cover sheet - · pdf file• leonardo benevolo, ... • benevolo, “the age of...

NEW COURSE COVER SHEET Use this form to propose a new course. New Course Department: Course Designator: Program:

Effective Term: (must be a future term) Career: Undergraduate Graduate Course Number: Submission Date: Submission from:

Required: Academic Support Resources (ASR) Needed Libraries Computer Lab Digifab Lab Goldstein Imaging Lab Other Technology Workshop ASR Support not needed.

I. Does this course change the program (including addition as elective)?

No Yes. If so, also submit Program Change.

II. Summarize new course and rationale. (Executive Summary field in Workflow Gen) • Why is the course needed? Describe the planning and development activities that generated this

proposal. • Which students are served? • Is this course required? • Projected enrollment? • New FTE Faculty? • TA support?

III. Consultation is required by the University Curriculum Committee. Before submitting, verify there are no comparable courses at the University of Minnesota. The course proposer should send the proposed syllabus to the department head(s) of any unit in other college(s) that may already offer courses with overlapping content, as well as the undergraduate associate dean(s) of those college(s). Request that the consulted parties identify any concerns regarding content overlap.

Departmental Faculty Vote: Ayes _______ Nays _______ Abstain _______

Spring 2018

School of Architecture

ARCH

M.Arch. 5413

02/27/2017

Daniela Sandler

see second page

This course is unique to the M. Arch program and does not overlap with courses in other units. This conclusion was reached based on knowledge of curriculum in other units by the M. Arch program director and the instructor of this proposed course.

Text

Use of the Computer Lab might be necessary2-‐3 ;mes during the semester.

ARCH 5413 – Modern and Contemporary Global Architecture – Daniela Sandler

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NEW COURSE PROPOSAL FORM (cont. from cover sheet) II. Summarize New Course and Rationale. Why is the course needed? Describe the planning and development activities that generated this proposal.

This course is needed to fill a gap in the education of M.Arch. students. Currently they are only required to take one history course or its equivalent. The required course (ARCH 5412) covers global architecture from the 16th to the late 19th centuries, meaning that the whole cohort in the three-year M.Arch. program does not necessarily take any courses on modern or contemporary architectural history unless they take electives (which tend to be narrowly focused and therefore do not offer ample global coverage of the period). This is a glaring deficiency that manifests itself throughout their whole graduate education in studios, technical courses, and electives, where they lack historical and conceptual repertoire.

Students in the two-year M.Arch. program might have taken equivalent courses in modern and contemporary architecture as undergraduates. However, the lack of familiarity with historical and conceptual references is spread across the board in second- and third-year studios, even for students in the two-year program. There are few hypotheses for this. Undergraduate courses might have been taken a few years before graduate school, and therefore are removed from students’ current work; information might recede into the background. Also, undergraduate-level courses are often taught in large-lecture survey formats that do not always allow for deep reflection. Such deep reflection, with sustained critical engagement on the part of students, is essential for graduate-level work.

Finally, the fact that students in the two-year program are not ever required to take a history course sends an implicit message to these students that history is not important, that it is just a requirement to be fulfilled at some point in the past rather than an important and living aspect of architectural practice and reflection that needs to be addressed and acknowledge even in contemporary practice. This disregard or ignorance of history is manifest most clearly in students’ MFP projects, many if not most of which display neither an awareness of precedents and references, nor an inclination to encompass historical research (of context, typology, program, etc.) as part of the design process.

These issues have been discussed continually since the Fall of 2015 at several levels in the School of Architecture: the M.Arch. Ad Hoc Committee; the M.Arch. Ad Hoc History and Theory Committee; the Graduate Curriculum Committee; and the School of Architecture Faculty Meetings and Retreats. This course proposal is an outcome of these discussions. A required course for all M.Arch. students regardless of their program (two- or three-year), to be taken during their second year, fulfills several needs:

1) It offers in-depth, graduate-level engagement with historical and conceptual content in modern and contemporary architecture

2) Such content provides references and repertoire for concurrent and subsequent courses in studio, technology, and history electives in the School

3) These references and repertoire will continue into each students’ professional career 4) The course will also train students in independent research and critique. More than

furnishing a pre-packaged set of references to be recalled, the course will prepare students to ask relevant questions that in turn will lead them to seek history as a source of

ARCH 5413 – Modern and Contemporary Global Architecture – Daniela Sandler

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knowledge, insight, and context for their creative practice. In other words, the course will educate and form independent thinkers who value history as part of an architect’s education and work, understanding that the actual contents of historical knowledge might vary depending on the project.

5) The course will also impart a sense to all students in the program that history is important; that it is integral to an architect’s formation and practice as a source of insight, knowledge, criticism, and creativity. This does not mean that contemporary practice has to imitate history or fish out references from the past. What it means is that knowing history is actually the first step towards creating something new; towards avoiding mistakes from the past; towards building on previous achievements and moving them forward; and towards understanding the complex social, cultural, political, economic, and environmental conditions in which contemporary and future architecture is immersed.

6) The course also provides students with opportunities to formulate independent research and design questions, in preparation for the work they will be required to do for MFP.

Which students are served? All students in GD2 (second year for students in the three-year program; first year for students in the two-year program). In addition, there will be a few extra spots for students in other graduate programs (other MS programs in the School of Architecture and the College of Design and potentially beyond). Is this course required? Yes. Projected enrollment? 50 (this will vary depending on the year; the course should encompass all GD2 students in the M.Arch Program plus a few extra seats for other graduate students). New FTE faculty? No. The course will be staffed by a member of the current School of Architecture full-time faculty. TA support? Yes. The course will require at least one Teaching Assistant to help with grading, class discussions, and other aspects of course preparation and management.

COURSE PROPOSAL FORM – DANIELA SANDLER – MODERN AND CONTEMPORARY ARCHITECTURE

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NEW COURSE PROPOSAL Course Title Modern and Contemporary Global Architecture Faculty Member Daniela Sandler ([email protected]) Course Number ARCH 5413 Credits 3 Prerequisites ARCH 5412 or equivalent Cap 50? * Length Full-term TA At least one TA required Day and Time T/Th mornings or starting as late as 1 pm** Notes: * This course should accommodate the full size of the GD2 cohort. It can also offer a few extra seats for graduate students in other programs and departments. ** I very strongly advise against having this course on a M/W schedule, based on past experience with ARCH 5412. Several direct and indirect conflicts with graduate studio make the course much less productive on a M/W schedule than on a T/Th. Also, it would be ideal to teach this course in the Spring for several reasons. One of them is that the Spring has an extra full week of instruction, and given the comprehensive and thorough nature of this course, this extra week would make a considerable difference. Another issue is staffing.

