Expression in Architecture: Readings

Readings

Lecture 1 - Introduction to Expression
1. Ackerman, J. "Expression"; Onians, J. "Ornament"; Collins, P. "Theory of Architecture"; all articles in Encyclopӕdia Britannica.
2. Bonta, J.P. Architecture and Its Interpretation: A Study of Expressive Systems in Architecture (1979).
3. Gelernter, M. Sources of Architectural Form (2002), pp. 1-18.
4. Gombrich, E.H. "Expression and Communication," in Meditations on a Hobby Horse and Other Essays on the Theory of Art (1978), pp. 56-69.
5. Goodman, N. "How Buildings Mean," Critical Inquiry 11:4 (1985), pp. 642-653.
6. Johnson, P.-A. "Architecture Expression," in The Theory of Architecture: Concepts, Themes, and Practices (1994), pp. 395-433.
7. Langer, S. "Expressiveness," in Problems of Art (1957), pp. 13-26; longer version as Chapter 20 in Feeling & Form (1953), pp. 369-391.
8. Mitias, M.H. "Expression in Architecture," in Philosophy and Architecture, ed. M.H. Mitias (1994), pp. 87-107.
9. Mitias, M.H. "Preface" and "Is Architecture an Art of Representation?," in Architecture and Civilization, ed. M.H. Mitias (1994), pp. viii-x, 59-80.
10. Morawski, "Expression," Journal of Aesthetic Education 8:2 (1974), pp. 37-56.
11. Scruton, R. "Expression and Architecture," in The Aesthetics of Architecture (1979), pp. 179-205.
12. Sowers, R. Rethinking the Forms of Visual Expression (1990).
13. Tilghman, B.R. "Architecture, Expression, and the Understanding of Culture," in Philosophy and Architecture, ed. M.H. Mitias (1994), pp. 51-66.
14. Whyte, W. "How Do Buildings Mean? Some Issues of Interpretation in the History of Architecture," History & Theory 45:2 (2006), pp. 153-177.
15. Kruft, H.-W. History of Architectural Theory (1994).
16. Mallgrave, H.F. Architectural Theory Volume I: An Anthology from Vitruvius to 1870 (2006).
17. Mallgrave, H.F. Architectural Theory Volume II: An Anthology from 1871-2005 (2008).
18. Mallgrave, H.F. Modern Architectural Theory: A Historical Survey, 1673-1968 (2005).
Lecture 2 - Classical System: Aesthetics, Order & Body
1. Eisenman, P. "The End of the Classical: The End of the Beginning, the End of the End," Perspecta (1984); in K.M. Hays, Architecture Theory Since 1968 (1998), pp. 522-538; also in Eisenman Inside Out, Selected Writings 1963-1988 (2004).
2. Hersey, G. The Lost Meaning of Classical Architecture (1988), read pp. 1-10, 149-156, and skim Chapter 2 "Architecture & Sacrifice."
3. Minor, V.H. "Ancient Theory," in Art History's History (1994), pp. 31-45.
4. Onians, J. Bearers of Meaning: The Classical Orders (1988), read pp. 33-40 and skim pp. 3-32.
5. Ryckwert, Joseph. The Dancing Column: On Order in Architecture (1996).
6. Smith, T.G. "Commentary," in Vitruvius on Architecture (2003), pp. 9-57.
7. Summerson, J. The Classical Language of Architecture (1963), pp. 7-26, 40-46.
8. Tzonis, A. & L. Lefaivre, Classical Architecture: The Poetics of Order (1986), pp. 1-6, 9-18, 35-37, 117-119, 273-276.
9. Tzonis & Lefaivre, Classical Greek Architecture: The Construction of the Modern (2004)
10. Vesely, D. "The Architectonics of Embodiment," in Dodds & Tavenor, Body & Building: Essays on the Changing Relation of Body & Architecture (2002), pp. 28-43.
11. Vitruvius, Ten Books on Architecture = De architectura (c. 25BC, 1485); skim whole book; carefully read Book I, preface & Chapters 1-3; Book II, preface & Chapter 1; Book III, preface & Chapter 1; Book IV, preface & Chapters 1-2; Book V, preface & Chapter 1; Book VI, preface & Chapters 1-2; Book VII, preface; Book X, preface & Chapter 1; in any of numerous reprints.
