The Chinese University of Hong Kong ARCH 5321 . 2015 -16 Fall

Date Wednesday . Time 9:30 - 12:15 Room AIT G03 . Office Hour By Appointment

Instructor Patrick Hwang phwang@cuhk.edu.hk

Course Assistants Giselle, Wui Lok LAM 1155003787@link.cuhk.edu.hk

Melody, Wing Hang CHAN 1155000182@link.cuhk.edu.hk

Bibliothèque Nationale by Etienne-Louis Boullée DESCRIPTION Architectural Theory and Criticism aims to unfold ideas that lies behind the appearances of buildings through surveying key theoretical concepts emerged from the mid-twentieth century. Through examples of theoretical positions, buildings and texts, the instructor will deliver ten thematic lectures, each addressing a specific topic. The architectural subject in discussion will be juxtaposed with art, culture and politics to sketch an illuminating and reciprocating contextual relationship. Student learns how to analyse buildings, and how to relate architecture to the broader cultural and social practices.

This is a required course for all Master of Architecture candidates intended to provide an intellectual foundation, a guiding principle and perhaps a propaganda means necessary to compliment the design studio, and in preparation for the Thesis Project of the following year. It is organised through a lecture and presentation framework to understand the emphasised theoretical trajectories and debates while allowing ideas occurring on the periphery (outside of the course) to be further investigated by the student.

Students are expected to read the specific assigned reading prior to the weekly lectures in order to better understand, and question the theoretical concepts. Through reading of the seminal essays, students shall become familiar with the topic of study and offer their point of view in response to the ideas behind. Critical intention for the course is to generate a dialogue and understanding between critical theory and design practice, allowing students to further consider their instrumental relationships and how it might inform the development of their own architectural thesis.

LEARNING OUTCOME • Able to analyse critical writing and buildings, and to draw out the ideas behind them. • Able to discuss major concepts of architectural theory and criticism from the mid twentieth century. • Able to complement the design studio through the influential projects and ideas discussed in class.

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ARCHITECTURAL Theory & Criticism - Arch 5321 (R1)

LECTURE SYNOPSIS

Introduction/ Course Framework & Schedule The introductory class provides a synopsis on the thematic topics to be covered. It will define objectives and conditions of the course. Basic concepts and intentions of architectural theory will be conveyed through concepts of Vitruvius, Boullée and John Hedjuk. Logistical issues on assignments and presentation team formation will also be discussed.

Lecture 1/ Metropolis and Modernity The modern metropolis (as opposed to the rural or the suburban) is a condition for which incompatible elements can coexist, where multiplication of perspectives can occur and standardisation is required. If the rural is organic and curvaceous, the urban is rapid and intense. At the turn of the 20th century, as it has been since, the subject of the metropolis has remain a deeply analysed and debated topic. By discussing influential urban theorists and the "genealogy" of Georg Simmel, Siegfried Kracuer and Walter Benjamin, and their concepts of blasé attitude, alienation, fragmentation, standardisation and authenticity, this lecture aims to bring awareness to critical issues relating to Modernity. The intention is to be aware of the ideas and to allow them to subject serve as background for Postmodern and contemporary theoretical concepts. The nuances of the concepts will be explained through works of Fritz Lang, Pierre Renoir, George Seurat, Edvard Munch, Pablo Picasso and Edward Hopper.

Lecture 2/ Simplicity: Autonomy and Rationality This lecture will examine Modernism from two perspectives. The advancement of the technology in construction, and its influence of the ideological, political and social changes during the early 20th century. Prior to being encapsulated as a “style” Modernism had a deeper social and cultural calling. From one trajectory Modernism can be seen as an extension from the Age of Enlightenment (age of reason) and Rationality. It represented a move away from superstition and religion, towards the belief in science, technology and empiricism or the learned experience. The idea behind the lecture will be narrated through a short history of painting, from Impressionism to the L’art pour l’art movement. Architecturally, ideas from Le Corbusier’s “Towards an Architecture, 1923” and Giuseppe Terragni’s Palazzo Littorio Competition and the Casa del Fascio will be analysed and discussed.

Lecture 3/ Avant Garde: Dada, Team X and Metabolist Avant garde played a critical role in the development of art and architecture in the early 20th century. Unlike figures in the Modern movement, the Avant Gardes does not refer to or react to history, it does not define itself within the preconceived framework of the institution. Rebel attitude of the avant garde pushes the envelop of art and architecture in order to fundamentally redefine its very meaning. The unconventional methods of the avant gardes will be explained through the works of Dada, Surrealism, Team X and Metabolist. Principle ideas behind this lecture stems from Peter Bürger’s 1984 book, Theory of the Avant-Garde.