Summary This course is a global history of modern and contemporary architecture, tailored to graduate students in the M.Arch. program. The course examines the architectural production of the 20th and 21st centuries through the focused study of buildings, urban plans, unbuilt designs, manifestos, and other visual and textual documents. Students will be called upon to reflect on issues of design, planning, programming, technology, and representation, connecting this course to their architectural training and future professional practice. At the same time, the course will offer a critical and multidisciplinary perspective, presenting architecture in the context of culture, politics, economics, ideology, and other historical developments. The premise of this course is the fundamental role of history for contemporary and future architectural practice. The course assignments, readings, and activities aim to spur a productive dialogue between critical reflection and historical knowledge with an eye towards creative action.


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Student Learning Objectives At the end of the semester, students will be expected to: • Demonstrate familiarity with key architects, buildings, plans, cities, sites, and monuments of

the 20th and 21st century, being able to place them in their geographical and historical contexts.

• Develop formal and contextual analyses about buildings, cities, sites, and monuments. • Demonstrate fluency in the vocabulary of modern and contemporary architectural history,

identifying and defining key concepts, movements, and proposals. • Research buildings, cities, and sites independently, beyond the contents of lectures and

readings. • Formulate critical and analytical comments on buildings, cities, and sites independently.

Preliminary List of Assignments with Grade Percentages Participation: 15% First Paper: 25% Second Paper: 25% Final Paper: 25% Discussion Leadership: 10% Participation: Class time will be divided between lecture and discussion. Student will be expected to participate during lecture by asking questions and offering comments. They will also be expected to participate during discussion by commenting on readings and engaging each other’s points. Participation will take into account whether students come to class prepared and having done the readings. First Paper: This will be a short description and critique of a modern or contemporary building in Minneapolis. Due at the end of Week 3. Length: 4–6 pages. Second Paper: This will be a short description and critique of a modern or contemporary building outside of the United States. Due at the end of Week 7. Length: 4–6 pages. Third Paper: Students will be required to develop a competition brief for a site and program of their choosing. The brief will need to address issues of context, program, and goals. This paper will be scaffolded with in-class and homework assignments. Due at the end of Week 16. Length: 4–6 pages. Discussion Leadership: Students will be divided in small groups at the beginning of the semester. Each group (ca. 3 students) will be responsible for leading discussion of required readings on a preassigned day.


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Suggested Textbooks The course does not require a textbook. Books will be placed on reserve as a complement to course readings, and as sources for your research paper. The following titles are particularly recommended. • Leonardo Benevolo, History of Modern Architecture, vols. 1 and 2 (Cambridge, Mass.: MIT Press, 1977) • Kenneth Frampton, Modern Architecture: A Critical History (New York: Thames & Hudson, 1992) • William Curtis, Modern Architecture since 1900 (London: Phaidon, 1996)

Preliminary Schedule and Course Outline Week 1: Industrialization, Urbanization, Modernization Tuesday Course Overview + The Industrial Revolution • Leonardo Benevolo, “Changes in Building Technique During the Industrial Revolution,” in History of Modern Architecture , vol. 1 (London: Routledge & Kegan Paul, 1971), 3–37 Thursday Urbanization and the Birth of Modern Urban Planning • Benevolo, “The Age of Reorganization and the Origins of Modern Town-planning,” in History of Modern Architecture, 38–60 • Engels, “The Great Towns,” in The Conditions of the Working Class in England, 1845, 17–31 (start at “Enough of these little towns...”). Also available at http://www.marxists.org/archive/marx/works/1845/condition-working-class/ Week 2: Craft, Labor, Industry Tuesday The Utopia of Arts and Crafts • Designing Utopia: The Art of William Morris and His Circle, exh. cat., ed. Stephen Eisenman (Katonah, NY: Katonah Museum of Art, 1992), 9–16 • William Morris, “Art under Plutocracy,” lecture originally delivered in 1883, available at https://www.marxists.org/archive/morris/works/1883/pluto.htm • Jeremy Howard, “Art Nouveau: the Myth, the Modern, and the National,” Art Nouveau: International and National Styles in Europe (Manchester: Manchester University Press, 1996), 1–15 Thursday The Utopia of the Bauhaus • Walter Gropius, The New Architecture and the Bauhaus (London: Faber and Faber, [1935]), excerpts • Lauren S. Weingarden, “Aesthetics Politicized: William Morris and the Bauhaus,” Journal of Architectural Education, vol. 38, no. 3 (1985): 8–13 • Roger Gilman, “An Estimate of Modern Architecture in Germany,” Parnassus 2, no. 5 (1930): 11–13


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Week 3: Designing a New World Tuesday From the Industrial City to the Siedlung • Manfredo Tafuri, “‘Radical’ Architecture and the City,” Architecture and Utopia: Design and Capitalist Development (Cambridge, Mass.: MIT Press, 1976), 104–124 • Dora Wiebenson, “Utopian Aspects of Tony Garnier’s Cité Industrielle,” Journal of the Society of Architectural Historians, vol. 19, no.1 (1960): 16–24 Thursday The Urbanism of Le Corbusier • Le Corbusier, The City of To-Morrow and Its Planning (New York: Dover, 1987), excerpts Friday First Paper Due on Moodle by Midnight Week 4: New Spatial Paradigms Tuesday Building and Breaking Boxes • H. Allen Brooks, “Frank Lloyd Wright and the Destruction of the Box,” Journal of the Society of Architectural Historians, vo. 38, no. 1 (1979): 7–14 • Adolf Loos, “Ornament and Crime,” Programs and Manifestoes on 20th-Century Architecture, ed. Ulrich Conrads (Cambridge, Mass.: MIT Press, 1971), 19–24 Thursday Volumes under Light: Le Corbusier • Le Corbusier, Towards a New Architecture (New York: Dover, 1986), excerpts • Beatriz Colomina, “Readymade Images,” in Privacy and Publicity: Modern Architecture as Mass Media (Cambridge, Mass.: MIT Press, 1996), 141–200 Week 5: Building New Worlds Tuesday Modernism in Latin America • Valerie Fraser, Building the New World: Studies in the Modern Architecture of Latin America, 1930–1960 (London: Verso, 2000), 38–52, 150–173, 180–184 Thursday Tel Aviv, the White City • Alona Nitzan-Shiftan, “Contested Zionism—Alternative Modernism: Erich Mendelsohn and the Chug in Mandate Palestine,” Architectural History, vol. 39 (1996): 147–180 • Richard Ingersoll, “Pilgrimage to the White City: International Style Conference at Tel Aviv,” Journal of Architectural Education, vol. 48, no. 4 (1995): 268–270