12. Wilson, C.St.J. "Classical Theory and the Aesthetic Fallacy," Chapter 3 in The Other Tradition of Modern Architecture (1995), pp. 39-47.
Lecture 3 - Language & Semiotics
1. Alofsin, A. "Introduction: Issues of Architecture, Language, and Identity,” in When Buildings Speak: Architecture as Language in the Habsburg Empire and Its Aftermath, 1867-1933 (2006), pp. 1-15.
2. Broadbent, G. "A Plain Man's Guide to the Theory of Signs in Architecture," Architectural Design 47:7-8 (1978), pp. 474-482; also in Nesbitt, ed. Theorizing a New Agenda (1996).
3. Broadbent, "Architects and Their Symbols," Built Environment (1980); also in Classic Readings in Architecture, pp. 96-120.
4. Broadbent, G., R. Bunt, et al. Signs, Symbols, and Architecture (1980).
5. Collins, P. "The Linguistic Analogy," in Changing Ideals in Modern Architecture (1965), pp. 173-184.
6. Colquhoun, A. "Historicism and the Limits of Semiology," Op.Cit. (1972); also in Colquhoun, Essays in Architectural Criticism (1981); and in Classic Readings in Architecture (1999), pp. 120-131.
7. Eco, "Function and Sign: Semiotics of Architecture," in Via 2 (1973); also in Rethinking Architecture, ed. N. Leach (1997).
8. Eisenman, P. "Architecture as a Second Language: The Texts of Between," Threshold 4 (1988).
9. Forty, A. “Introduction," and “Language Metaphors,” in Words & Buildings (2000), pp. 10-16, 63-85.
10. Gandelsonas, M. "From Structure to Subject: The Formation of Architectural Language,” Oppositions 17 (1979); also in Oppositions Reader (1998), pp. 200-223. (On Eisenman).
11. Harries, K. "The Language Problem," in The Ethical Function of Architecture (1997), pp. 84-96.
12. Jencks, C. "Words," in Language of Postmodern Architecture (1977), pp. 60-85.
13. Kepes, G. Language of Vision (1944), pp. 8-16, 66-68.
14. Markus, T. & D. Cameron, "Why Language Matters?," in The Words Between the Spaces: Buildings and Language (2002), pp. 1-17.
15. Meunier, J., ed., Language in Architecture, ACSA Proceedings (1980).
16. Norberg-Schulz, C. "Kahn, Heidegger and the Language of Architecture," Oppositions 18 (1979), pp. 28-47.
17. Pallasmaa, J. "The Two Languages of Architecture" (1980), in Encounters, ed. P. Mackeith (2005), pp. 24-45.
18. Preziozi, D. Architecture, Language and Meaning: the Origins of the Built World and its Semiotic Organization (1979).
19. Scruton, R. "Language and Architecture," in The Aesthetics of Architecture (1979), pp. 158-178.
20. Venturi & Scott Brown, Architecture as Signs and Systems: For a Mannerist Time (2004).
21. Zevi, B. "Introduction: Speaking Architecture," in The Modern Language of Architecture (1978), pp. 3-6.
Lecture 4 - Affect, Empathy & Embodiment
1. Cohen, Preston Scott. "Expression through Architecture," interview with Ana Alemán. https://www.youtube.com/watch?v=HGQbOU_NHnw.
2. Deleuze, G. & F. Guattari, "Percept, Affect, and Concept," in What is Philosophy? (1991), pp. 163-199.
3. Freedberg, D. & Gallese, "Motion, emotion, and empathy in esthetic experiece," Trends in Cognitive Sciences 11:5 (2007), pp. 197–203.
4. Hardt, M. "What Affects are Good For," in The Affective Turn, eds. P.T. Clough & J. Halley (2007), pp. ix-xii.
5. Kraftl, P. & P. Adey, "Architecture / Affect / Inhabitation: Geographies of Being-in Buildings," Annals of the Association of American Geographers, Vol. 98, No. 1 (March 2008), pp. 213-216, 225-229.
6. Mallgrave, H.F. "Experiencing Architecture," in Architecture and Embodiment (2013), pp. 120-164, especially pp. 120-133.
