recent reactions to Modernist orthodoxy.

Prerequisites
Prerequisites: either VISA1102 Art: Idealism to the Everyday and ARCT1120 Art and Architectural History 2

Faculty of Architecture, Landscape and Visual Arts, The University of Western Australia

ARCT2210 Architecture: Modern History

Semester One 2007

Credit Points
Six

Unit structure/formats
The unit comprises two lectures and one tutorial per week. All the lectures take place in the Hew Roberts Lecture Theatre (Wednesdays 11.00am and 12.00pm) and the tutorials in ALVA tutorial rooms (Tuesday mornings, duration one hour, scheduled between 9am and 1pm). Each student will be allocated a place in a tutorial group and these will be posted on the ALVA pin-up boards together with time and room number. It is expected that students will attend all lectures and all tutorials.

The following Items marked with an asterisk are standard documents that are available on-line: Submission of assignments
FALVA Extension policy * (See ALVA website) FALVA policy on late work * (See ALVA website) FALVA policy on digital submissions * (see ALVA website)

Academic Misconduct/plagiarism
FALVA policy * (See ALVA website)

Appeals against academic assessment

University Policy* (See ALVA website)

Charter of Student rights

University Policy* (See ALVA website)

*Policy and Procedural information for the Faculty is available on the web at www.alva.uwa.edu.au/current_students/forms_and_policies

Unit Staff
Coordinator/Lecturer: Nigel Westbrook Nigel.Westbrook@uwa.edu.au Tel: 6488 2592 Fax: 6488 1082 Available for consultation Wednesdays 1-3pm. Professor Geoffrey London Geoffrey.London@uwa.edu.au Tel: 6488 2588 Fax: 6488 1082 Available for consultation Wednesdays 1-3pm. Ms. Anastasia Katsimbardis Ms. Annette Condello

Lecturer:

Tutors:

Communication outside lectures and tutorials will occur by email, so all students should ensure (a) (b) (c) that they activate their Pheme account and student email account that they check their account regularly (at least weekly) that they communicate with University staff ONLY through their student email account. (Staff have been advised not to respond by email to any other addresses.)

Faculty of Architecture, Landscape and Visual Arts, The University of Western Australia

ARCT2210 Architecture: Modern History

Semester One 2007

READING TEXT BOOK

Alan Colquhoun, A., Modern Architecture, Oxford 2002, should be purchased as a general reference text. Readings from this book are required for full participation in the tutorials. Copies will be available in the EDFAA library on reserve

FURTHER TEXTS
The following books provide a useful introduction, while some provide detailed information on a specific area. A number of the books promote divergent viewpoints. Most include extensive bibliographies which provide good starting points for the more detailed research necessary for tutorial presentations and essays: Benevolo L. History of Modern Architecture vols. 1 & 2, London 1971, 1st edn 1960. Collins, P. Changing Ideals in Modern Architecture , London, 1965. Colquhoun A., Essays in Architectural Criticism: Modern Architecture and Historical Change, Cambridge, Mass. 1985. Conrads U. Programmes and Manifestos on Twentieth Century Architecture, Cambridge, Mass. 1970. Curtis, W., Modern Architecture Since 1900 [3rd edition], Oxford, 1996. Frampton K., Modern Architecture: A Critical History Thames & Hudson, London 1992 and later editions Giedion, S. Space, Time and Architecture , Cambridge, Mass., 3rd edn. 1954. Heynen, H., Architecture and modernity: a critique, Cambridge, Mass., c1999 Ghirardo, D.Y., Architecture after Modernism, N.Y., 1996 Hays K.M., Oppositions Reader: selected readings from a journal for ideas and criticism in architecture, 1973-1984, N.Y. 1998 [individual copies of Oppositions are available in the ALVA resource room not for loan] Hitchcock, H. R. Architecture: Nineteenth and Twentieth Centuries, 3rd edn, Harmondsworth and Baltimore, 1968. Rowe C. The Mathematics of the Ideal Villa and Other Essays, London 1982. Tafuri M. & Dal Co F. Modern Architecture, London 1979, 1986 Tournikiotis, P., The historiography of modern architecture, Cambridge, Mass., 1999 Venturi R. Complexity and Contradiction in Architecture, N.Y. 1966. Modern Art Richardson T. & Stangos N. (eds) Concepts of Modern Art, London 1981. Landscape Architecture Wrede S. & Adams W. H. Denatured Visions : landscape and culture in the twentieth century, N.Y. c1991

All books listed above are held in the EDFAA (Education, Fine Arts, and Architecture) Library reserve collection. All other readings listed under the following lecture abstracts are available for 3 day loans.

Faculty of Architecture, Landscape and Visual Arts, The University of Western Australia

ARCT2210 Architecture: Modern History

Semester One 2007

JOURNALS
Contemporary journals give a first hand picture of current issues in architecture. Also, the EDFAA journal collection extends over many years and provides useful detailed material for tutorials and essays. It is valuable to spend some time each week in the EDFAA Library reading from the large number of journals relevant to this unit. Journals may not be borrowed which means that they are always available in EDFAA for reference.

Journals of particular relevance:

Architectural Review Architects Journal (AJ) Casabella Domus El Croquis Grey Room Lotus Quaderns l'Architecture d'aujourd'hui Discontinued journals of use include: Oppositions (in ALVA resource Room, see also Oppositions Reader (EDFAA)) Assemblage (EDFAA) The EDFAA Library also has a large collection of fine arts journals and students are encouraged to consult these to gain an understanding of the issues effecting the broader visual culture during the period of time studied in this unit.

JOURNAL ARTICLE SEARCHES How to Find Journal Articles

To find articles on a specific topic you can look in journal indexes which are available in various formats, eg. print, CD-Rom or networked database. Main journal indexes in Architecture are: Australian Architectural Periodicals Index Avery Index to Architectural Periodicals Architectural Periodicals Index Art Index networked database AUSTROM ARCH, pre 1980 on microfiche. networked database through CygNET Print index, annual volumes. CD-Rom, use print volumes for pre-1980 -also indexes major US architecture journals

Encyclopaedias and Dictionaries

For definitions, introductory information and biographical data, look at the specialised dictionaries and encyclopaedias in the EDFAA reference collection. Key references are: Contemporary Architects: International Dictionary of Architects and Architecture: A Visual Dictionary of Architecture: The World Atlas of Architecture: R720.922 1994 CON R720.9 1993 INT R720.3 1995 VIS R720.9 1984 WOR

Faculty of Architecture, Landscape and Visual Arts, The University of Western Australia

ARCT2210 Architecture: Modern History

Semester One 2007

World Wide Web

There is a wide range of useful resources on the Internet relating to architecture and the visual arts. Use the Web Subject Guides or Web Search Engines options on CygNET Online to find information on architects, architectural projects, world architecture, exhibitions, and imagery archives. Be aware that the quality of web sites vary according to the knowledge and expertise of the web page provider. Good sites to start with are: The Architecture and Landscape Architecture Virtual Library: http://www.clr.toronto.edu: 1080/VIRTUALLIB/arch.html Getty Information Institute: www.gii.getty.edu University of Pennsylvania Architectural Archives: http://www.design.upenn.edu/archives/archives/index.html Kidder Smith Image Archive MIT http://libraries.mit.edu/rvc/kidder/photos/ UIC Art History Imagebank http://www.uic.edu/depts/ahaa/classes/ah111/imagebank.html A.N.U. Art and Architecture Imagebank (ArtServe) http://rubens.anu.edu.au/ University of California Berkeley Image Sources for the Built Environment http://www.lib.berkeley.edu/ENVI/pict.html Courtauld Institute of Art: Art and Architecture (U.K.)- lots of period images http://www.artandarchitecture.org.uk/index.html

Research Records
Keep a comprehensive record of the sources you research. This will save you going over the same ground twice. Take down details of the references you find (including web page addresses on the Internet). Otherwise you may waste considerable time trying to find details of an incomplete reference for your bibliography. Electronic referencing programmes such as End-Note may be of assistance.