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Week 6: Architecture and Politics Tuesday Totalitarianism in Europe • Barbara Miller Lane, “Architects in Power: Politics and Ideology in the Work of Ernst May and Albert Speer,” Journal of Interdisciplinary History 17, no. 1 (1986): 283–310 • Catherine Bauer Wurster, “The Social Front of Modern Architecture in the 1930s,” JSAH 24, no. 1 (1965): 48–52 • Diane Ghirardo, “Italian Architects and Fascist Politics: An Evaluation of the Rationalists’ Role in Regime Building,” JSAH 39, no. 2 (1980): 109–127 Thursday Nation Building: Brasília and Chandigarh • Vikramaditya Prakash, Chandigarh’s Le Corbusier: The Struggle for Modernity in Postcolonial India (Seattle: University of Washington Press, 2002), 4–30 • Charles Wright and Benamy Turkienicz, “Brasília and the Ageing of Modernism,” Cities 5, no. 4 (1988): 347–364 Week 7: The Postwar Era Tuesday Midcentury Mod in the US: Butterfly Roofs and Office Towers • David Smiley, “Making the Modified Modern,” Perspecta, vol. 32 (2001): 38–54 • Henry-Russell Hitchcock, “The Architecture of Bureaucracy and the Architecture of Genius,” The Architectural Review, no. 101 (January 1947): 3–6 Thursday Architectural Cold War • Brian Ladd, “Double Restoration: Rebuilding Berlin after 1945,” The Resilient City: How Modern Cities Recover from Disaster, ed. Lawrence Vale and Thomas Campanella (Oxford: Oxford University Press, 2005) • Florian Urban, “Recovering Essence through Demolition: The ‘Organic’ City in Postwar West Berlin,” JSAH 63, no. 3 (2004) • Detlev Heikamp, “Demolition in Berlin,” The Forest Edge/Post-war Berlin 25 (London: A.D. Editions, 1982) Friday Second Paper Due on Moodle by Midnight


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Week 8: Superstructures Tuesday From New Towns to The New Brutalism • Banham, Reyner. “The New Brutalism,” Architectural Review (December, 1955): 355–62 • Anthony Alexander, Britain’s New Towns: Garden Cities to Sustainable Communities (London, New York: Routledge, 2009), 1–13; 27–36; 73–92; Optional: 109–130 Thursday The Neo-Avant-Gardes • Zhongjie Lin, “Nakagin Capsule Tower: Revisiting the Future of the Recent Past,” Journal of Architectural Education, vol. 65, no. 1 (2011): 13–32 • Majella Stack, “La Ciudad Abierta–Ritoque–Chile,” Building Material 11 (Winter 2004), 41–4 • Simon Sadler, Archigram: Architecture without Architecture (Cambridge, Mass.: MIT Press, 2005), 90–139 Week 9: Crises and Critiques Tuesday The Death of Modern Architecture… and Other Stories • Charles Jencks, “The Death of Modern Architecture,” The Language of Post-Modern Architecture (New York: Rizzoli, 1991), 9–37 • Patricia Morton, “‘Document of Civilization and Document of Barbarism’: The World Trade Center Near and Far,” in Terror, Culture, Politics: Rethinking 9/11, ed. Daniel J. Sherman and Terry Nardin (Bloomington: Indiana University Press, 2006), 15–32 Thursday From Jane Jacobs to… New Urbanism? • Jane Jacobs, The Death and Life of Great American Cities (New York: Vintage, 1992), 143–200 • Miles Orvell, “Rethinking Suburbia: Levittown or the New Urbanism,” The Death and Life of Main Street: Small Towns in American Memory, Space, and Community (Chapel Hill: University of North Carolina Press, 2012), 184–214 Week 10: New Isms Tuesday From Po-Mo to Decon • Charles Jencks, “Post-Modern Architecture,” in The New Paradigm in Architecture (New Haven: Yale University Press, 2002), 53–71, 97–110 • Denise Scott-Brown, ”Learning from Pop” (1971), reprinted in K. Michael Hays, ed. Architecture Theory since 1968 (Cambridge, Mass.: MIT Press, 2000), 62–66 • Paul Goldberger, “Theories as the Building Blocks for a New Style,” New York Times, June 26, 1988 • Diane Ghirardo, “Eisenman’s Bogus Avant-Garde,” Progressive Architecture vol. 75, no. 11 (November 1994): 70–74


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Thursday High Tech and the New Public Sphere · Hal Foster, “Pop Civics,” The Art-Architecture Complex (London: Verso, 2011), 19–33 Week 11: Stars are Born Tuesday Starchitecture • Foster, “Image-Building,” The Art-Architecture Complex, 1–18 • Jencks, “The Bilbao Effect” and “The Flying Dutchman Goes East,” The Iconic Building (New York: Rizzoli, 2005), 7–19, 101–113 Thursday Global Cities • Neil Smith, “New Globalism, New Urbanism: Gentrification as Global Urban Strategy,” Antipode vol. 34, no. 3 (2002): 427-450 • Tim Simpson, “Scintillant Cities: Glass Architecture, Finance Capital, and the Fictions of Macau’s Enclave Urbanism,” Theory, Culture and Society vol. 30, no. 7/8 (2013): 343–71 • Sean Keller, “Bidden City,” Artforum International, vol. 46, no. 10 (Summer 2008): 137–4 • Anne-Marie Broudehoux, “Images of Power: Architectures of the Integrated Spectacle at the Beijing Olympics,” Journal of Architectural Education, vol. 63, no. 2 (2010): 52–62 Week 12: Craft and Labor, Again?!? Tuesday Ethics and Labor in Contemporary Architecture • James Riach, “Zaha Hadid Defends Qatar World Cup Role Following Migrant Worker Deaths,” The Guardian, February 25 2014 • James Russell, “Zaha Hadid Wins Defamation Battle, Loses Reputation War,” James S. Russell Blog, August 26, 2014 • Tuan Nguyen, “Yes, That 3D-Printed Mansion is Safe to Live In,” Washington Post, February 5, 2015 • New China TV, “3D Printers Print Ten Houses in 24 Hours,” YouTube, https://www.youtube.com/watch?v=SObzNdyRTBs • Peggy Deamer, Phillip Bernstein, eds. Building (in) the Future: Recasting Labor in Architecture (New Haven, Conn.: Yale School of Architecture, 2010), excerpts Thursday The Return of Craft • The Architectural Review, The Craft Issue (February 2017), excerpts • Michiel Riedijk, Architecture as Craft (Sun, 2011), excerpts • Richard Sennett, The Craftsman (New Haven: Yale University Press, 2009), 19–52