Lecture 4/ Complexity: Communication and Deconstruction This lecture is dedicated to the time frame which saw the emergence of Post Modernism as a stylistic approach in architecture, and discuss the appearance and disappearance of Deconstructivism around 1980s. Through the seminal writing of Learning from Las Vegas and Complexity and Contradictions by Robert Venturi, we will examine ideas behind the use of symbolism in architecture and its relationship between Structuralist ideas of signifier and the signified. Postmodernism in architecture can be described as a shift away from clarity, simplicity and towards complexity and ambiguity. With this understanding, one sees a similar intellectual basis in architecture between the Post Modernist (historicism) and Deconstructivist, in that both disagrees with the naiveté of the Modernism and choose to side with a more complex reading of the world.

Lecture 5/ Contextualism: Nostalgia from Tabula Rasa Contextualism emerged as a response to the “inconsiderate” top down planning of the modern movement. A part of the lecture session intends to articulate the diametrically opposed viewpoints of Jane Jacobs through her community advocacy actions and writings; and Robert Moses’s infrastructural works. In relation to the Moses vs. Jacobs debate will be the introduction on highlighting the influential policies and strategies of the New Urbanist, which has greatly reshaped cities across North America and other regions.

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Lecture 6/ Phenomenon: Place and Material Perhaps more than the other topics presented thus far, the ideas behind phenomenology is the most closely linked to the making, and the perception of architecture. The class will use built examples of architecture to highlight key concepts of phenomenology which stems in part from Martin Heidegger's seminal essay Building, Dwelling, Thinking. Place and material is linked in phenomenology in that the material helps to define and articulate the place. Another aspect of the lecture will touch upon the idea of Critical Regionalism, first introduced by Alexander Tzonis and made popular by Kenneth Frampton during the pinnacle of the Postmodernism confusion. The introduction of Critical Regionalism provided a respectable alternative to the debate and practice of architecture, particularly for those who were not interested in neither the historicist return of the Postmodernism nor the austerity of the International Style. Through seminal architectural works of Alvaro Siza, Peter Zumthor, Rick Joy, Steven Holl and artist James Turrell and Olafur Eliasson, this lecture aims to articulate the concept of being and its impact on the built environment.

Lecture 7/ Performance: Event and Space Through the works of Guy Debord, Yona Friedman, Cedric Price, Constant and others, this session intends to trace the lineage behind the group of thinkers and architects who sees architecture not from the surface of the form, but instead the events and actions that architecture is closely a part of. The lecture will begin with the Situationist International movement and highlight its influence on architects of its time. A connection will be made to link the ideas of dérive, unitary urbanism and détournement to the architectural practice of Price, Friedman but also Richard Rogers, Renzo Piano, Bernard Tschumi and Rem Koolhaas. Performance will extend beyond the notion of the programmatic, but also to include the recent investigation of responsive architecture, whereby buildings are no longer passive, but literally reactive to the forces of the place. Lecture 8/ Representation: Drawing to Scripting Traditionally, architectural drawings are understood as a means to an end: lines, notations in a series of steps from idea toward built realization, the projected building-to-be. Along the Structuralist way of thinking, drawing is the signifier and building is the signified. Representation therefore can be understood as a series of provisional strategies to mediate between the two different worlds, the imagined and the built. Modes of representation are not simply neutral depictions but a constructed proposition of architecture. This lecture will go through a brief history in visual representation and how it has changed over the years from what "Architects do not make buildings; they make drawings of buildings" as articulated by Robin Evans in the 1980s to a much significant role that architects play today.

Lecture 9/ Topology: Surface and Fold This lecture is largely dedicated to the surface theory of Gilles Deleuze and how his ideas and concepts has influenced the design of architecture in the past 15 to 20 years. Through the writings and works of selected architects, mainly Greg Lynn and Jesse Reiser, this session aims to demonstrate how they have extended Deleuze's concepts in architecture. Furthermore, we will attempt to unfold the key concepts behind the influential book chapter 1440: Smooth and the Striated from the book A Thousand Plateaus.

Lecture 10/ Three Practices: Projects and Process This lecture discusses the influential works and ideas of Frank Gehry, Rem Koolhaas and Herog & de Meuron. Focusing on how the works are shaped, and determined by the three architect’s similar yet distinctive design approaches, and the city from which they practice. The architects in discussion whose influence to the practice and the academy rests not only on their writings (in the case of Koolhaas) but whose theory seemed to give way to architecture that is explainable through the actual building.