NOTE:
You are strongly encouraged to become familiar with the EDFAA Library and its search facilities. Staff at the EDFAA Library Information Desk will provide advice on any aspect of the above.

Web Access to Unit WEBCT Image Files, Lecture Texts (week 8) and Notes: Access to course materials will be as follows: Via internet on: http://webct6.uwa.edu.au Log in: User name (student number) Password (pheme password) Select : ARCT2210 Week (.)

Faculty of Architecture, Landscape and Visual Arts, The University of Western Australia

ARCT2210 Architecture: Modern History

Semester One 2007

ASSESSMENT
Students will be assessed and marks awarded proportionally as follows: 1. Tutorial participation and nominated responses...................................................................... 40% 2. Essay (due by 10am Monday 7 May)...................................................................................... 40% 3. Examination ............................................................................................................................ 20%

TUTORIALS
The tutorial program provides support for the lectures and involves two aspects: the discussion of nominated chapters from the recommended unit text, and the analysis of nominated architectural works with the development of an understanding of their theoretical and cultural context. Tutorials (p.3) have set readings for each week which are required for ALL students. Each student will be allocated the responsibility of leading the discussion on one architectural work during the semester. This presentation will often be shared with one other student. In leading this discussion focus should be directed to the broad questions related to the project what, why, how, where, has it been designed? Consideration should be given to how the building sits within the architects' own output. Consider the following: Architects refer to the main generating idea, (sometimes called parti), of a design. What was the main generating idea of the project you are studying? Explain this, using both verbal and graphical description. Some headings for graphical analysis are given below. Treat these as a starting point. Use initiative- the focus of the analysis will change in accordance with the nature of the project. Presenters should use readings nominated in the unit guide together with readings emerging from individual research. Dont just repeat material from the lecture, and avoid simple description which does not involve critical analysis. When nominated to work in a pair, students should consult closely to allocate tasks and avoid repetition. Presentation format is to be Powerpoint, using the data projector and computer supplied by the School. Those presenting should rehearse their presentation before the tutorial to resolve any potential problems - including timing. This is a rare opportunity to study a single building in great detail - a process that if undertaken with rigour will provide an excellent set of analytical tools for individual design work. One week after presenting in class each student is required to submit a tutorial paper of no more than 1500 words. This paper should include analytical diagrams of the building being examined. The paper should be modified from the original tutorial presentation in response to observations made during the tutorial session. This paper is to be submitted to the Faculty Resource Room by 9.00am on the Tuesday following your presentation. Tutorials are considered vital to a full understanding of this unit of study - they provide the opportunity for the amplification of issues raised in lectures and the testing of student comprehension of these issues. Contributions to ALL tutorial discussions are essential and subsequently form part of the unit assessment. It is the responsibility of the WHOLE tutorial group to prepare for each weeks discussion. Please consult with your tutor if you are experiencing problems with any part of the course.

Faculty of Architecture, Landscape and Visual Arts, The University of Western Australia

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ARCT2210 Architecture: Modern History

Semester One 2007

Graphical Analysis: Minimum Requirements for Powerpoint Presentations

1. Site: Location (How does building relate to site visually, materially and functionally?) Access (How is building accessed? Eg. Public/ users/ service) 2. Plan: Composition (geometrical basis, underlying grids, use of forms and/ or shapes ) Functional separation/ overlap (eg. day space/ night space; public/ private; inside/ outside) Circulation (how do the various users of the building move through it, eg. owners/ servants) Structure/partition (Which elements in plan serve a functional role; which are non-structural space dividers?) 3. Facades Geometry (Geometrical basis for composition: gridlines, proportions & relationships) Composition of planes which constitute facade within 2 or 3 dimensions Composition of materials/ surfaces Transparency (visual and spatial depth/ shallowness) Spatial extension/ transformation open/closed 4. Section Levels (how do they relate?) Definition of volumes Visual connections between levels and spaces Structure (what are the structural elements; how do they contribute; how do they help to form the spaces?) 5.Volumetric Analysis Represent volumes, planes and elements of which building is composed: represent graphically in three dimensions 6. Conceptual diagram of design strategy How could design strategy be abstractly represented? The graphical analysis is to be of a high standard of clarity and presentation skills. You are required to prepare your own drawings - do not recycle drawings found in books or web-sites! You may find it useful to consult F. Ching, Architecture: Form, Space and Order for examples of appropriate graphical analysis. There are numerous other useful references in the EDFAA library.

Faculty of Architecture, Landscape and Visual Arts, The University of Western Australia

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ARCT2210 Architecture: Modern History

Semester One 2007

ESSAYS Submissions: Abstract of Essay 10 am Monday 2nd April 2007 (at latest)

A one page [maximum] abstract of the essay, including a bibliography, is to be submitted to the Resource Room in the School of Architecture, Landscape and Fine Arts (ALVA). The abstract should outline the approach you are taking to the topic and to the essay structure. All abstracts will be checked and returned with comments. Submission of the essay will be conditional on completion of an acceptable abstract. The abstract and its bibliography will demonstrate an awareness of and use of a range of reference sources in architecture and related subject areas.

Final Essay

10am Monday 7th May 2007 (at latest)

The completed essay, including bibliography and thorough footnotes, is to be submitted to the Resource Room in the School of Architecture Landscape and Fine Arts (ALVA).

Note:
No essays or abstracts will be accepted at the front desk or at tutors offices. You must keep a photocopy of all work submitted. All written work must have a cover sheet attached. (Cover sheets are available from the School of Architecture and Fine Arts Resource Room.) It is strongly recommended that essays be typed.

Essay Topics:
Topics relating to each lecture are listed under the weekly lecture abstracts. You are to choose one of these topics to form your essay and abstract. You may propose a topic other than one of those listed in this course guide but you must have the new topic accepted by your tutor.

You must select topics from lectures that are different from the tutorial discussions that you are nominated to lead. Length of Essays:
2nd year students 3rd year BA students within the range of 2500 to 3000 words (body text). within the range of 3500 to 4000 words (body text).

Essays that exceed the specified maximum word length will be penalised. Note: See the section at the rear of this course guide on essay writing and assessment criteria.

EXAMINATION
At the conclusion of this unit of study there will be a 2 hour examination, the purpose of which is to assess the breadth and detail of your understanding of the issues raised in the course. Regular attendance of lectures and tutorials will be required to successfully complete the examination.