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Week 13: Good Intentions Tuesday Humanitarian Architecture • Jenna M. McKnight, “Butaro Hospital,” Architectural Record, December 2011 • Esther Ruth Charlesworth, Humanitarian Architecture: 15 Stories of Architects Working after Disaster (New York: Routledge, 2014), excerpts • Architecture for Humanity, Design Like You Give a Damn: Architectural Responses to Humanitarian Crises (New York: Metropolis, 2006), excerpts Thursday Social-Interest Housing • Bruce Watson, “Alejandro Aravena: Architect, Equaliser, El Visionario,” Guardian Cities, February 6, 2014 • “Quinta Monroy/Elemental,” ArchDaily.com, December 31, 2008 • Explore the Elemental webpage at http://alejandroaravena.com/obras/viviendahousing/ elemental/ • “USINA: A Workers’ Collective in Collaboration with Popular Movements,” Scapegoat no. 01 (Summer 2011): 22–23 • “Self-Managed Vertical Housing: Brazil,” World Habitat Awards, 2007 Week 14: Contested Spaces Tuesday Design vs Crime • Michael Kimmelman, “A City Rises, Along with Its Hopes,” New York Times, May 20, 2012 • Michael Webb, “Colombia: The AR Reports on How Reformers Have Combated Crime and Poverty in Bogota and Medellin with Programmes that Foster Decent, Dignified Architecture and Responsible Urban Planning,” Architectural Review, vol. 229, no. 1368 (2011): 32–6 Thursday Informal Cities • Reinhold Martin, “Occupy: What Architecture Can Do,” Places, November 2011 • David Harvey, “#OWS: The Party of Wall Street Meets Its Nemesis,” Rebel Cities: From the Right to the City to the Urban Revolution (London, New York: Verso, 2012), 159–164 • Mike Davis, Planet of Slums (London, New York: Verso, 2006), 95–120 Week 15: Memory Tuesday Museum Boom • James Young, “Daniel Libeskind’s Jewish Museum in Berlin: The Uncanny Arts of Memorial Architecture,” Jewish Social Studies, vol. 6, no. 2 (2000): 1–23 • Vidler, “Building in Empty Spaces: Daniel Libeskind and the Postspatial Void,” Warped Space: Art, Architecture, and Anxiety in Modern Culture (Cambridge, Mass.: MIT Press, 2000), 235–242 • Paul R. Jones, “The Sociology of Architecture and the Politics of Building: The Discursive Construction of Ground Zero,” Sociology , no. 3, vol. 40 (2006): 549–565


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Thursday Adaptive Reuse (Is New Again) • Liliane Wong, Adaptive Reuse: Extending the Lives of Buildings (Basel: Birkhäuser, 2017), 6–31 • Bie Plevoets and Koenraad van Cleempoel, “Aemulation and the Interior Approach of Adaptive Reuse,” Interiors: Design, Architecture, Culture, vol. 5, no. 1 (March 2014): 71–88 • Jorge Otero-Pailos, “The Contemporary Stamp of Incompleteness,” Future Anterior 2 (Fall 2004), iii–viii Week 16: Building Bridges Tuesday What Happens in Minneapolis Stays in… • Mary Matze, Minneapolis Riverfront Partnership, Riverfront Vitality Project: A Comprehensive Look at the Minneapolis Riverfront (Minneapolis: Minneapolis Riverfront Partnership, 2013) • Nicollet Project, http://www.nicolletmallproject.com/ • Browse the column Streetscapes in the Star Tribune at http://www.startribune.com/streetscapes-celebrating-minnesota-architecture/297564451/start-from/1467998763/ Thursday And Now What? • Open Discussion Friday Final Paper Due on Moodle by Midnight

3/14/2017 ECAS View Course Proposal

https://onestop2.umn.edu/ecas/viewCourseProposal.jsp?EcasId=59601&seq=1 1/15

Electronic Course Authorization System(ECAS)

ARCH 5413 VIEW COURSE PROPOSAL

Back to Proposal List

Approvals Received: Department on 031417

by Nicole Kennedy

([email protected])

Approvals Pending: College/Dean > Catalog > PeopleSoft Manual Entry

Effective Status: Active

Effective Term: 1189 Fall 2018

Course: ARCH 5413

Institution:Campus:

UMNTC Twin Cities/Rochester UMNTC Twin Cities

Career: GRAD

College: TALA College of Design

Department: 10827 School of Architecture

General

Course Title Short: Modern & Contemp Global Arch

Course Title Long: Modern and Contemporary Global Architecture

MaxMin Creditsfor Course:

3.0 to 3.0 credit(s)

CatalogDescription:

This course is a global history of modern and contemporaryarchitecture, tailored to graduate students in the M.Arch. program. The course examines thearchitectural production of the 20th and 21st centuries through the focused study of buildings, urbanplans, unbuilt designs,manifestos, and other visual and textual documents. Studentswill be called upon to reflect onissues of design, planning, programming, technology, andrepresentation, connecting thiscourse to their architectural training and future professionalpractice. At the same time, the course will offer a critical and multidisciplinary perspective,presenting architecture in the contextof culture, politics, economics, ideology, and other historicaldevelopments. The premise of this course is the fundamental role of history for contemporary and

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future architectural practice. The course assignments, readings, and activities aim to spur aproductive dialogue between critical reflection and historical knowledge with an eye towardscreative action.

Print in Catalog?: Yes

Grading Basis: AF only

Topics Course: No

Honors Course: No

Online Course: No

Freshman Seminar: No

Is any portion of this course taught outside of the United States?:

No

Community Engaged Learning (CEL): None

InstructorContact Hours:

3.0 hours per week

Course Typically Offered: Every Spring

Component 1 : LEC (no final exam)

AutoEnrollCourse:

No

GradedComponent:

LEC

AcademicProgress Units:

Not allowed to bypass limits. 3.0 credit(s)

Financial AidProgress Units:

Not allowed to bypass limits. 3.0 credit(s)

Repetition ofCourse:

Repetition not allowed.