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SCHEDULE

Week Date Topic 1 09.09 Introduction/ Course Framework & Schedule

Reading: Michiel Riedijk, "Architecture," The Drawing. The architect’s raison d’être, P 42- 48

2 16.09 Lecture 1/ Metropolis and Modernity Reading: Walter Benjamin, "The Work of Art in the Age of Mechanical Reproduction," Illuminations

3 23.09 Lecture 2/ Simplicity: Autonomy and Rationality Reading: Vitto Gregotti, “On Simplicity," Inside Architecture

Seminar 1: Meeting with (G)roup 1 & (G)roup 2 24.09 FILM NIGHT: My Architect, A Son’s Journey, 2004

4 30.09 DUE: DRAWING CRITIQUE (ASSIGNMENT 1) Lecture 3/ Avant-Garde: Dada, Metabolist and Boullée

Reading: Rem Koolhaas and Hans Ulrich Obrist, “Kenzo Tange," Project Japan

Presentation 1: Metropolis and Modernity G1- Walter Benjamin, "Paris, Capital of the Nineteenth Century," Reflections * Criticism by: G3

G2- Georg Simmel,"The Metropolis and Mental Life," On Individuality and Socialist Forms* Criticism by: G4

Seminar 2: Meeting with G3 & G4

5 07.10 Lecture 4/ Complexity: Communication and Deconstruction Reading: Robert Venturi, "Introduction, Chapter 1-4," Complexity and Contradiction in Architecture

Presentation 2: Avant-Garde G3- E.T. Boullée, “Architecture, Essay on Art,” Boullée & Visionary Architecture* Criticism by: G5

G4- R. Koolhaas + H. Obrist, “Expo ’70, Apotheosis of Metabolism" Project Japan Criticism by: G6

Seminar 3: Meeting with G5 & G6

6 14.10 Lecture 5/ Contextualism: Nostalgia from Tabula Rasa Reading: Rafael Moneo, “The Murmur of the Site,” ANYWhere, 1992

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Presentation 3: Complexity G5- Venturi, Brown, Izenour, Learning from Las Vegas Criticism by: G7

G6- P. Johnson, M. Wigley, Deconstructivist Architecture Criticism by: G8

Seminar 4: Meeting with G7 & G8

7 21.10 No Class/ Public Holiday Reading:

Andres Duany, "Coding America," ANY 1, Seaside and the Real World, July/ August 1993

8 28.10 Class will take place at AIT ZONE F DUE: TERM PAPER PROPOSAL & ANNOTATED BIBLIOGRAPHY (ASSIGNMENT 4a) Lecture 6/ Phenomenon: Place and Material

Reading: Kenneth Frampton, "Prospects for a Critical Regionalism", Perspecta: The Yale Architectural Journal 20

Presentation 4: Contextualism G7- Rafael Moneo, “The Murmur of the Site,” ANYWhere* Criticism by: G9

G8- A. Duany, R. Koolhaas, A. Krieger (moderator), Exploring New Urbanism(s)* Criticism by: G10

Seminar 5: Meeting with G9 & G10

9 04.11 Lecture 7/ Performance: Event and Space Reading: Bernard Tschumi, “Spaces and Events,” Questions of Space Rem Koolhaas, "The Downtown Athletic Club," Delirious New York

Presentation 5: Phenomenon G9- Peter Zumthor, Atmospheres Criticism by: G11

G10- Christian Norberg-Schulz, The Phenomenon of Place* Criticism by: G12

Seminar 6: Meeting with G11 & G12

10 11.11 Lecture 8/ Representation: Drawing to Scripting Reading: Robin Evans, "In Front of Lines That Leave Nothing Behind," AA Files 6 Michiel Riedijk, "Architecture," The Drawing. The architect’s raison d’être, P 39- 42

Presentation 6: Performance G11- Bernard Tschumi, Questions of Space Criticism by: G13

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G12- David Leatherbarrow, “Unscripted Performances," Architecture Oriented Otherwise* Criticism by: G14

Seminar 7: Meeting with G13 & G14 12.11 FILM NIGHT: Rem Koolhaas, A Kind of Architect, 2008

11 18.11 Lecture 9/ Topology: Surface and Fold Reading: Greg Lynn, "The Folded, the Pliant and the Supple," Bodies & Blobs Collected Essays

Presentation 7: Representation G13- Robin Evans, “Translations from Drawing to Building,” Translations from Drawing to Building, (Analysis on Jamess Turrell and Royal Chapel at Anet) Criticism by: G15

G14- Robin Evans, “Mies van der Rohe’s Paradoxical Symmetries,” Translations from Drawing to Building Criticism by: G16

Seminar 8: Meeting with G15 & G16

19.11 FILM NIGHT: Between the Folds, 2009

12 25.11 Class will take place at AIT ZONE F DUE: PROPAGANDA POSTER (ASSIGNMENT 3) Lecture 10/ Five Architects: Projects and Process

Reading: (Required, select 1 of the 3 architects) Rafael Moneo, Theoretical Anxiety and Design Strategies

Presentation 8: Topology G15- Greg Lynn, "The Folded, the Pliant and the Supple," Bodies & Blobs Collected Essays Criticism by: G1

G16- Reiser and Umemoto, Atlas of Novel Tectonics Criticism by: G2

13 02.12 NO CLASS 10.12 M1 Final Review

14 18.12 DUE: TERM PAPER (ASSIGNMENT 4b)

SCHEDULE IS SUBJECT TO CHANGE

-List of books required for group presentation has been placed in the architecture library on RESERVE or on the course server as denoted in ( * ).