Faculty of Architecture, Landscape and Visual Arts, The University of Western Australia

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ARCT2210 Architecture: Modern History

Semester One 2007

WEEK ONE Framing Modernism Lecture One: Historiography and Modern Architecture
This lecture begins to deal with the role of architectural historians in their reporting of architectural events. Initially, the lecture explores the importance placed upon 'the machine' as an alternative identity for humanity. As the premier model of rational progress, the community of machine production, known collectively as 'industry,' became in the eyes of some architects and artists, a desirable alternative culture. Two key texts will be examined, Pevsner's Pioneers of Modern Design and Banham's Theory and Design in the First Machine Age, and their versions of history plotted and exposed. Reading:
Banham R. Theory and Design in the First Machine Age London 1960. Burckhardt, L (ed.), The Werkbund : studies in the history and ideology of the Deutscher Werkbund 19071933, London: Design Council, 1980. Dal Co F. Figures of Architecture and Thought: German Architecture Culture 18801920 New York 1990. Pevsner N. Pioneers of Modern Design Penguin, London 1960. Tafuri M., The Sphere and the Labyrinth Tafuri M., Theories and History of architecture Nesbitt K.,Theorizing A New Agenda For Architecture: An Anthology Of Architectural Theory 1965-1995, 1996 Leach N., Rethinking Architecture: A Reader In Cultural Theory, 1997

Essay:
Offer a critical historiographic analysis of Alan Colquhouns writings on architecture.

Lecture Two: Art Nouveau 1890-1910

Walter Benjamin viewed Art Nouveau as representing the last attempt at a sortie [against machine culture] on the part of art imprisoned by technical advance within her ivory tower. The period of Art Nouveau has been characterised both as a progressive movement which showed a way out of historical revivalism and as a retrograde movement which attempted to ameliorate the shock of urban change by the aestheticisation of industrial production. Starting with the French structural rationalist tradition derived from the writings of Viollet-le-Duc, the lecture discusses the development of the Art Nouveau movements in Belgium and France. The lecture also introduces the extraordinary regional response to Viollet-le-Duc by the Catalan architect, Antonio Gaudi. Reading:
Aubry F. [ed.], Horta: Art Nouveau to Modernism, Ghent 1996 Bassegoda Nonell, J., Antonio Gaud : Master Architect, N.Y. c2000 Burry M., Expiatory Church of the Sagrada Familia: Antoni Gaudi, London: 1993 Loyer F., Victor Horta: Htel Tassel, Brussels, 1986 Martinell C., Gaudi : his life, his theories, his work, Cambridge, Mass.1975 Rheims M., Hector Guimard, N.Y. 1988 Russell F., Art Nouveau Architecture, N.Y. 1979 Sola-Morales Rubio I., Gaudi, N.Y.

Essay:
Discuss Art Nouveau in terms of its enlistment of nature, using the example of at least two Art Nouveau architects.

Faculty of Architecture, Landscape and Visual Arts, The University of Western Australia

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ARCT2210 Architecture: Modern History

Semester One 2007

WEEK TWO Chicago: The New Frontier Lecture One: Louis Sullivan and the Chicago School
The period of the late Nineteenth Century in the United States was one of rapid and sustained urbanisation, resulting from the opening up of the mid-west, the relocation of the rural population and the waves of foreign immigration. The new cities were the sites both of laissez-faire development, symbolised by the figure of the skyscraper, institutions and of urban infrastructure. Architectural production was marked by an opposition between the Beaux-Arts Classicism of the Chicago Exhibition and the native American tradition represented by Louis Sullivan and developed by Frank Lloyd Wright.

Lecture Two: Frank Lloyd Wright and the Prairie School

Frank Lloyd Wrights dream of America is unique for the forcefulness with which he pursued it. Inspired by a Whitmanesque vision of modern society, an alliance of progress, freedom and individuality, Wright endeavoured through his life to create a uniquely American architecture. To a large degree he was successful, for his influence upon others always remained greater than his debt to them. Wright is responsible for some of the major shifts in domestic planning that we experience today Reading:
Brooks Pfeiffer, B. [ed.], Frank Lloyd Wright in the realm of ideas, Carbondale c1988 Brooks, H. A., The Prairie School: Frank Lloyd Wright and his Midwest Contemporaries, Toronto 1972 Connors, J., The Robie House of Frank Lloyd Wright, Chicago 1984 Hitchcock H. R., In the Nature of Materials 18871941: The Buildings of Frank Lloyd Wright. N.Y. 1973 [c1942] Hitchcock H. R., The Architecture of H. H. Richardson N.Y. 1961 [1936] Kauffmann E. Jr., Nine Commentaries on Frank Lloyd Wright N.Y. 1989 Manieri Elia, M., Louis Henry Sullivan, N.Y. 1996 O'Gorman, J. F., Three American architects: Richardson, Sullivan, and Wright, 1865-1915, Chicago 1991 Scully V., Frank Lloyd Wright, London 1960.

Essay:
Using several of his Prairie School period projects as examples, discuss Wrights technique of interpenetrating spatial volumes and tectonic solids. How did this transform the perception of space within and without his buildings?

Faculty of Architecture, Landscape and Visual Arts, The University of Western Australia

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ARCT2210 Architecture: Modern History

Semester One 2007

WEEK THREE Culture, Industry and the Will to Form Lecture One: The Deutscher Werkbund
This lecture sets out the nature of artistic and cultural reform wrought in Germany in the decade leading up to WWI by the Deutscher Werkbund. Modelled initially on the English Arts and Crafts guilds, it developed into an attempt to fuse art and industry productively rather than reject industry as had its English predecessors. Reading:
Anderson S. Modern Architecture and Industry: Peter Behrens and the AEG Factories Oppositions 23, Winter 1981. Anderson S. Modern Architecture and Industry: Peter Behrens and the Cultural Policy of Historical Determinism Oppositions 11, Winter 1977. Buddensieg, T. Industriekultur: Peter Behrens and the AEG, 1907-1914, Cambridge, Mass: M.I.T. Press, 1984. Burckhardt, L (ed.), The Werkbund : studies in the history and ideology of the Deutscher Werkbund 19071933, London: Design Council, 1980. Campbell J. The German Werkbund: The Politics of Reform in the Applied Arts 1978. Dal Co F. Figures of Architecture and Thought: German Architecture Culture 18801920 New York 1990. Schwartz, F. The Werkbund: Design Theory and Mass Culture before the First World War, New Haven, 1996

Essay Topic:
For later modernists, form was supposed to follow function. Discuss the function(s) of form within the Deutscher Werkbund, with reference to several key projects.

Lecture Two: Expressionism

Among the avant-garde movements growing out of the shock of WW1 were the Dutch and German Expressionists. This movement embraced all the arts, and was socially and politically committed. This lecture investigates the intuitive approach of the Expressionists, who explored the concept of will to form, in seeking a transcendental, psychologically affective architecture. Reading:
Bock, M., Michel de Klerk... Rotterdam c1997 Conrads U. & Sperlich H. G., Fantastic Architecture, London, 1963. de Wit W., The Amsterdam School... Cambridge, Mass., 1983. Mendelsohn E., Eric Mendelsohn : Architect, 1887-1953, N.Y. 1999 Pehnt W., Expressionist Architecture, London, 1973. Pevsner N. & Richards J. M. (eds), The Anti-Rationalists, London, 1973.

Essay Topic:
Expressionism was a centrally important tendency within modern art, yet it was marginalised by Modernist architectural historians. Drawing upon architectural examples, demonstrate whether, and if so how, its application within architecture can be deemed modern.

