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Pratt Institute School of Architecture, Undergraduate Architecture Program, Course Syllabus ARCH 308, History of ModernismCredits: 3 Type of Course: Required Seminar Class Meetings: Wednesday, 2-5 PM, Rm 310 HHS Prerequisites: Arch 206 & 207 or equivalent Enrollment Capacity: 20 Instructor's Name, location, and class meeting times: .01 Alessandra Ponte HH N 104 W 10-1 .02 Mark Lamster HH N 202 W 10-1 .03 Edward Wendt HH S 213 W 10-1 .04 Poyin Auyeung HH N 103 W 10-1 . 05 John Lobell HH S 310 W 2-5 .06 Diane Lewis HH N 103 W 2-5
Course Overview: Following a two-semester lecture survey (Arch 206 & Arch 207) dealing with architecture from pre-history to 1900, this seminar is the third course in the required history sequence. Arch 308 examines the architecture of the 20 th century focusing on the buildings and writings of the modern movement from the turn of the century to the 1960s. Though dealing primarily with architectural developments in Europe and the United States, the class will also examine the spread of modernism to Asia and Central and South America. During the course, modernism will be considered as an ideological and theoretical proposition which had aesthetic, social, and political consequences throughout the 20 th century. Learning Objectives: The goal of this seminar is two-fold. First, it aims to give students a comprehensive understanding of architectural developments in the 20 th century to further their knowledge of the profession's recent history and broaden their grasp of those programmatic and formal precedents considered pertinent to contemporary practice. Second, it aims to continue building those critical skills developed in Arch 104, 206, and 207, specifically as they relate to architectural research and analysis. In particular, through seminar discussion and assignments students will sharpen their verbal and writing skills. The shift from lecture survey to focused seminar in Arch 308 is intended to provide an opportunity for in-depth study of a particular subject, preparing students for upper-level elective seminars. Course Requirements:
Note: Additional assignments and/or changes may be made at the discretion of the instructor. Instructor: John Lobell 212-679-1935
Required : These required textbooks are available at the Pratt Bookstore and are on reserve in the library. Conrads, Ulrich, ed. Programs and Manifestoes on 20 th Century Architecture . Trans. Michael Bullock. Cambridge: MIT Press, 1971. Curtis, William J. Modern Architecture Since 1900 . 3 rd edition. 1996; rpt. Upper Saddle River, N.J.: Prentice Hall, 1997.
Ockman, Joan, ed. Architecture Culture, 1943-1968: A Documentary Anthology . New York: Rizzoli, 1993.
Recommended Banham, Reyner. Theory and Design in the First Machine Age . 1960; rpt. Cambridge: MIT Press, 1992. Benevolo, Leonardo. History of Modern Architecture I & II . Cambridge: MIT Press, 1971. Frampton, Kenneth. Modern Architecture: A Critical History . London/New York: Thames and Hudson, 1985 (or revised edition, 1992). Peter, John. The Oral History of Modern Architecture . New York: Harry N. Abrams, 1994. Risebero, Bill. Modern Architecture and Design: An Alternative History . Cambridge: MIT Press, 1982. Tafuri, Manfredo and Francesco Dal Co. Modern Architecture 1 & 2 . New York: Rizzoli, 1986.