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LEARNING ACTIVITIES In class Lectures, student presentations, class discussions, group seminar, occasional quizzes, Thursday film nights.

Out class Weekly reading, preparation for in class presentation, preparation for assignments

ASSIGNMENTS Assignment 1: Drawing critique (500 words) SEPTEMBER 30 Assignment 2: Group topical presentation (15 minutes, 20 slides) ROLLING DUE DATE Assignment 3: Group propaganda poster (A1 portrait) NOVEMBER 25 Assignment 4a: Term paper proposal and Annotated bibliography (One page, double sided) OCTOBER 28 Assignment 4b: Term paper (3,000 words) DECEMBER 18

Assignment 1 / Drawing Critique Select ONE of the Architectural drawings from the course server and write a 500 words essay of your critique and analysis.

In this first essay, you are not required to research on the given drawing, instead you should analyse the drawing based on what you see in a critical way. Speculate on the intentions of the architect, think of the meaning beneath and in front of the drawing. Consider the spatial dimensions and translate them into scalable terms. Examine the medium used for making the drawing and seek out the reasoning behind. Some possible questions to ask are:

1. Is the drawing representational or does it depict itself? 2. If it is representational, what seem to be the programmatic and symbolic intentions portrayed in the drawing? 3. What evidence of rules, traditions, styles, conventions can you trace to situate its genre? 4. What evidence of innovation or breakthrough is shown in the drawing? 5. What is emphasised and what is left out of the picture frame?

• Use layout format provided on the course server. • Consider using a creative title for your essay. • Before handing the essay proof read and signed by one classmate of choice. • Upload soft copy to the course server, submit hard copy in class.

Assignment 2/ Group Topical Presentation Slideshow presentation to convey the critical points behind a thematic topic or theory. Total of 20 slides, and verbal presentation shall be limited to 15 minutes per group. Each group will composed of three to four students.

Questions to be addressed in the presentation may include the following: • Who are the authors? • What are main ideas they are arguing for and against? What quotation best represent this? • To what degree is the text and the attitudes it represents still relevant to architecture today? • What influence, if any, does it have on the practices and built environment of Hong Kong? • Articulate a main issue with which you agree and disagree with. Students should begin preparing the presentation at least two weeks prior. A week before the presentation, instructor will meet with the groups for a seminar discussion after the class lecture.

Assignment 3/ Group Propaganda Poster Communicate the concepts behind a thematic topic on a sheet of A1 poster in portrait orientation. Create a poster to portray, in a propaganda style/ manner, the concepts behind the thematic topic researched during your group presentation. The poster shall deliver visual clarity while informative in conveying the key agenda of the thematic topic. The poster shall capture the essence and concepts behind the theory. When appropriate it may seek to provoke and stimulate reaction and response. Graphically reflect the nature of the thematic theory.

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Assignment 4/ Term Paper

LIST OF ARCHITECTS AND BUILDINGS:

1. Étienne-Louis Boullée: Cenotaph for Turenne, Paris,1785 2. Giuseppe Terragni: Casa del Fascio, Como, 1936 3. Louis Kahn: Salk Institute for Biological Studies, La Jolla, 1959 4. Sigurd Lewerentz: St. Peter’s Church, Klippan, 1963 5. James Stirling: Leicester Engineering Building, Cambridge, 1963 6. Hans Scharoun: Berlin Philharmonic, Berlin, 1963 7. Claude Parent and Paul Virilio: Church of Sainte-Bernadette du Banlay, Nevers, 1963 8. Moshe Safdie: Habitat 67, Montreal, 1967 9. Mies van der Rohe: New National Gallery, Berlin, 1968 10. Aldo Rossi: San Cataldo Cemetery, Modena, 1976 11. Peter Eisenman: House II, III, VI, X, 1967-1978 (choose one or a pair) 12. Robert Venturi: Sainsbury Wing, National Gallery, London, 1986 13. Alvaro Siza: Galician Center of Contemporary Art, Santiago de Compostela, 1988 14. Frank Gehry: Vitra Design Museum, Weil-am-Rhein, 1987 15. Rem Koolhaas: The Kunsthal, Rotterdam, 1987 16. Herzog & de Meuron: Goetz Art Gallery, Munich, 1989 17. Zaha Hadid: Vitra Fire Station, Weil-am-Rhein, 1993 18. Rafel Moneo: Wellesley College, Massachusettes, 1993 19. Neutelings Riedijk Architects: Museum aan de Stroom, Antwerp, 2001 20. Spacelab Cook-Fournier: Kunsthaus Graz: Graz, 2003