Faculty of Architecture, Landscape and Visual Arts, The University of Western Australia

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ARCT2210 Architecture: Modern History

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WEEK FOUR The City: Process, Form and Reactions Lecture One: The Modern City: Vienna, the Ringstrasse and the Secession
Vienna, together with Paris and Berlin, had developed into one of the centres of European culture in the nineteenth century. Its growth into a Grosstadt, a metropolis, had a profound effect on the sensibilities of city dwellers, while the rapid development gave rise both to social crises and to new opportunities for cultural exploration and experimentation. This lecture will discuss the urban and cultural conditions prevalent in fin-de-siecle Vienna and the urban reconstruction epitomised by the Ringstrasse together with the reaction to it, first by Camillo Sitte, and then by the Viennese Secessionists. Reading:
Benevolo L. History of Modern Architecture vol. 1, chs 26; 1011. Benevolo L. The History of the City London 1980. Choay F. The Modern City: Planning in the 19th Century London 1969. Olsen D. J. The City as a Work of Art: London Paris Vienna New Haven 1986. Schorske C. E. Fin-de-sicle Vienna: Politics and Culture London 1980. Sitte C. City Planning According to Artistic Principles Columbia 1965. Sola-Morales M. de 'Towards a Definition: Analysis of Urban Growth in the Nineteenth Century' Lotus 19 Jun 1978 pp. 2836.

Essay:
In addition to his role as a leader of the Secessionists, Otto Wagner developed clear attitudes to city planning. Offer a critical analysis of this aspect of his work together with a discussion of how his theories of planning related to the forms of his Secessionist architecture.

Lecture Two: Adolf Loos

Manfredo Tafuri has used the term The Eclipse of History to refer to the nature of the antihistoricism of early architectural Modernism. The lecture then examines the response to aestheticism and modernity by Adolf Loos, an architect who has occupied an ambiguous and problematical position in the histories of Modernism. Reading:
Frampton K. Modern Architecture: A Critical History Part II, chs 4,8,9 & 11. Gravagnuolo B. Adolf Loos Milan 1982. Loos, Adolf Spoken into the Void: Collected Essays 18971900 Cambridge, Mass. 1982. Risselada M. Raumplan versus Plan Libre Adolf Loos and Le Corbusier 191930 New York, 1988. Schorske C. E. Fin-de-sicle Vienna: Politics and Culture London 1980. Tournikiotis P., Adolf Loos, Princeton N.J., 1994 C.Jara, Adolf Loos Raumplan Theory, in Journal of Architectural Education, Volume 48 No.3, February 1995

Essay:
Using specific examples, discuss the psychological function of colour, reflectance and materiality in Loos Raumplan interiors. How do they contribute to the application of his Raumplan theory?

Faculty of Architecture, Landscape and Visual Arts, The University of Western Australia

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WEEK FIVE The Avant-gardes in Holland and Russia Lecture One: De Stijl
This lecture discusses the De Stijl movement in Holland which had its base in art, mathematics and esoteric philosophy. It pursued a universal harmony that could, its proponents believed, be manifested through art and architecture. The key theorists of the group were the artists Van Doesburg and Mondrian. A key influence upon the de Stijl architects was the work of Frank Lloyd Wright, available in Europe after the publication of the German Wasmuth edition of his projects in 1911. Wrights search for a spiritual unity in architecture found its echo in the early De Stijl projects. De Stijl forged new ground after its contacts with the Russian avant-garde in 1922. Van Doesburg, Van Eesteren and Rietveld developed a highly abstract style that was in its turn to profoundly influence the later Modernist architecture. The crisis for De Stijl came with a debate among the avant-garde over function versus aesthetics. Function won. Readings:
Blotkamp C. (ed.), De Stijl: The Formative Years, 191722 Cambridge, Mass., 1986. Doig A., Theo Van Doesburg: Painting into Architecture...,Cambridge, N.Y., 1986. Freidman D. (ed.), De Stijl: 191731 Visions of Utopia, Oxford l982. Jaffe H., De Stijl, 1917-1931: Visions of Utopia, London, l970. -The "de stijl" group, Amsterdam Jaffe, H., Mondrian und De Stijl. =De Stijl [extracts from the magazine] London 1970 Overy P., De Stijl, London, 1991. Overy P., The Rietveld Schroder House, Cambridge, Mass., 1988. Kper M. & van Zijl I., Gerrit Th. Rietveld 18881964: The Complete Works, Utrecht, 1993. Troy N. J., The De Stijl environment Cambridge, Mass c1983 De Stijl : de nieuwe beelding in de architectuur = neo-plasticism in architecture Delft -Den Haag 1983 De Stijl [reprint of original magazine-in journals], Amsterdam 1968 Lemoine S., Mondrian and De Stijl, England 1987 Fauchereau S., Mondrian and the neo-plasticist utopia, N.Y. 1994 de Rond, D., Rietveld in Amsterdam : alle uitgevoerde en niet uitgevoerde projekten = Rietveld in Amsterdam : all executed and unexecuted projects, Rotterdam c1988

Essay Topic:
Make a comparison through analysis of underlying philosophy, formal composition, appearance of materials, and colour palette, of Rietvelds Schroder House and its furniture, and one or more examples of Wrights Prairie School houses

Lecture Two: Constructivism and Abstract Formalism

The second lecture introduces the development of abstract formalism in USSR, which was intimately linked to the aspirations of the 1917 Revolution. The Suprematist experiments of Malevich led to the development of a body of abstract formalist work ranging in scale from new typography to expressions of a revolutionary architecture such as Tatlins Tower, and most significantly, to the creation of a constructivist language of formal composition, under the leadership of El Lissitzky, one that greatly influenced later Modernist aesthetics. While it drew on the formal and technical developments of Le Corbusier and Western rationalism, Constructivism was also expressionist at its heart. Constructivism was subsequently denounced as abstract and decadent by Stalinist authorities, who favoured a return to classical and folk traditions. Readings:
Bann S., The Tradition of Constructivism, New York, 1972. Dluhosch E., The Failure of the Soviet Avant Garde, Oppositions 10, pp.3055. Ginzburg M., Style and Epoch, Cambridge Mass., 1982. Khan-Magomedov S.O., Alexandr Vesnin and Russian Constructivism, London 1986 Kopp A., Constructivist Architecture in the USSR, London, N.Y. 1985. Lissitzky E., An Architecture for World Revolution, Cambridge Mass., 1970 [1930] Lissitzky-Kuppers S., El Lissitzky, Life, Letters, Texts, London 1980

Essay Topic:
Discuss the semiotic function of several Constructivist projects. In this respect, how can they be compared with Western functionalist architecture?
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Faculty of Architecture, Landscape and Visual Arts, The University of Western Australia

ARCT2210 Architecture: Modern History

Semester One 2007

WEEK SIX PROSH: NO LECTURES

Note: tutorials for architecture and fine arts students will take place as usual in week six.

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WEEK SEVEN

Le Corbusier and Modern Architecture Lecture One: Le Corbusier: Theory, domestic architecture, public buildings
Purism was the particular invention of the Swiss-French architect Charles Edouard Jeanneret (known as Le Corbusier) and Amde Ozenfant. Incorporating the formal sophistications of Cubism with an emphasis upon the idea of precision and a celebration of the machine, the works of Purism proposed a sense of order within the chaos of modern life. This lecture deals with the manner in which Le Corbusiers ideas on modern architecture took form and were expressed.