CoursePrerequisitesfor Catalog:

<no text provided>

CourseEquivalency:

No course equivalencies

Crosslistings: No crosslistings

Add ConsentRequirement:

No required consent

Drop ConsentRequirement:

No required consent

EnforcedPrerequisites: (coursebased ornoncoursebased)

Arch 5412

Editor Comments: <no text provided>

Proposal Changes: <no text provided>

History Information: <no text provided>



FacultySponsor Name:

Daniela Sandler

FacultySponsor Email Address:

[email protected]

Liberal Education

Requirementthis course fulfills:

None

Other requirementthis course fulfills:

None

Criteria forCore Courses:

Describe how the course meets the specific bullet pointsfor the proposed core requirement. Give concrete anddetailed examples for the course syllabus, detailed outline,laboratory material, student projects, or other instructionalmaterials or method.

Core courses must meet the following requirements:

They explicitly help students understand what liberaleducation is, how the content and the substance ofthis course enhance a liberal education, and what thismeans for them as students and as citizens.They employ teaching and learning strategies thatengage students with doing the work of the field, notjust reading about it.They include small group experiences (such asdiscussion sections or labs) and use writing asappropriate to the discipline to help students learnand reflect on their learning.They do not (except in rare and clearly justifiedcases) have prerequisites beyond the University'sentrance requirements.They are offered on a regular schedule.They are taught by regular faculty or underexceptional circumstances by instructors oncontinuing appointments. Departments proposinginstructors other than regular faculty must providedocumentation of how such instructors will be trainedand supervised to ensure consistency and continuityin courses.

<no text provided>

Criteria forTheme Courses:

Describe how the course meets the specific bulletpoints for the proposed theme requirement. Giveconcrete and detailed examples for the coursesyllabus, detailed outline, laboratory material,student projects, or other instructional materials ormethods.

Theme courses have the common goal of cultivatingin students a number of habits of mind:



thinking ethically about important challengesfacing our society and world;reflecting on the shared sense of responsibilityrequired to build and maintain community;connecting knowledge and practice;fostering a stronger sense of our roles ashistorical agents.

<no text provided>

Statement of Certification: This course is certified for a Core, effective as of This course is certified for a Theme, effective as of

Writing Intensive

Propose this courseas Writing Intensivecurriculum:

No

Question 1 (see CWB Requirement 1): How do writing assignments and writing instructionfurther the learning objectives of this course andhow is writing integrated into the course? Note thatthe syllabus must reflect the critical role thatwriting plays in the course.

<no text provided>

Question 2 (see CWB Requirement 2): What types of writing (e.g., research papers,problem sets, presentations, technical documents,lab reports, essays, journaling etc.) will beassigned? Explain how these assignments meet therequirement that writing be a significant part of thecourse work, including details about multiauthoredassignments, if any. Include the required length foreach writing assignment and demonstrate how the2,500 minimum word count (or its equivalent) forfinished writing will be met.

<no text provided>

Question 3 (see CWB Requirement 3): How will students' final course grade depend ontheir writing performance? What percentage of thecourse grade will depend on the quality and level ofthe student's writing compared to the percentage ofthe grade that depends on the course content? Notethat this information must also be on the syllabus.

<no text provided>

Question 4 (see CWB Requirement 4): Indicate which assignment(s) students will berequired to revise and resubmit after feedback fromthe instructor. Indicate who will be providing thefeedback. Include an example of the assignmentinstructions you are likely to use for this assignmentor assignments.

<no text provided>

Question 5 (see CWB Requirement 5): What types of writing instruction will be



experienced by students? How much class time willbe devoted to explicit writing instruction and atwhat points in the semester? What types of writingsupport and resources will be provided to students?

<no text provided>

Question 6 (see CWB Requirement 6): If teaching assistants will participate in writingassessment and writing instruction, explain how willthey be trained (e.g. in how to review, grade andrespond to student writing) and how will they besupervised. If the course is taught in multiplesections with multiple faculty (e.g. a capstonedirected studies course), explain how every facultymentor will ensure that their students will receive awriting intensive experience.

<no text provided>

Statement of Certification: This course is certified as Writing Internsive effective as of

Course Syllabus

Course Syllabus:For new courses and courses in which changes in contentand/or description and/or credits are proposed, pleaseprovide a syllabus that includes the following information:course goals and description; format; structure of thecourse (proposed number of instructor contact hours perweek, student workload effort per week, etc.); topics to becovered; scope and nature of assigned readings (text,authors, frequency, amount per week); required courseassignments; nature of any student projects; and howstudents will be evaluated.

Please limit text to about 12 pages. Text copied and pastedfrom other sources will not retain formatting and specialcharacters might not copy properly. The University "SyllabiPolicy" can be found here

Any syllabus older than two years should be replaced witha current version when making ECAS updates.

COURSE PROPOSAL FORM – DANIELA SANDLER – MODERN ANDCONTEMPORARY ARCHITECTURE 1NEW COURSE PROPOSAL Course Title Modern and Contemporary Global Architecture Faculty Member Daniela Sandler ([email protected]) Course Number ARCH 5413Credits 3Prerequisites ARCH 5412 or equivalent Cap 50? *Length FulltermTA At least one TA required Day and Time T/Th mornings or starting as late as 1 pm** Notes:* This course should accommodate the full size of the GD2cohort. It can also offer a few extra



seats for graduate students in other programs and departments. ** I very strongly advise against having this course on a M/Wschedule, based on pastexperience with ARCH 5412. Several direct and indirect conflictswith graduate studio make the course much less productive on a M/W schedule than on a T/Th. Also, it would be ideal to teach this course in the Spring forseveral reasons. One of them is that the Spring has an extra full week of instruction, and given thecomprehensive and thorough nature of this course, this extra week would make aconsiderable difference. Another issue is staffing.SummaryThis course is a global history of modern and contemporaryarchitecture, tailored to graduate students in the M.Arch. program. The course examines thearchitectural production of the 20th and 21st centuries through the focused study of buildings, urbanplans, unbuilt designs,manifestos, and other visual and textual documents. Studentswill be called upon to reflect onissues of design, planning, programming, technology, andrepresentation, connecting thiscourse to their architectural training and future professionalpractice. At the same time, the course will offer a critical and multidisciplinary perspective,presenting architecture in the contextof culture, politics, economics, ideology, and other historicaldevelopments. The premise of this course is the fundamental role of history for contemporary andfuture architectural practice. The course assignments, readings, and activities aim to spur aproductive dialogue between critical reflection and historical knowledge with an eye towardscreative action. COURSE PROPOSAL FORM – DANIELA SANDLER – MODERN ANDCONTEMPORARY ARCHITECTURE 2Student Learning Objectives At the end of the semester, students will be expected to: • Demonstrate familiarity with key architects, buildings, plans,cities, sites, and monuments ofthe 20th and 21st century, being able to place them in theirgeographical and historical contexts.• Develop formal and contextual analyses about buildings,cities, sites, and monuments.• Demonstrate fluency in the vocabulary of modern andcontemporary architectural history, identifying and defining key concepts, movements, andproposals.• Research buildings, cities, and sites independently, beyond thecontents of lectures andreadings.• Formulate critical and analytical comments on buildings,cities, and sites independently. Preliminary List of Assignments with Grade Percentages Participation: 15% First Paper: 25%