Assignment 4a/ Term paper proposal and Annotated Bibliography From the above list, your task is to propose an analysis of a building in order to develop a research paper. Prior to writing the term paper, you shall write a one page annotated bibliography as a way to define the research direction. Cite a minimum three sources on the building.

PREPARING AN ANNOTATED BIBLIOGRAPHY (excerpts from Philadelphia University learning centre)

what it is: An annotated bibliography provides readers with brief, concise notes or “annotations” about sources, in addition to giving all of the publication information for each source. The length of annotations can vary but they are usually about 100-150 words per source. The publication information is presented in the documentation style the writer is using throughout the paper.

purpose: When an annotated bibliography is created as a stand-alone document, it guides researchers to sources on a particular topic. When an annotated bibliography is attached to a research paper, it provides readers with additional insight into the sources quoted, paraphrased, or referred to in the paper.

Annotated bibliography serve as evidence that you have made responsible and meaningful choices of sources, and that you know what your sources say about your topic. The aim is to help you to determine whether the sources you have selected will meet assignment guidelines, expand your knowledge of the topic, and be useful in developing your paper.

Annotations can: • provide general information about a source (summarising its central theme, noting its scope, or coverage of the topic) • identify its bias or point of view (evaluating the reputation or credentials of the author) • assess its value (noting its intended audience, comparing or contrasting it with another source you have cited, or explaining what this work adds to critical discussion of your topic)

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SAMPLE ANNOTATIONS

Sample annotation that provides general information

Holberton, Paul. Palladio’s Villas: Life in the Renaissance Countryside. London: John Murray, 1990.

Holberton traces Palladio’s career, with particular attention to his mentors and his clientele. He takes issue with the notion that buildings such as the Villa Rotunda were built to function as working farms and claims instead that they “fulfilled and embodied the ideal of the “magnificence’ appropriate to . . . gentlemen, noblemen, aristocrats ” (xi). Holberton claims Palladio’s clients exerted great influence on the design of several villas and traces the origins of the Villa Rotunda’s four identical loggia to the owner of the house. The book is more useful for its attention to the way the Villa Rotunda was inhabited and used than to analysis of its design.

Sample annotation that identifies bias or point of view

Wundram, Manfred and Thomas Pape. Andrea Palladio: Architect Between the Renaissance and the Baroque. Köln: Taschen, n.d.

Wundrum and Pape are most concerned with defining the style of Palladio’s villas. They identify some elements as High Renaissance and others as Mannerist. Their thesis is that this unusual synthesis allowed Palladio to pave the way for the Baroque. Although they devote space to each of the villas individually, Villa Rotunda receives more attention than the others for how its “abstract and concrete, rational and emotional factors all combine with each other.” This book is particularly valuable for its numerous high quality color plates of the outside and interior of Villa Rotunda, its gardens, and its setting.

Sample annotation that identifies value or point of view

Rybczynski, Witold. The Perfect House: A Journey with the Renaissance Master Andrea Palladio. New York: Scribner, 2002.

Rybczinski deliberately treats Palladio as a practitioner and designer, rather than as a theorist. Nevertheless, he emphasizes the great influence that Palladio’s villas have had on domestic architecture in other countries and in later eras, including our own, and is concerned with locating the design and construction of the Villa Rotunda in the history of the home. Rybczynski evaluates exterior and interior design features of the Villa Rotunda with an architect’s eye, noting that a domed circular space was an “odd” choice for a domestic setting (185) and praising the building’s “extreme symmetry, both inside and out” (188).

Assignment 4b/ Term Paper You are required to write an illustrated researchers paper of 3000 words in length with supporting images and drawings. The paper shall aims to unfold, establish and argues for latent relationships between the thematic topic covered in this course and the selected building.

The paper should include the following:

1. A brief critical account of the architect’s career to date, noting in what ways and to what extent the work appears to fall within or in-between the theoretical tradition as discussed in this course. You should place an emphasis on those works that display certain theoretical features and identify, where you can, what tradition they derived from.

2. Analyze the building for its affects and qualities through a specific theoretical lens or framing. Diagrams and graphic analysis on top of existing design representations (drawings and models), photographs of as built conditions and details are highly recommended. It is important that you articulate the obvious, while unfold the latent intricacies through your analysis. Provide a critical argument and conclusion to your findings.