Lecture Two: Le Corbusier: the new city

Le Corbusier's proposals for new city forms dated from 1922, the Ville Contemporaine, and were a radical departure from existing cities. Le Corbusier's cities comprised transport nodes in the manner of the Futurists and free-standing towers set in parklands. This lecture traces Le Corbusier's city proposals of the 1920s and 1930s and the theories that informed them. Reading:
Colquhoun A., The Significance of Le Corbusier, in Modernity and the Classical Tradition, 1989 Frampton K. Le Corbusier and l'Esprit Nouveau' Oppositions 15/16, 1979, pp. 1358 Le Corbusier Complete Works 191065 W. Boesiger, Zurich 194565 Le Corbusier Towards a New Architecture Architectural Press, London 1923 Risselada M. Raumplan versus Plan Libre Adolf Loos and Le Corbusier 191930 New York, 1988. Rowe C. The Mathematics of the Ideal Villa & Other Essays 1977. Von Moos S. Le Corbusier: Elements of a Synthesis MIT Press, Cambridge, Mass. 1979 Walden R. (ed.) The Open Hand: Essays on Le Corbusier MIT Press, Cambridge 1977

Essay:
Offer an analysis of Le Corbusiers Maisons Cook and La Roche. Locate the genesis of these projects in his theoretical writings and discuss the influence of these texts on subsequent architectural work by him and others.

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WEEK EIGHT

WEB-BASED LECTURE*

The Dialectic of the Modern Lecture One: The Bauhaus: from Gropius to Mies
This lecture offers an account of the individuals who directed the Bauhaus school in Germany, the major shifts in the schools ideology and its relations with members of the De Stijl group. It plots the change from an expressionist craft-based school directed by Walter Gropius to one that was closely aligned with industry and the New Objectivity. The Bauhaus was an attempt at the unification of the socialist ideals of the German Avant-garde beneath competing desires of individuality and community. Mies' work represents, on an important level, a continuation of the classical formality of the great nineteenth century architect Karl-Friedrich Schinkel. And yet Mies' architecture is modern and obsessively so. There is an element of nihilistic introspection in Mies' work that pushed him to examine the formal limits of the concepts of 'architecture' and 'building', to divine the true nature of Baukunst - built-art. Reading:
Blaser W. Mies van der Rohe: Works and Projects New York, 1977. Engels, H. Bauhaus-Architektur, 1919-1933, Mnchen; London 2001 Forgcs, E. The Bauhaus idea and Bauhaus politics, N.Y. 1995. Frampton K. 'Modernism and Tradition in the Work of Mies van der Rohe 192068' in Mies Reconsidered: His Career Legacy and Disciples, 1986, pp. 3553. Herdeg K., The Decorated Diagram: Harvard Architecture & the Failure of the Bauhaus Legacy, Cambridge, Mass. 1983, pp. 235 Hochman, E Architects of fortune: Mies van der Rohe and the Third Reich, 1989. Hochman, E. S. Bauhaus : crucible of Modernism, N.Y. 1997 Johnson P. Mies van der Rohe Museum of Modern Art New York 1978. Lane B., Architecture & Politics in Germany 191845, Cambridge, Mass., 1968. Mies van der Rohe: European works, London: Academy Editions, 1986. Naylor G., The Bauhaus, London, 1969. Neumeyer F The artless word: Mies van der Rohe on the building art, 1991. Schulze, F (ed.) Mies Van Der Rohe: critical essays, 1989. Sola-Morales I., Mies and the Degree Zero, in Lotus #81 Sola-Morales R Mies van der Rohe, 1993. Spaeth, D Mies van der Rohe New York: Rizzoli, 1986. Willett J., Art & Politics in the Weimar Period: The New Sobriety, 191733, 1978. Zukowsky, J. (ed.) Mies reconsidered: his career, legacy, and disciples, 1986.

Essay Topic:
Discuss the role of neo-classicism in architectural projects undertaken by Mies van der Rohe in Europe. In particular, examine his work during the period when the Nazis were in power, and offer a judgement on the relationship between this work and the architectural exhortations of the Nazis..

The Return to Order and Modernity

In the period between WWI and WWII, classicism in architecture and art was invoked as a call to order, as a standardisation of 'style against the individual interpretations of the idea of Modernism. This culminated in the Nazi regime, in particular the problematic work of Albert Speer, and the regimes view of the 'degeneracy' of Modernist art and architecture. The architecture of German and Italian Fascism both grafted their versions of nationalism onto classical precedent Reading:
Broadbent G. (ed.), 'Profile 23: Neo Classicism' Architectural Design 49, 89, 23, London, pp. 27, 5455. Ciucci G. The Classicism of the E42: Between Modernity & Tradition Assemblage 8, Cambridge, Mass. 1989. Doordan D. P. Building Modern Italy: Italian Architecture 191436 New York 1988. Etlin R. A. Modernism in Italian Architecture 18901940 Cambridge, Mass. 1990. Etlin R., Art, Culture and Media Under the Third Reich, 2002. Frampton K., 'A Synoptic View of the Architecture of the Third Reich' Oppositions 12, Spring 1978, pp. 5487. Gregotti V. New Directions in Italian Architecture NY 1968Ghirardo D. Building New Communities: New Deal America & Fascist Italy New Jersey 1989. Hinz B., Art in the Third Reich Munich, l974, New York, l979.
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Schumacher T. Surface and Symbol: Giuseppe Terragni & the Architecture of Italian Rationalism New York 1990, cf. pps 172-208 Tafuri M. Giuseppe Terragni: Subject and mask in Oppositions 11 1977 Taylor R., The Word in Stone: The Role of Architecture in National Socialist Ideology, University of California, Berkeley, California l974.

Essay Topic:
Discuss the function of style, and attitude to modernity and technology in the architectural projects proposed or realised under the National Socialist regime in Germany. Beyond their rhetoric, can they be considered modern in some of their techniques? Discuss.

*Web-based Lectures: Access to lectures will be as follows: Via internet on: http://webct6.uwa.edu.au Log in: User name (student number) Password (pheme password) Select : ARCT2210 Week Eight

Faculty of Architecture, Landscape and Visual Arts, The University of Western Australia

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ARCT2210 Architecture: Modern History

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WEEK NINE Rationalism Lecture Two: CIAM and the Issue of Social Housing
At the 1927 Weienhof exhibition at Stuttgart, organized by Mies van der Rohe for the Deutsche Werkbund, which had brought together many of the leading abstract Modernist architects on one site, it appeared that the various European avant-garde architectural groups had coalesced into a recognisable grouping of common interests, pursuing what they saw as modern architecture. The convergence was further fuelled both by their perception of a hostile reaction from the architectural establishment, and the pressing need in the post-war period for major urban infrastructural and housing reforms. CIAM, the Congrs Internationaux de lArchitecture Moderne, the first international grouping of leading Modernist architects, was born in 1928 out of the perception of a unity of goals, of a common desire to transform architecture and the city. It could be fairly said that the significance of the Congress lay less in any objective achievements, although these were by no means insignificant, but that through the collective identity of the meetings of leading progressive architects and urbanists, the idea of the Modern Movement as a discernible identity was invented. Reading:
Benevolo, L., The History of the City' Ch.13-15. CIAM, Logis et loisirs : 5 e congres CIAM, Paris, 1980 [1937] Ciucci G., The Invention of the Modern Movement, in Oppositions Reader, N.Y. 1998 Hitchcock, H.-R., The international style : architecture since 1922, N.Y. 1932 Ingberman, S., ABC: International Constructivist Architecture, 1922-1939, Cambridge Mass.,1994. Lahiji Friedman eds., Plumbing : sounding modern architecture, N.Y. c1997 Le Corbusier, The City of Tomorrow and its Planning, London 1947 Mumford E. P., The CIAM discourse on urbanism..., Cambridge, Mass.: c2000 Oud, J. J. P. Poetic functionalist : J.J.P. Oud, 1890-1963..., Rotterdam c2001 Schnaidt C., Hannes Meyer, London 1966. van der Woud, A., CIAM, Volkshuisvesting, Stedebouw Het Nieuwe Bouwen, International: CIAM, housing, town planning, Delft 1983. Wodehouse, L., The roots of International Style Architecture, W. Cornwall, CT. 1991

Essay:
Both Stam and Meyer claimed that their architecture had no style. What did they mean by this? Evaluate this claim with reference to several of their key projects.