Second Paper: 25% Final Paper: 25% Discussion Leadership: 10%Participation: Class time will be divided between lecture anddiscussion. Student will beexpected to participate during lecture by asking questions andoffering comments. They will alsobe expected to participate during discussion by commenting onreadings and engaging eachother’s points. Participation will take into account whetherstudents come to class prepared andhaving done the readings. First Paper: This will be a short description and critique of amodern or contemporary building in Minneapolis. Due at the end of Week 3. Length: 4–6 pages. Second Paper: This will be a short description and critique of amodern or contemporary building outside of the United States. Due at the end of Week 7.Length: 4–6 pages.Third Paper: Students will be required to develop a competitionbrief for a site and program of their choosing. The brief will need to address issues of context,program, and goals. This paper will be scaffolded with inclass and homework assignments.Due at the end of Week 16. Length: 4–6 pages.Discussion Leadership: Students will be divided in small groupsat the beginning of thesemester. Each group (ca. 3 students) will be responsible forleading discussion of requiredreadings on a preassigned day. COURSE PROPOSAL FORM – DANIELA SANDLER – MODERN ANDCONTEMPORARY ARCHITECTURE 3Suggested Textbooks The course does not require a textbook. Books will be placed onreserve as a complement to course readings, and as sources for your research paper. Thefollowing titles are particularlyrecommended.• Leonardo Benevolo, History of Modern Architecture, vols. 1and 2 (Cambridge, Mass.: MITPress, 1977)• Kenneth Frampton, Modern Architecture: A Critical History(New York: Thames & Hudson, 1992) • William Curtis, Modern Architecture since 1900 (London:Phaidon, 1996)Preliminary Schedule and Course OutlineWeek 1: Industrialization, Urbanization, Modernization Tuesday Course Overview + The Industrial Revolution • Leonardo Benevolo, “Changes in Building Technique During theIndustrial Revolution,” in History of Modern Architecture , vol. 1 (London: Routledge &Kegan Paul, 1971), 3–37 Thursday Urbanization and the Birth of Modern Urban Planning• Benevolo, “The Age of Reorganization and the Origins ofModern Townplanning,” in History of Modern Architecture, 38–60



• Engels, “The Great Towns,” in The Conditions of the WorkingClass in England, 1845, 17–31(start at “Enough of these little towns...”). Also available at http://www.marxists.org/archive/marx/works/1845/conditionworkingclass/Week 2: Craft, Labor, Industry Tuesday The Utopia of Arts and Crafts • Designing Utopia: The Art of William Morris and His Circle,exh. cat., ed. Stephen Eisenman (Katonah, NY: Katonah Museum of Art, 1992), 9–16 • William Morris, “Art under Plutocracy,” lecture originallydelivered in 1883, available at https://www.marxists.org/archive/morris/works/1883/pluto.htm • Jeremy Howard, “Art Nouveau: the Myth, the Modern, and theNational,” Art Nouveau: International and National Styles in Europe (Manchester:Manchester University Press, 1996), 1–15 Thursday The Utopia of the Bauhaus• Walter Gropius, The New Architecture and the Bauhaus(London: Faber and Faber, [1935]), excerpts • Lauren S. Weingarden, “Aesthetics Politicized: William Morrisand the Bauhaus,” Journal of Architectural Education, vol. 38, no. 3 (1985): 8–13 • Roger Gilman, “An Estimate of Modern Architecture inGermany,” Parnassus 2, no. 5 (1930): 11–13 COURSE PROPOSAL FORM – DANIELA SANDLER – MODERN ANDCONTEMPORARY ARCHITECTURE 4Week 3: Designing a New World Tuesday From the Industrial City to the Siedlung • Manfredo Tafuri, “‘Radical’ Architecture and the City,”Architecture and Utopia: Design andCapitalist Development (Cambridge, Mass.: MIT Press, 1976),104–124• Dora Wiebenson, “Utopian Aspects of Tony Garnier’s CitéIndustrielle,” Journal of the Society of Architectural Historians, vol. 19, no.1 (1960): 16–24 Thursday The Urbanism of Le Corbusier• Le Corbusier, The City of ToMorrow and Its Planning (NewYork: Dover, 1987), excerptsFriday First Paper Due on Moodle by Midnight Week 4: New Spatial Paradigms Tuesday Building and Breaking Boxes • H. Allen Brooks, “Frank Lloyd Wright and the Destruction ofthe Box,” Journal of the Society of Architectural Historians, vo. 38, no. 1 (1979): 7–14 • Adolf Loos, “Ornament and Crime,” Programs and Manifestoeson 20thCentury Architecture,ed. Ulrich Conrads (Cambridge, Mass.: MIT Press, 1971), 19–24 Thursday Volumes under Light: Le Corbusier • Le Corbusier, Towards a New Architecture (New York: Dover,1986), excerpts