3. Use footnotes and a short bibliography indicating the source used to write the paper.

Submit a hard copy to the front office. Soft copy of the final paper shall be submitted to Veriguide via the following link: https://academic.veriguide.org/academic/

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PREPARATION OF YOUR PAPER

Since much of the images and writings for the buildings noted above remained in print form, the final paper cannot be composed solely by browsing through websites. Use the library resources (books, periodicals and journals etc.) to search your subject by the architect, project typology, location etc. to fully and thoroughly unfold the necessary information.

Start your research by familiarizing with the architect’s general bio and work, who were his influences that led to his awareness of architecture? As you develop a better grasp of the architect and the specific building, begin to determine an overall direction of your paper by asking series of small questions that may lead to a thesis. For example, ask yourself through what lens and framing will you analyze and critique the architect and his building? Would you be analyzing the building based on its sensitivity and awareness to contextual response? or their symbolic representation of state or corporate power? or their tectonic expression and honesty of form? or their playfulness in the manipulation of spaces and programs? or their inventive display of structural efficiencies and affects? In other words, use this paper to develop a specific argument. Do not generalize.

Let’s continue with the line of thought through the example of contextual response as an example. Assuming that this is the thematic topic you wish to explore, ask yourself what is the architect’s solution to achieve contextual response? Is it through choice of material? proportion of form? consideration of local craft? articulation of detail? or generating a visual and programmatic connection to the context?

Another example, you are interested in Peter Eisenman’s House series for its simple modernist aesthetics. However, upon closer examination, the building appears to be straddle between several traditions beyond Modernism, furthermore you discover that the design process involves a particular method of Representation process. In many instances, the connection between the thematic ideas is implicit rather than explicitly linked. As such, do not simply apply theoretical labels onto the building. Instead, analyze the design plans, sections, renderings, models and the pictures of the building, to unfold and reveal your findings and discoveries. In other words, a building with applied label of Avant Garde might not perform that way. A building that appears to be wrapped in a simple form might in fact be very complex. You should develop and articulate your arguments based on your analytical studies.

Develop a deep analysis as opposed to surface observation. Be critical on your findings and do not accept the author’s perspective as the absolute truth. Compare and evaluate different articles and different author’s point of views, while incorporate your own thinking into the critique. For Example: It is well argued that Mies van der Rohe operated as a rationalist, however you are not so sure. As such, your research may turn up clues that some of his decisions were not based on rational evaluations but on effects or other factors. You argue that the accepted belief is not true using the specific examples that you have found. The aim of your paper therefore is to argue against the general assumption on Mies and to define a specific way of reading Rationalism.

ASSESSMENT

A (Excellent grasp of all course content and material. Students must also demonstrate intellectual curiosity and openness.) B (Good understanding of course content and material as demonstrated in most course requirements.) C (Satisfactory completion of at least half of the course requirements) D (Satisfactory completion of less than half of the course requirements) F (Unsatisfactory completion of course requirements)

Paper and group presentation will be evaluated based on depth of research, verbal presentation, analytical strength and

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argumentation. A good or excellent grade (B or above) can only be achieved if the paper is based on a solid research on the specific topic and a professional presentation. Texts which fail to name all sources of their information (incl. image sources) properly will not be considered for grades in the B range or above. Creativity is highly encouraged for the thematic poster. Participation is also important in enhancing student learning, which accounts for large portion of the final grade. Paper is to include footnotes and a bibliography. All used images have to be labeled. Plagiarism will not be tolerated and shall be subject of the review by disciplinary committee which may lead to failure of the course or expulsion from the university.

Individual Assignment: 60% 1. Drawing Critique (Assignment 1) 2. Annotated bibliography (Assignment 4a) 3. Term Paper (Assignment 4b)

Group Assignment: 25% 1. Propaganda Poster (Assignment 3) 2. Group Topical Presentation (Assignment 2)

Participation: 20%

Attendance and participation are mandatory due to the ways in which the lectures are organized. Students must notify the instructor before class begins (via email) if absence or tardiness is necessary. Absences will be permitted due to medical or family emergencies, and should be made up to the extent possible. Each unexcused absence will drop semester grade one letter grade. Any students with more than three unexcused absences will be grounds for failure or withdrawal at the discretion of the instructor. 1. Attendance 2. Class participation 3. Quiz

LINKS DOWNLOAD http://www.arch.cuhk.edu.hk/server1/course/21c5321/

UPLOAD ftp://137.189.152.31/course/21c5321/submit user: course|21c5321s password: h13and!4

Digital files to follow the below naming convention: Assignment No._Last Name_First Names_DDMMYYYY