Lecture Two: Modernism, Nationalism, and Neo-Realism

The concern for a 'mediterranean' form of modern architecture was characteristic of the group of Italian 'Rationalist' architects, the Gruppo Sette, centred around Milan and Como. These architects, strongly influenced by Le Corbusier and CIAM, attempted to reconcile rationality and scientific technique with the Italian classical tradition. Operating under the patronage of a totalitarian regime, they also trod a line between formal autonomy and the demands for ideological expression. This compromise between modernism and fascism caused a crisis on expression in post-1945 Italian architecture. New themes of populism and social realism emerged- paralleling similar themes in film and literature. As elsewhere in Europe, Italian architects sought to reconcile modernity with the historic city. Reading:
Doordan D. P., Building Modern Italy: Italian Architecture 1914-36, New York 1988. Ghirardo D., Building New Communities: New Deal America & Fascist Italy, New Jersey 1989. Etlin R. A. Modernism in Italian Architecture 18901940 Cambridge, Mass. 1990. Gruppo Sette in Oppositions 12 1978 (Resource Room). Schumacher T., Surface and Symbol (Terragni), 1991. Tafuri,M. History of Italian Architecture 1944-1985, Cambridge Mass. 1989. A + U (Journal): Italian Architecture: 1945-85, F. Dal Co and S. Polano eds, Tokyo 1988 2G (Journal): Postwar Italian Architecture: 1944-1960, L. Molinari and P. Scrivano eds., Barcelona 2000

Essay:
Examine the impact and influence of pre-war rationalism upon post-war Italian modernism. What were the continuities and disjunctions? Discuss through the analysis of several illustrative projects.
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WEEK TEN Regional Variations Lecture One: Architecture in Scandinavia 1910-65

In the early decades of the 20th century Scandinavian architects made a dramatic leap from a craft-based National Romantic style, or refined form of neo-classicism, toward a distinctive form of Modernism, characterised by a strong sense of materials, engagement with site, and cultural traditions. This characteristic is particularly exemplified by work of the Swedish architects Eric Gunnar Asplund and Sigurd Lewerentz. The work of Alvaar Aalto came to exert a major influence on architects in the post- war period, leading to a revision of the architectural canon promulgated by the historians Giedion and Pevsner. Characteristics of his work include a sensibility for organic form, a concern for natural materials, and an ambiguous relation to national architectural tradition. Eclectically combining elements of tradition and international Modernism, his work establishes a strong sense of place and ordering. Reading:
Constant, Caroline, The Woodland Cemetery: toward a spiritual landscape: Erik Gunnar Asplund and Sigurd Lewerentz 1915-61, Stockholm : Byggfrlaget, 1994. Dymling, Claes (editor), Architect Sigurd Lewerent, Stockholm : Byggfrlaget, 1997. Frampton, K., Studies in tectonic culture : the poetics of construction in nineteenth and twentieth century architecture, Cambridge Mass.,1995. Lane, Barbara Miller, National romanticism and modern architecture in Germany and the Scandinavian countries, Cambridge, 2000 Pearson, Paul, Alvar Aalto and the International Style, New York, 1978 Porphyrios, Demetri, Sources of modern eclecticism : studies on Alvar Aalto, London, New York, 1982 Quantrill, M., Alvar Aalto : a Critical Study, London, 1983. Schildt, G., Alvar Aalto : a life's work :Architecture, Design, and Art, Helsinki , 1994. Smithson, Alison.. [et al.] Sigurd Lewerentz 1885-1975: the dilemma of classicism, London : Architectural Association, 1989. Wilson, Colin St. John, The Dilemma of the Classical, Perspecta 24 Wrede, Stuart, The Architecture of Erik Gunnar Asplund, Cambridge Mass., 1980

Essay:

Discuss the meaning and significance of Romanticism in 20 century Scandinavian architecture through the detailed analysis of several key projects.

th

Lecture Two: Le Corbusier: Chandigargh and South American Modernism

From the period of economic crisis in the 1930s and through the war years, Le Corbusier was free to formulate architectural manifestos, but generally unable to build on a large scale. After the war, however, he was responsible for a huge output of influential buildings. His multi-faceted exploration of architectural themes is unparalleled in the 20th century. This lecture begins with an examination of his major projects, including the new city of Chandigarh. The lecture concludes with a discussion of the work of Oscar Niemeyer, the Brazilian architect so influenced by Le Corbusier. Reading:
Rupert Spade, Oscar Niemeyer, London, 1971. Papadaki, Stamo, Oscar Niemeyer, New York, 1960. Underwood, David Kendrick, Oscar Niemeyer and the architecture of Brazil, New York: 1994. Le Corbusier, Chandigarh--Capitole / Le Corbusier, New York : Garland Pub ; Paris : Fondation Le Corbusier, 1983 Chris Gordon, Kist Kilian, Chandigarh : forty years after Le Corbusier, Amsterdam: Guus Kemme, 1992

Essay:
The work of Le Corbusier in India and Brazil left a powerful architectural legacy. Discuss this assertion in terms of both positive and negative outcomes.

Faculty of Architecture, Landscape and Visual Arts, The University of Western Australia

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WEEK ELEVEN Modern Architecture in America Lecture One: The Modern American House: Usonia and California
The decades leading up to WW2 saw the rapid growth of American cities in both the North East and the West, and the importation and transformation of European Modernist architectural ideas. In Los Angeles, F L Wright started his second phase of work, after his return from Japan. He turned to native Meso-American prototypes in continuing his search for an authentically American form of architecture. Two Austrian emigr architects, Richard Neutra and Rudolf Schindler, began their American careers assisting Wright in California, before launching their own explorations of a form of Modernism appropriate to the openness and temperate climate of the West Coast. This lecture presents selected work from this period together with the interpretation of International Style Modernism in the Californian "case study houses" of the immediate post-war period Reading:
Blundell-Jones P., Modern Architecture through Case Studies, Oxford 2002, Ch.12 Boesiger W., Richard Neutra, Buildings and Projects, Zurich 1964 Gebhard D., The California Architecture of Frank Lloyd Wright, London 1989 Goldstein E. (ed.), Arts & Architecture: The Entenza Years, Cambridge Mass. 1990 Hitchcock H-R. & Johnson P., The International Style...N.Y. 1932 Jackson, N. California modern: the architecture of Craig Ellwood, N.Y. 2002 March and Sheine (eds.), R.M. Schindler: composition and construction, London: Berlin c1995 McCoy E., Five California Architects, N.Y.1960 McCoy E., The Second Generation, Salt Lake City1984 McCoy, E., Arts and Architecture Case Study Houses, pp.15-40 in Blueprints for modern living..., Cambridge, Mass. 1989 Neuhart J., Eames Design: the work of the office of Charles and Ray Eames, N.Y.: Abrams, 1989 Neutra R., Survival Through Design, N.Y. 1954 Scheine J., R.M.Schindler, London 2001 Schindler R. M., The architecture of R.M. Schindler, Los Angeles c2001 Sergeant J., Frank Lloyd Wrights Usonian Houses..., N.Y. 1976 Smith E. & Darling M., The Architecture of R.M.Schindler, L.A. 2001 Steele J., Eames House: Charles and Ray Eames , London, 1994 Steele J., Pierre Koenig, London 1998 Treib M. (ed.), An everyday Modernism: the houses of William Wurster, Berkeley 1995 Wright G., Building the Dream: A Social History of Housing in America, N.Y. 1981