Paper The reading we have done in Curtis, Ockman, and Conrads depicts the beginnings of modern architecture, and also, when taken together, various visions of and aspirations for the future on the part of the pioneering modern architects. Background This future would involve a different kind of life. A different role for the artist. A different role for the architect. A different kind of industry. A different kind of city. And of course, different buildings. And, in most cases, these are optimistic futures. Assignment Part one Describe the visions of the future that you see presented in our reading covering the period from 1900 to 1940. You should present some generalizations, but also chose one major architect to focus on. • Be specific in addressing the issues listed above (life, artist, architect, industry, city, buildings). • Make specific references to the reading. • Extract quotes from the reading as much as you wish to make your points. (Properly credit all quotes.) Part two The above should be about half of your essay. In the next quarter, give your thoughts on the following: • Were the visions and aspirations of these architects good ones? Why? • Did these visions and aspirations come about? If so, give examples. If not, what happened instead? (Or, -- what went wrong?) Part three Finally, these people had these visions and aspirations at the dawn of the 20th Century. We are now at the dawn of the 21st Century. What can we learn from them as we set out to make our contributions to the making of the 21st Century? (This part can be brief.) Format Printed from computer, Times font, 12 pt., 1 1/2 space, ample margins. Use a title page that has the title of your paper one third down, centered, and in the lower right has: Your name ARCH 308 Section 5 JohnLobell Fall 2003 Do not use a cover of any kind. Just staple your paper with one staple in the upper left corner. (continued) Length Your paper should be between 2,500 and 4,500 words. Attributions For the formats for quotes and bibliography, use A Pocket Style Manual, Third Edition, Diana Hacker. Usage For any questions on usage, refer to Hacker Due Dates First draft: 11/12 Final Paper: 12/03 Lecture Notes The lectures in this course cover important material in the development of modern architecture. One way we will know if you have absorbed this material is if it show up in your notes. The way you retain material in a course is by taking notes. While it is difficult to listen to a lecture and take notes at the same time, it is vital to be able to do so. If you do not take notes, chances are you will not retain the material. While I hope my lectures are interesting, they are intended as more than entertainment. The taking of notes and is what makes them more than entertainment. (Yes, you are permitted to record the lectures in any format. However, if you do, you must still take notes during the lectures.) Notes should not be a verbatim transcript of the lecture, but an organized outline of the key ideas. Of course it is difficult to comprehend the material in a lecture and get it into an organized outline during the lecture, but it is the very act of doing so that gives you mastery of the material and helps it stick in your mind. Doing this makes you an active participant in the lecture, not just a passive listener, and helps you make the material your own. Since this is an architecture course, you should include sketches and diagrams in your notes. The best way to study is to review your notes shortly after class every week. If you are really serious, you might want to rewrite or type up your notes each week while the lecture is still fresh in your mind. You will of course want to review them again before the final exam. If this is a good course, and if you have taken good notes and perhaps re-written them, you will want to keep them, along with notes and other material from most of your courses, indefinitely as part of your personal architectural library. As in indication that I take this seriously, I want you to turn in a xerox copy of you notes for the entire course on December 3.
Semester Schedule: • For each week a theme or seminar topic is listed, followed by required readings from Curtis, Conrads and/or Ockman. Assigned reading must be completed BEFORE each class. • Each week, the seminar presentation and discussion will focus on selected buildings and projects. These are listed as "Key Works" and most are illustrated in Curtis. • Individual instructors will indicate which readings and key works will be emphasized each week. • Students must remember that Arch 308 is an upper-level seminar and NOT an introductory lecture class. Students must actively participate in weekly discussions. Week Topic & Assigments Week 1 Introduction: What is Modernism?Themes and Variations in 20 th Century Architecture
Week 2 Machine as MetaphorReading -Curtis: Chapter 6, Responses to Mechanization * -Conrads: Muthesius, "Aims of the Werkbund" * -Conrads: Muthesius/Van de Velde, "Werkbund theses and antitheses" -Conrads: Sant'Elia/Marinetti, "Futurist Architecture" * Key Works • Peter Behrens, AEG Turbine Factory • Gropius & Meyer, Fagus Factory • Werkbund Exhibition, Cologne, 1914 • Antonio Sant'Elia, La Citta Nuova • Futurist Painting Week 3 New Concepts of Space & TimeReading -Curtis: Chapter 7, The Architectural System of Frank Lloyd Wright * -Curtis: Chapter 9, Cubism, De Stijl and New Conceptions of Space -Conrads: De Stijl, "Manifesto I" -Conrads: De Stijl, "Creative Demands" -Conrads: De Stijl, Manifesto V" -Conrads: van Doesburg, "Towards a Plastic Architecture" Key Works • Frank Lloyd Wright, Robie House • Frank Lloyd Wright, Larkin Building • Frank Lloyd Wright, Unity Temple • Gerrit Rietveld, Schroeder House • Cubist Painting Written Response to Curtis, Chapter 7 due
Week 4 Architecture & Modern Industrial Society--FranceReading - Curtis: Chapter 4, pp. 83-85 * -Curtis: Chapter 10, Le Corbusier's Quest for Ideal Form * -Curtis: Chapter 15, pp. 268-69 * -Curtis: Chapter 16, The Image and Idea of Le Corbusier's Villa Savoye * -Conrads: Le Corbusier, "Towards a New Architecture: Guiding Principles" * -Conrads: Le Corbusier, "Five Points Towards a New Architecture" * Key Works • Le Corbusier, Maison Citrohan • Le Corbusier, Villa Savoye • Le Corbusier, Pavilion l'esprit nouveau • Le Corbusier, Five Points of a New Architecture • Le Corbusier, Ville Contemporaine • Pierre Charreau, Maison de Verre Written Response to Le Corbusier writing in Conrads due Week 5 Architecture & Modern Industrial Society--GermanyReading -Curtis: Chapter 11, Walter Gropius, German Expressionism & the Bauhaus * -Curtis: Chapter 14, pp. 249-52 -Curtis: Chapter 15, pp. 270-73 -Curtis: Chapter 18, pp. 307-9 -Conrads: Scheerbart, "Glass Architecture" -Conrads: Gropius, Taut, Behne, "New Ideas on Architecture" -Conrads: Gropius, "Programme of the Staatliches Bauhaus in Weimar" * -Conrads: Mendelsohn, "The Problem of a New Architecture" -Conrads: Mies, "Industrialized Building" -Conrads: Gropius, "Principles of Bauhaus Production" * -Conrads: Meyer, "Building" Key Works • Erich Mendelsohn, Einstein Tower • Bruno Taut, Glass Pavilion • Walter Gropius, Dessau Bauhaus • Mies, Barcelona Pavilion • Mies, Tugendhat House • German Siedlungen: Ernst May, Bruno Taut, Martin Wagner, etc.