1_LAM_PuiYi_Cherry_24092014 2_LAM_PuiYi_Cherry_19112014 3_LAM_PuiYi_Cherry_12122014

GUIDELINE FOR NOTES AND REFERENCES To prevent complete chaos if everyone were to use his or her own system, there is a common one. These are the basics of the system for writing a bibliography, with an example each time:

A book Author, Title: subtitle, Place: Publisher, Year

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Merton, Robert K., The Sociology of Science, Chicago (IL): University of Chicago Press, 1973 An edited book

Editor (ed.), Title: subtitle, Place: Publisher, Year MacIntyre, A. (ed.), Hegel: A Collection of Critical Essays, London: University of Notre Dame Press, 1976

An article in a journal Author, ‘Title: subtitle’, Journal, number (date), pp. begin-end Dove, Kenley R., ‘Hegel’s Phenomenological Method’, Review of Metaphysics, 23 No. 1 (Sept., 1969), pp. 615 – 41

An essay or article in a book (by same author) Author, ‘Title: subtitle’, in: Title: subtitle, Place: Publisher, Year, pp. begin-end Adorno, T. ‘Skoteinos, or How to read Hegel’, in: Hegel: Three Studies, Cambridge (MA): MIT Press, 1993, pp. 89 –

148 An article in an edited collection

Author, ‘Title: subtitle’, in: Editor (ed.), Title: subtitle, Place: Publisher, Year, pp. begin-end Harris, H. S. ‘Hegel’s intellectual development to 1807’, in: F. C. Beiser (ed.) The Cambridge Companion to Hegel,

Cambridge, Cambridge University Press, 1993, pp. 25 – 51

IMPORTANT NOTE TO STUDENTS: Attention is drawn to University policy and regulations on honesty in academic work, and to the disciplinary guidelines and procedures applicable to breaches of such policy and regulations. Details may be found at http://www.cuhk.edu.hk/policy/academichonesty/ . With each assignment, students will be required to submit a statement that they are aware of these policies, regulations, guidelines and procedures.

RECOMMENDED LEARNING RESOURCES Making a BibliographyHere is a list of the most used databases and other sources you need to use for creating a bibliography about your building. You will have to learn to check them in a number of ways: sometimes using the name of your building, sometimes using the architect’s name etc.

Avery Index to Architectural Periodicals Bibliography of the History of Art JSTOR: World History Collection LexisNexis Academic Google Scholar

You must also check the books and articles that you find from these searches as they will also contain bibliographies.

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BIBLIOGRAPHY (Presentation Reference Reading) Metropolis and Modernity: Simmel, Kracuer and Benjamin

Kracauer, Siegfried, “The Hotel Lobby”, The Mass Ornament: Weimar Essays, Harvard University Press, 1995 Leach, Neil (ed.), Rethinking Architecture: A Reader in Cultural Theory,

London; New York: Routledge,1997 Vidler, Anthony, Warped Space: Art, Architecture, and Anxiety in Modern Culture,

Cambridge, Mass.: MIT Press, c2000 Simplicity: Autonomy and Rationality

Gropius, Walter, The New Architecture and the Bauhaus, Cambridge, Mass. : M.I.T. Press, 1965 Johnson, Philip, “The Seven Crutches of Modern Architecture”, The Architecture of Philip Johnson,

Boston : Bulfinch Press, c2002 Rowe, Colin, The Mathematics of the Ideal Villa, Cambridge, Mass. : MIT Press, 1982 Risselada, Max (ed.), Raumplan versus Plan Libre : Adolf Loos and Le Corbusier, Rotterdam : 010, 2008 Le Corbusier, Radiant City, New York : Orion Press, 1967 Bacon, Mardges + Bergdoll, Barry + Cohen, Jean-Louis (ed.), Le Corbusier: An Atlas of Modern Landscapes,

New York : Museum of Modern Art, 2013 Bélier, Corinne + Bergdoll, Barry + Le Cœur, Marc, Henri labrouste: Structure Brought to Light,

New York : Museum of Modern Art, 2012 Avant Garde: Dada, Team X and Metabolist

Cook, Peter (ed.), Archigram, New York : Princeton Architectural Press, c1999 Hays, K. Michael, Architecture's Desire: Reading the Late Avant-Garde, Cambridge, MA : MIT Press, 2009 Koolhaas, Rem + Obrist, Hans-Ulrich, Project Japan : Metabolism Talks, Koln ; London : Taschen, 2011 Mumford, Eric, The CIAM Discourse on Urbanism 1928-1960, Cambridge, Mass. : MIT Press, 2000 Somol, R.E. (ed.), Autonomy and Ideology- Positioning an Avant-Garde in America,