Essay Topic 1:
Trace the Austrian architectural backgrounds of both Schindler and Neutra. Offer an analysis, with direct reference to their architectural work in California, of how these backgrounds may have effected this work and assisted them to be receptive to the work of Frank Lloyd Wright.

Essay Topic 2:
How did the 'message' of Modernism become transformed in America? Discuss with detailed reference to at least three buildings by European Modernist immigrant architects.

Lecture Two: Mies, Kahn and the return to Monumentalism

This lecture will begin by examining the translation of European Modernism into an American context through the influence of ex members of the Bauhaus on their arrival and engagement in practice and teaching. In particular, Mies van der Rohe's work in America coincides with a shift in the role of architecture as a representation of power, work and social identity. Mies's buildings of this period are a peculiarly refined distillation of an acceptance of corporate, as opposed to personal identity. Colin Rowe, writing in 1956-7, analysed what he termed a 'Classicising' characteristic in certain contemporary American work. The new Formalists: Kahn, Johnson, Johanson and others were seen to be reacting against the spatial innovations of the free plan and the city of open-ended process, decentred and peripheral. The researches undertaken by Kahn, in particular, opened up a new ground of experimentation for later architects. In the ambiguity of Kahn's mature work, both monumental and hermetic, can be recognised the problematic role of contemporary architecture in relation to the collective space of the city.

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Reading:
Blaser, W., Mies van der Rohe: Continuing the Chicago School of Architecture,1981. Bonnefoi, Christian, Louis Kahn and Minimalism, Oppositions Spring, 1981, no. 24, pp. 2-25. Condit, C., The Chicago School of Architecture, 1964. David B. Brownlee, David G. De Long, Louis I. Kahn : in the realm of architecture, Los Angeles; New York, 1991 de Sola Morales I. R., Louis Kahn: An Assessment, 9H no. 5, 1983, pp. 8-12. De Sola-Morales, I., Mies and the Degree Zero, in Lotus 81 Fleming, D, Bailyn, B. (eds)., The Intellectual Migration: Europe and America 1930-1960, 1969. Frampton Kenneth, Louis Kahn and the French Connection, Oppositions 22, pp. 20-53. Guirgola,R., Louis I. Kahn, 1975. Kahn,L.I., What Will be has Always Been: The Works of Louis I. Kahn, 1986. Lobell,J., Between Silence and Light: Spirit in the Architecture of Louis I. Kahn, 1979. Mertins, D. (ed.), The Presence of Mies, New York, 1994 Pearson, W. (ed), American Buildings and Their Architects: The Impact of European Modernism in the MidTwentieth Century, 1972. Ronner H., Louis I. Kahn: complete work, 1935-1974, Basel ; Boston,1987 Rowe C., The Mathematics of the Ideal Villa and Other Essays 1976, pp. 119-158. Urs Bttiker, Louis I. Kahn : Licht und Raum = light and space, Basel ; Boston, c1993 Wingler, H. M., The Bauhaus: Weimar, Dessau, Berlin, Chicago, 1969. Zukowsky (ed.), Mies Reconsidered: His Career, Legacy and Disciples, 1986.

Essay:
Discuss the significance and meaning of the Immeasurable in Kahns architecture. Is it bunk? Discuss in relation to some of his projects

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WEEK TWELVE Critiques of the Modern Movement Lecture One: Brutalism, the Smithsons, Team X and the end of CIAM
This lecture will examine the work of the second generation of British Modernist architects, emphasising the central role of Alison and Peter Smithson in critically re-evaluating both the canon of Modernism and the post-war design of the British new towns. The lecture will also plot their contribution to Team X and the dismantling of CIAM Reading:
Eisenman, Peter Real and English Oppositions no. 4, Oct 1974, pp. 534. Maxwell, Robert New British Architecture 1972. Jackson, Anthony The Politics of Architecture: A History of Modern Arch. in Britain 1970. UIA International Architect issue 5, 1984, (special issue on British architecture ) Banham, Reyner The New Brutalism AR Dec, 1955, pp. 35562. Banham, Reyner, The new brutalism: ethic or aesthetic? London: Architectural Press, 1966. Smithson, Alison Team X Primer 1968, also found in Architecture Design Dec 1972. Smithson A. & P. The New Brutalism' AR Apr 1954, pp. 27475. Smithson A. & P. Ordinariness and Light: Urban Theories 195260 1970.

Essay:
Discuss the Smithsons use of the term, without rhetoric, in the development of their architectural theories. How did this manifest itself in their work?

Lecture Two: Postmodernism

Robert Venturis 1966 corrective analysis of what he regarded as modernist orthodoxy, Complexity and Contradiction in Architecture has been immensely influential on much recent architectural theory and practice. In the same year, Aldo Rossi published The Architecture of the City. Both books were arguments against a reductive, abstracted form of architectural modernism. Both authors appealed for an approach which made use of the concept of Typology but in very different ways. This lecture outlines the approaches and the differences of the two authors, and introduces the later nebulous grouping of architectural revisions labelled as post-modernist by Charles Jencks. Essay:
Through a comparison of several projects by Venturi and Rossi, discuss the question: what can architecture mean?

Reading
Colquhoun, A., 'Introduction', in Essays in Architectural Criticism, MIT Press, Cambridge, Mass., 1981. Colquhoun A., Sign and Structure: reflections on complexity, Las Vegas, and Oberlin in Essays in Architectural Criticism, Foster, H. '(Post)Modern Polemics', in Recodings: Art, Spectacle, Cultural Politics, Bay Press, Seattle, 1985, pp. 121-136. Jencks, C. The Language of Post-Modern Architecture, London, l978. Moneo, R. 'On Typology', Oppositions 13, 1978. Rossi, A. The Architecture of the City, MIT Press, Cambridge, Mass., 1982. Venturi R., Complexity and Contradiction in Architecture, Museum of Modern Art, N.Y.1966, McLeod, M., Architecture and Politics in the Reagan Era: From Postmodernism to Deconstructivism, Assemblage 8 1989.

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NOTES ON ESSAY WRITING

Essay questions are set in such a way as to develop two skills: Research techniques and the ability to organise coherently and present material on your chosen topic. Expression and articulation of your assessment of the material.