• Beatriz Colomina, “Readymade Images,” in Privacy andPublicity: Modern Architecture as Mass Media (Cambridge, Mass.: MIT Press, 1996), 141–200Week 5: Building New Worlds Tuesday Modernism in Latin America• Valerie Fraser, Building the New World: Studies in the ModernArchitecture of Latin America,1930–1960 (London: Verso, 2000), 38–52, 150–173, 180–184 Thursday Tel Aviv, the White City • Alona NitzanShiftan, “Contested Zionism—AlternativeModernism: Erich Mendelsohn and theChug in Mandate Palestine,” Architectural History, vol. 39(1996): 147–180• Richard Ingersoll, “Pilgrimage to the White City: InternationalStyle Conference at Tel Aviv,” Journal of Architectural Education, vol. 48, no. 4 (1995): 268–270COURSE PROPOSAL FORM – DANIELA SANDLER – MODERN ANDCONTEMPORARY ARCHITECTURE 5Week 6: Architecture and Politics Tuesday Totalitarianism in Europe • Barbara Miller Lane, “Architects in Power: Politics andIdeology in the Work of Ernst May and Albert Speer,” Journal of Interdisciplinary History 17, no. 1(1986): 283–310• Catherine Bauer Wurster, “The Social Front of ModernArchitecture in the 1930s,” JSAH 24, no. 1 (1965): 48–52 • Diane Ghirardo, “Italian Architects and Fascist Politics: AnEvaluation of the Rationalists’ Role in Regime Building,” JSAH 39, no. 2 (1980): 109–127 Thursday Nation Building: Brasília and Chandigarh • Vikramaditya Prakash, Chandigarh’s Le Corbusier: TheStruggle for Modernity in Postcolonial India (Seattle: University of Washington Press, 2002), 4–30 • Charles Wright and Benamy Turkienicz, “Brasília and theAgeing of Modernism,” Cities 5, no. 4 (1988): 347–364Week 7: The Postwar Era Tuesday Midcentury Mod in the US: Butterfly Roofs and Office Towers • David Smiley, “Making the Modified Modern,” Perspecta, vol.32 (2001): 38–54• HenryRussell Hitchcock, “The Architecture of Bureaucracyand the Architecture of Genius,” The Architectural Review, no. 101 (January 1947): 3–6 Thursday Architectural Cold War • Brian Ladd, “Double Restoration: Rebuilding Berlin after 1945,”The Resilient City: How Modern Cities Recover from Disaster, ed. Lawrence Vale andThomas Campanella (Oxford:Oxford University Press, 2005) • Florian Urban, “Recovering Essence through Demolition: The‘Organic’ City in Postwar West



Berlin,” JSAH 63, no. 3 (2004) • Detlev Heikamp, “Demolition in Berlin,” The Forest Edge/Postwar Berlin 25 (London: A.D. Editions, 1982)Friday Second Paper Due on Moodle by Midnight COURSE PROPOSAL FORM – DANIELA SANDLER – MODERN ANDCONTEMPORARY ARCHITECTURE 6Week 8: Superstructures Tuesday From New Towns to The New Brutalism • Banham, Reyner. “The New Brutalism,” Architectural Review(December, 1955): 355–62 • Anthony Alexander, Britain’s New Towns: Garden Cities toSustainable Communities (London,New York: Routledge, 2009), 1–13; 27–36; 73–92; Optional:109–130Thursday The NeoAvantGardes • Zhongjie Lin, “Nakagin Capsule Tower: Revisiting the Future ofthe Recent Past,” Journal of Architectural Education, vol. 65, no. 1 (2011): 13–32 • Majella Stack, “La Ciudad Abierta–Ritoque–Chile,” BuildingMaterial 11 (Winter 2004), 41–4• Simon Sadler, Archigram: Architecture without Architecture(Cambridge, Mass.: MIT Press,2005), 90–139Week 9: Crises and Critiques Tuesday The Death of Modern Architecture… and Other Stories• Charles Jencks, “The Death of Modern Architecture,” TheLanguage of PostModern Architecture (New York: Rizzoli, 1991), 9–37 • Patricia Morton, “‘Document of Civilization and Document ofBarbarism’: The World Trade Center Near and Far,” in Terror, Culture, Politics: Rethinking9/11, ed. Daniel J. Sherman and Terry Nardin (Bloomington: Indiana University Press, 2006), 15–32Thursday From Jane Jacobs to… New Urbanism? • Jane Jacobs, The Death and Life of Great American Cities(New York: Vintage, 1992), 143–200 • Miles Orvell, “Rethinking Suburbia: Levittown or the NewUrbanism,” The Death and Life of Main Street: Small Towns in American Memory, Space, andCommunity (Chapel Hill: University of North Carolina Press, 2012), 184–214Week 10: New Isms Tuesday From PoMo to Decon • Charles Jencks, “PostModern Architecture,” in The NewParadigm in Architecture (New Haven: Yale University Press, 2002), 53–71, 97–110 • Denise ScottBrown, ”Learning from Pop” (1971), reprinted inK. Michael Hays, ed. Architecture Theory since 1968 (Cambridge, Mass.: MIT Press,2000), 62–66• Paul Goldberger, “Theories as the Building Blocks for a New



Style,” New York Times, June 26, 1988 • Diane Ghirardo, “Eisenman’s Bogus AvantGarde,” ProgressiveArchitecture vol. 75, no. 11 (November 1994): 70–74 COURSE PROPOSAL FORM – DANIELA SANDLER – MODERN ANDCONTEMPORARY ARCHITECTURE 7Thursday High Tech and the New Public Sphere · Hal Foster, “Pop Civics,” The ArtArchitecture Complex(London: Verso, 2011), 19–33 Week 11: Stars are Born Tuesday Starchitecture• Foster, “ImageBuilding,” The ArtArchitecture Complex, 1–18 • Jencks, “The Bilbao Effect” and “The Flying Dutchman GoesEast,” The Iconic Building (New York: Rizzoli, 2005), 7–19, 101–113 Thursday Global Cities• Neil Smith, “New Globalism, New Urbanism: Gentrification asGlobal Urban Strategy,” Antipode vol. 34, no. 3 (2002): 427450 • Tim Simpson, “Scintillant Cities: Glass Architecture, FinanceCapital, and the Fictions ofMacau’s Enclave Urbanism,” Theory, Culture and Society vol. 30,no. 7/8 (2013): 343–71 • Sean Keller, “Bidden City,” Artforum International, vol. 46, no.10 (Summer 2008): 137–4• AnneMarie Broudehoux, “Images of Power: Architectures ofthe Integrated Spectacle at the Beijing Olympics,” Journal of Architectural Education, vol. 63,no. 2 (2010): 52–62 Week 12: Craft and Labor, Again?!? Tuesday Ethics and Labor in Contemporary Architecture • James Riach, “Zaha Hadid Defends Qatar World Cup RoleFollowing Migrant Worker Deaths,” The Guardian, February 25 2014 • James Russell, “Zaha Hadid Wins Defamation Battle, LosesReputation War,” James S. Russell Blog, August 26, 2014 • Tuan Nguyen, “Yes, That 3DPrinted Mansion is Safe to LiveIn,” Washington Post, February 5, 2015 • New China TV, “3D Printers Print Ten Houses in 24 Hours,”YouTube, https://www.youtube.com/watch?v=SObzNdyRTBs • Peggy Deamer, Phillip Bernstein, eds. Building (in) the Future:Recasting Labor in Architecture (New Haven, Conn.: Yale School of Architecture, 2010),excerpts Thursday The Return of Craft • The Architectural Review, The Craft Issue (February 2017),excerpts • Michiel Riedijk, Architecture as Craft (Sun, 2011), excerpts • Richard Sennett, The Craftsman (New Haven: Yale UniversityPress, 2009), 19–52COURSE PROPOSAL FORM – DANIELA SANDLER – MODERN ANDCONTEMPORARY ARCHITECTURE