New York : The Monacceli Press, 1997 Walker, Stephen, Gordon Matta-Clark: art, architecture and the attack on modernism, London: Palgrave Macmillan, 2009 Complexity: Communication and Deconstruction

Derrida, Jacques, "Point de Folie- Maintenant L'architecture", Rethinking Architecture: A Reader in Cultural Theory, Leach, Neil (ed.), London ; New York : Routledge, 1997

Huyssen, Andreas, "Introduction", After the Great Divide : Modernism, Mass culture, Postmodernism, London : Macmillan Press, 1988

Venturi, R. + Brown, D.S. + Izenour, S., "Ugly and Ordinary Architecture, or the Decorated Shed", Learning from Las Vegas : the forgotten symbolism of architectural form, 2nd ed. Cambridge, Mass. : MIT Press, c1977

Contextualism and Nostalgia

Alexander, Christopher, “A City is Not A Tree”, A Pattern Language: Towns, Buildings, Construction, New York : Oxford University Press, 1977

Congress for the New Urbanism, Charter of the New Urbanism, New York : McGraw-Hill, 2000 Vidler, Anthony, James Frazer Stirling: Notes from the Archive, Montréal : Canadian Centre for Architecture ; New

Haven Conn. : Yale Center for British Art : In association with Yale University Press, 2010 Phenomenon: Place and Material

Bachelard, Gaston, The Poetics of Space, Boston : Beacon Press, 1969 Lefebvre, Henri, The Production of Space, Oxford ; Cambridge, Mass. : B. Blackwell, 1991 Norberg-Schulz, Christian, "Heidegger’s Thinking on Architecture", Perspecta: The Yale Architectural Journal 20,

(1983), pp. 61-68

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Zumthor, Peter, Thinking Architecture, 3rd expanded ed., Basel: Birkhäuser, c2010 Durisch, Thomas, Peter Zumthor: Buildings and Projects, 1985-2013, Basel: Scheidegger and Spiess, 2014

Performance: Event and Space Risselada, Max (ed.), Raumplan versus Plan Libre : Adolf Loos and Le Corbusier, Rotterdam : 010, 2008 Wall, Alex, "Programming the Urban Surface", Recovering Landscape, Corner, James (ed.),

New York : Princeton Architectural Press, 1999 Leatherbarrow, David, Architecture Oriented Otherwise, 1st ed., New York : Princeton Architectural Press, 2009 Maltzan, Michael, No More Play, Ostfildern, Hatje Cantz, 2011

Representation: Drawing to Scripting Allen, Stan, "Constructing with lines on project," Practice: Architecture, Technique and Representation,

London ; New York : Routledge, 2009 Benjamin, Walter + Arendt, Hannah (ed.), "The Work of Art in the Age of Mechanical Reproduction,"

Illuminations, Glasgow : Fotana / Collins, 1973 Evans, Robin, Translations from Drawing to Building and Other Essays, London : Architectural Association, 1997

Surface and Data-gram

Allen, Stan, "Field Conditions", Points + Lines: Diagrams and Projects for the City, New York : Princeton Architectural Press, 1999

Allen, Stan, “Mat Urbanism: The Thick 2D”, in Hashim Sarkis (ed.), CASE: Le Corbusier’s Venice Hospital, Munich: Prestel, 2001

Deleuze, Gilles,The Fold: Leibniz and the Baroque, Minneapolis : University of Minnesota Press, 1993 Lynn, Greg, Folds, Bodies & Blobs : Collected Essays, Bruxelles : La Lettre volée,1998

Reiser, J. + Umemoto, N., Atlas of Novel Tectonics, 1st ed., New York : Princeton Architectural Press, 2006

Three Practices: Projects and Process Money, Rafael, "Intelligence After Theory," Theoretical Anxiety and Design Strategies, MIT Press, 2004, Chapters on

Rossi, Siza, Gehry, Gehry and Herzog & de Meuron. Mack, Gerhard, Herzog & de Meuron 1997-2001, Basel: Birkhäuser, 2008 Mack, Gerhard, Herzog & de Meuron 1992-1996, Basel: Birkhäuser, 2005 There are numerous books, articles, journals written on these three practices of architecture avilable in a wide range

of resources.

BIBLIOGRAPHY (General Reference Reading) Nesbitt, Kate (ed.), Theorizing a New Agenda for Architecture: An Anthology of Architectural Theory 1965-1995, New

York : Princeton Architectural Press, 1996 Sykes, A. Krista (ed.), Constructing a New Agenda, Architectural theory 1993-2009,

New York : Princeton Architectural Press, 2010 Groat, Linda + Wang, David, Architectural Research Methods, New York : J. Wiley, 2002 Smith, Korydon, Introducing Theory: Debating a Discipline, Routledge, 2012

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