The questions are designed to elicit the setting forth and proving of an argument. This argument is to be built from the critical analysis both of other authors of the period under consideration and your own judgement of the researched material. You will need to justify your argument using both kinds of the following evidence: Visual : Written: Use specific examples of works. Show how your argument is derived from a close analysis of and reference to them. Use secondary sources critically in the development and defence of your argument.

Assessment Criteria
Your essay will be assessed on the basis of the following criteria: Demonstrated knowledge and understanding of the diverse developments of western architecture in the 20th century; Capacity to discuss critically the significance of selected works of architecture, Familiarity with contemporary literature and critical debates concerning the essay topic, Demonstrated ability to undertake research and to engage critically with a range of sources. and your ability to articulate a coherent, well researched and considered response to the chosen topic - concise, well-supported arguments are necessary rather than length of argument.

Do not offer a generalised account of the material. In particular, do not paraphrase, imitate or copy the account from reference books or articles. Use footnotes to provide reference to all sources of quotes, viewpoints, or facts.

Plagiarism
Plagiarism occurs when someone disguises or misrepresents the authorship of work and claims it as his or her own. It can occur in various forms: (i) (ii) (iii) presenting, part or whole of another student's essay, design project or artwork as one's own; copying phrases, sentences or passages from a published source (usually an article or a book) without acknowledging this by quotation marks and a reference; substantially copying design elements or images from other design projects or artworks, such as to misappropriate and misrepresent the substance, strategy or personal expression of the original design project or artwork; presenting in your own words an idea, argument or interruption from another source, without indicating the source by means of a reference.

(iii)

Remember always to insert references when using other people's ideas.

What are the penalties?

Plagiarism strikes at the heart of ethical scholarship, and the School has grown increasingly concerned about plagiarism in student essays. In addition to being a form of fraud, plagiarism negates the value of essays, designs or artworks as a means of developing independent thought,
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analysis, design strategy or creative expression. If the School finds that your work includes intentional plagiarism the minimum penalty is that the essay, design project or artwork will be failed. Unintentional plagiarism will also be penalised. The Faculty of Architecture, Landscape & Visual Arts views plagiarism very seriously and substantial or repeated plagiarism may result in a student's failing the course or, in extreme cases, being expelled from the University. The defence "but I have done this for other departments or teachers" is unacceptable - it is rather like the driver who, when caught speeding, complains that (s)he hasn't been caught before. For further information on regulations for student conduct and discipline, including penalty provisions and appeals protocols, refer to The University of Western Australia Amended Statute No. 17: Student Discipline. (www.uwa.edu.au/students/__data/page/19919/Statute_17_Regulations.pdf)

How to avoid plagiarism:

The best way to avoid plagiarism in essay writing is to get into the habit of distinguishing your own work from that by other people. We assume that unreferenced work is your own, so make sure that phrases and sentences that are not your own are in quotation marks and given precise references, and that ideas and arguments that are not your own are properly referenced. In cases of concepts or facts that are widely used or known this may not be necessary - for example "liberals believe in the importance of individual freedom" or "Australia has six states". To avoid accidental plagiarism, ensure that the notes you use to prepare your essay clearly identify quotations and have full references.

How to reference:
There are two commonly used methods of referencing. One, sometimes called the Harvard system, enables you to signal the authorship of a quotation or an idea in the text, with the full reference appearing at the end of the essay. Following the quotation or idea drawn from another source you should insert in brackets the surname of the author, the date of publication and, in cases of a direct quotation or where an idea is dealt with in some detail in your source, the pages number(s). Some examples of how Harvard references appear in the text are: (a) (Berlin, 1969: 33) in the case of a book (b) (Rawls, 1984: 37) in the case of a chapter in an edited book (c) (Barry, 1990: 513) in the case of an article from a journal These references refer to the precise publication details set out in a list of references at the end of the essay, as follows: (a) Berlin, Isaiah (1969) Four Essays on Liberty, Oxford: Oxford University Press (b) Rawls, John (1984) 'The Right and the Good Contrasted', In Michael Sandel (ed.) Liberalism and its Critics, New York: New York University Press. (c) Barry, Brian (1990) 'How Not to Defend Liberal Institutions', British Journal of Political Science 20: 1, pp 1-14. In this system you would only use footnotes or endnotes to add supplementary information to the argument in your essay. Another system, sometimes known as the Oxford system, uses footnotes or endnotes, not only for supplementary information, but also for references to sources. The first reference to a source is in full, the second and subsequent reference in an abbreviated form. There is a variety of acceptable means of presentation; we suggest the following: (a) Isaiah Berlin, Four Essays on Liberty, Oxford, Oxford University Press, 1969 (b) John Rawls, 'The Right and the Good Contrasted', in Michael Sandel (ed.) Liberalism and its Critics, New York, New York University Press, 1984. (c) Brian Barry, 'How Not to Defend Liberal Institutions,' British Journal of Political Science vol. 20 no 1, 1990 pp l-14
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Subsequent references should appear in an abbreviated form. lbid. refers to reference in the previous footnote, with the page number if it is different from the one previously cited. Op. cit. following an author' s name refers to a reference to a work that has already been cited. Add a date to distinguish different works by the same author (eg. Rawls op. cit., 1984 p.37.) If you use the Oxford system you will also need to provide a full bibliography at the end of the essay. There are many guides available which give more details of these referencing systems.

STYLE GUIDELINES
The following guides are to be followed when preparing essay abstracts and essays.

Text
Abstracts should be included at the beginning of essays. It is recommended that abstracts and essays be typed. Abstract text should be 10 point and single-spaced. Essay body text should be 12 point, in a clear font, eg. Arial, Helvetica, Times, New York, Palatino or similar, with lines one and one-half spaced. Paragraphs should be denoted by a single extra return (you may indent paragraphs if you wish). Please do not use extraneous formatting, such as headers, footers or tabs if they are not necessary. Please include page numbers. The required length of the essay does not include footnotes.

Use of Quotations
Do not use excessively long quotations from sources. Quotations should be kept to the minimum length necessary to convey the argument, and should only be used in the following situations: The actual wording of the quotation is of relevance to your argument. You wish to document an argument in its original form. You wish to comment upon an argument presented in the source. The precise language is essential for accuracy.

Note that all quotations are required to be reproduced exactly. Interpolations may be made to summarize secondary passages, or to connect quoted excerpts. In this case, they should be distinguished by being enclosed with parentheses, ie.'[...]'. Sections of the quoted passage may be elided if not required for the argument. In this case, the removed passage should be replaced by three dots, ie. '...' Long quotations should be likewise denoted with extra returns and quotation marks. They may be single-spaced.

Footnotes or Endnotes
Footnotes or endnotes should be numbered consecutively and referred to in the body of the text by a superscript number. The footnote reference numbers should be 10 point Arial, Times, New York, or Palatino, to match the font used in the essay. Refer to referencing methods above.

Internet Sites and Encyclopaedias

Sources such as internet sites and encyclopaedias should not be cited unless an author and publishing institution or commercial publisher is included in the citation. Make sure you include the date on which the site was accessed.

Spelling
Spellings should follow those used in The Oxford English Dictionary or The Macquarie Dictionary.

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Bibliography
A bibliography must be included at the end of all written work. This should contain an alphabetically arranged list of all the material used in preparing your argument and all those texts from which you have quoted. Note: In a bibliography, you put the authors surname before the initials- this is so you can list the names alphabetically. In footnotes you put the initials before the surname.

End of course guide

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