8Week 13: Good Intentions Tuesday Humanitarian Architecture• Jenna M. McKnight, “Butaro Hospital,” Architectural Record,December 2011• Esther Ruth Charlesworth, Humanitarian Architecture: 15Stories of Architects Working after Disaster (New York: Routledge, 2014), excerpts • Architecture for Humanity, Design Like You Give a Damn:Architectural Responses to Humanitarian Crises (New York: Metropolis, 2006), excerpts Thursday SocialInterest Housing• Bruce Watson, “Alejandro Aravena: Architect, Equaliser, ElVisionario,” Guardian Cities, February 6, 2014 • “Quinta Monroy/Elemental,” ArchDaily.com, December 31,2008• Explore the Elemental webpage athttp://alejandroaravena.com/obras/viviendahousing/ elemental/• “USINA: A Workers’ Collective in Collaboration with PopularMovements,” Scapegoat no. 01 (Summer 2011): 22–23• “SelfManaged Vertical Housing: Brazil,” World HabitatAwards, 2007 Week 14: Contested Spaces Tuesday Design vs Crime• Michael Kimmelman, “A City Rises, Along with Its Hopes,”New York Times, May 20, 2012 • Michael Webb, “Colombia: The AR Reports on How ReformersHave Combated Crime and Poverty in Bogota and Medellin with Programmes that FosterDecent, Dignified Architecture andResponsible Urban Planning,” Architectural Review, vol. 229, no.1368 (2011): 32–6Thursday Informal Cities• Reinhold Martin, “Occupy: What Architecture Can Do,” Places,November 2011 • David Harvey, “#OWS: The Party of Wall Street Meets ItsNemesis,” Rebel Cities: From the Right to the City to the Urban Revolution (London, New York:Verso, 2012), 159–164 • Mike Davis, Planet of Slums (London, New York: Verso, 2006),95–120Week 15: Memory Tuesday Museum Boom• James Young, “Daniel Libeskind’s Jewish Museum in Berlin:The Uncanny Arts of Memorial Architecture,” Jewish Social Studies, vol. 6, no. 2 (2000): 1–23 • Vidler, “Building in Empty Spaces: Daniel Libeskind and thePostspatial Void,” Warped Space: Art, Architecture, and Anxiety in Modern Culture (Cambridge,Mass.: MIT Press, 2000), 235–242• Paul R. Jones, “The Sociology of Architecture and the Politicsof Building: The Discursive



Construction of Ground Zero,” Sociology , no. 3, vol. 40 (2006):549–565COURSE PROPOSAL FORM – DANIELA SANDLER – MODERN ANDCONTEMPORARY ARCHITECTURE 9Thursday Adaptive Reuse (Is New Again) • Liliane Wong, Adaptive Reuse: Extending the Lives of Buildings(Basel: Birkhäuser, 2017), 6–31 • Bie Plevoets and Koenraad van Cleempoel, “Aemulation andthe Interior Approach ofAdaptive Reuse,” Interiors: Design, Architecture, Culture, vol. 5,no. 1 (March 2014): 71–88 • Jorge OteroPailos, “The Contemporary Stamp ofIncompleteness,” Future Anterior 2 (Fall 2004), iii–viiiWeek 16: Building Bridges Tuesday What Happens in Minneapolis Stays in… • Mary Matze, Minneapolis Riverfront Partnership, RiverfrontVitality Project: A Comprehensive Look at the Minneapolis Riverfront (Minneapolis: MinneapolisRiverfront Partnership, 2013) • Nicollet Project, http://www.nicolletmallproject.com/ • Browse the column Streetscapes in the Star Tribune at http://www.startribune.com/streetscapescelebratingminnesotaarchitecture/297564451/startfrom/1467998763/Thursday And Now What?• Open DiscussionFriday Final Paper Due on Moodle by Midnight

Strategic Objectives & Consultation

Name of Department ChairApprover:

Marc Swackhamer

Strategic Objectives Curricular Objectives:

How does adding this course improve the overallcurricular objectives ofthe unit?

A requiredcourse for all M.Arch. students regardless of their program(two or threeyear), to be taken during their second year, fulfills several needs: 1) It offers indepth, graduatelevel engagement with historicaland conceptual content inmodern and contemporary architecture 2) Such content provides references and repertoire forconcurrent and subsequent courses instudio, technology, and history electives in the School 3) These references and repertoire will continue into eachstudents’ professional career4) The course will also train students in independent researchand critique. More thanfurnishing a prepackaged set of references to be recalled, the



course will preparestudents to ask relevant questions that in turn will lead them toseek history as a source ofknowledge, insight, and context for their creative practice. Inother words, the course willeducate and form independent thinkers who value history aspart of an architect’s education and work, understanding that the actual contents ofhistorical knowledge mightvary depending on the project. 5) The course will also impart a sense to all students in theprogram that history is important; that it is integral to an architect’s formation andpractice as a source of insight, knowledge, criticism, and creativity. This does not mean thatcontemporary practice has to imitate history or fish out references from the past. What itmeans is that knowinghistory is actually the first step towards creating somethingnew; towards avoiding mistakes from the past; towards building on previousachievements and moving them forward; and towards understanding the complex social,cultural, political, economic, and environmental conditions in which contemporary and futurearchitecture is immersed.6) The course also provides students with opportunities toformulate independent researchand design questions, in preparation for the work they wi

Strategic Objectives CoreCurriculum:

Does the unit consider this course to be part of itscore curriculum?

yes

Strategic Objectives Consultation with OtherUnits:

Before submitting a new course proposal in ECAS,circulate the proposed syllabus to department chairsin relevant units and copy affiliated associatedean(s). Consultation prevents course overlap andinforms other departments of new course offerings.If you determine that consultation with units inexternal college(s) is unnecessary, include adescription of the steps taken to reach thatconclusion (e.g., catalog key word search,conversation with collegiate curriculum committee,knowledge of current curriculum in related units,etc.). Include documentation of all consultationhere, to be referenced during CCC review. If emailcorrespondence is too long to fit in the spaceprovided, paraphrase it here and send the fulltranscript to the CCC staff person. Please also senda Word or PDF version of the proposed syllabus tothe CCC staff person.

This course is unique to the M. Arch program and does notoverlap with courses in other units. This conclusion was reachedbased on knowledge of curriculum in other units by the M. Archprogram director and the instructor of this proposed course.



Back to Proposal List

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