Week 6 Architecture & Modern Industrial Society--US & RussiaReading -Curtis: Chapter 12, Architecture and Revolution in Russia -Curtis: Chapter 13, Skyscraper and Suburb: The USA between the Wars * -Curtis: Chapter 14, The Ideal Community: Alternatives to the Industrial City -Conrads: Gabo/Pevsner, "Basic Principles of Constructivism" -Conrads: Malevich, "Suprematist Manifesto" -Conrads: Le Corbusier, "Guiding Principles of Town Planning" -Conrads: El Lissitzky, "Ideological Superstructure" -Conrads: Wright, "Young Architecture" Key Works • Tatlin, Monument to the Third International • Melnikov, USSR Pavilion, Art Deco Expo • Palace of the Soviets Competition (Corb's project; Iofan's winning entry) • Tribune Tower Competition • Howe and Lescaze, PSFS Building • Richard Neutra, Lovell Health House • Raymond Hood et al, Rockefeller Center • Frank Lloyd Wright, Ennis House
Week 7 The International Style & the Spread of Modern ArchitectureReading -Curtis: Chapter 15, The International Style...Myth of Functionalism * -Curtis: Chapter 19, Spread of Modern Architecture to Britain and Scandanavia -Curtis: Chapter 21, International, National, Regional: Diversity of New Tradition -Conrads: CIAM, "La Sarraz Declaration" -Conrads: CIAM, "Charter of Athens" Key Works • Weisenhoffsiedlung in Stuttgart • International Style Exhibition, Museum of Modern Art • Stone and Goodwin, Museum of Modern Art • Lubetkin & Tecton, London Zoo Penguin Pool • Lubetkin & Tecton, High Point I Apartments • Erich Mendelsohn, Schocken Department Store • Alvar Aalto, Villa Mairea • Alvar Aalto, Paimio Sanatorium • Johannes Duiker, Open-Air School, Amsterdam • Juan O'Gorman, Studios for Rivera and Kahlo
Week 8 Nationalism, Politics & the State: Architecture in the 1930sReading -Curtis: Chapter 17, The Continuity of Older Traditions -Curtis: Chapter 18, Nature and the Machine: Mies, Wright, and Corb in 1930s * -Curtis: Chapter 20, Totalitarian Critiques of the Modern Movement Key Works • Frank Lloyd Wright, Falling Water • Frank Lloyd Wright, Johnson-Wax • William Lescaze et al, Williamsburg Houses • Walter Gropius, Gropius House • Buckminster Fuller, Dymaxion House • Le Corbusier, Pavilion Suisse • Guissepi Terragni, Casa del Fascio • Guerrini, Palazzo della Civilta Italiana • Albert Speer, Nuremberg Zeppelinfield • 1937 International Exposition Paris (German and USSR Pavilions) • Albert Kahn & Norman Bel Geddes, GM Pavilion World's Fair
Week 9 World War II & Its Aftermath II--the USReading -Curtis: Chapter 22, Modern Architecture in USA: Immig. and Consolidation * -Conrads: Mies, "Technology and Architecture" * -Ockman: Hudnut, "The Post-modern House" -Ockman: Lods, "Return from America" -Ockman: Fuller, "Designing a New Industry" * -Ockman: Gruen, "Cityscape and Landscape" Key Works • Charles and Ray Eames, Eames House • Pierre Koenig, etc., Case Study House Program • Mies, Seagram Building • Mies, Lake Shore Drive Apartments • Mies, Farnsworth House • Johnson, Glass House • Mies, IIT Campus & Crown Hall • SOM, Lever House • Saarinen, GM Research Center • Wallace K. Harrison, et al, United Nations |
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