7. Mallgrave & Ikonomou, eds. "Introduction," to Empathy, Form and Space: Problems in German Aesthetics (1994).
8. Massumi, B. "The autonomy of affect," in Deleuze: A Critical Reader, ed. P. Patton (1996), pp. x, 316.
9. Merleau-Ponty, M. The Primacy of Perception (1945, 1964).
10. Moussavi, F. The Function of Form (2009), pp. 7-36 (pp. 19-20 on affect).
11. Moussavi, F. The Function of Ornament (2006), pp. 4-11 & illustrations.
12. Norberg-Schulz, C. "Towards an Authentic Architecture," in Presence of the Past, ed. P. Portoghesi (1980), pp. 21-29.
13. Pallasmaa, J. The Eyes of the Skin: Architecture and the Senses, part 2 (2005), pp. 39-72 (read quickly).
14. Petit, E. "Involution, Ambience, and Architecture," Log 29 (2013).
15. Rawsthron, A. "Defining the Emotional Cause of 'Affect'," New York Times (Dec. 2, 2012).
16. Schmarsow, A. "Essence of Architectural Creation," (1893) in Empathy, Form and Space: Problems in German Aesthetics, eds. Mallgrave & Ikonomou (1994), pp. 281-297.
17. Scott, G. Architecure of Humanism (1913).
18. Worringer, W. Abstraction and Empathy: A Contribution to the Psychology of Style (1908), excerpts in Art in Theory, 1900-1990, eds. Harrison & Wood (1992), pp. 68-72; also includes excerpts from: Kandinsky, W. Concerning the Spiritual in Art (1911), pp. 86-94.
19. Zumthor, P. Thinking Architecture (2010).
Lecture 5 - Art History, Style, Composition
1. Blier, S.P. The Anatomy of Architecture: Ontology and Metaphor in Batammaliba Architectural Expression (1987). (DT541 .45 .S65 B57).
2. Fermie, E. Art History and its Methods (1995); includes Focillon, Gombrich, Riegl, Wölfflin.
3. Finch, M. Style in Art History (1974); discusses most of the authors from this section.
4. Focillon, H. La vie des formes = The Life of Forms in Art (1934), ed. Molino (1989). (BH301 .F6 .F613).
5. Garnham, T. "In What Style Shall we Build?," in Architecture Re-Assembled: The Use (and Abuse) of History (2013), pp. 44-62.
6. Gombrich, E.H. The Sense of Order: A Study in the Psychology of Decorative Art (1979), especially sections VII "The Force of Habit" and VIII "The Pyschology of Style." (NK 1520 .G65).
7. Hegel, G.W.F. Vorlesungen uber die Aesthetik = Hegel's Aesthetics: Lectures on the Fine Arts (1835), especially volume 1, introduction & volume 2, part 3 on architecture. (N64 .H413). Check out some books on Hegel's ideas on aesthetics; explain his ideas on Zeitgeist, progress, historicism, dialectic, and the role of the arts & architecture.
8. Kleinbauer, E. Modern Perspectives in Western Art History (1971); includes Focillon, Riegl.
9. Kubler, G. The Shape of Time (1962). (N66 .K8). See Kubler, "History - or Anthropology - of Art?," and "Shape of Time Reconsidered," in Kubler, Studies in Ancient American & European Art (1985), pp. 406-412, 424-430.
10. Minor, V. Art History's History (1994); discusses Hegel, Riegl, Wölfflin.
11. Moussavi, F. "The Function of Style," in The Function of Style (2015), pp. 7-53.
12. Podro, M. The Critical Historians of Art (1982); includes Hegel, Riegl, Semper, Wölfflin.
13. Preziosi, D., ed. The Art of Art History (1998); includes Gombrich, Hegel, Riegl, Schapiro, Wölfflin.
14. Riegl, A. Stilfragen = Problems of Style: Problems for a History of Ornament (1892), translated and eds. Kain, Castriota & Zerner (1992), especially introduction & Chapter 1. (NK 1175 .R513). Explain Riegl's idea of Kunstwollen; reference his book Late Roman Art Industry; see books on Riegl by Olin & Iverson.
15. Rowe, C. "Composition vs. Project," in Modernity and the Classical Tradition (1989), pp. 33-55. (first in Casabella 1986)
16. Schumacher, P. "Parametricism: A New Global Style for Architecture and Urban Design," in AD Profile: Digital Cities 79:4 (2009), pp. 17-23; and "Design is Communication," in Zaha Hadid: Form in Motion, ed. K. Hiesinger (2011).
17. Semper, G. Der Stil = Style in the Technical and Tectonic Arts; or Practical Aesthetics (1860, 1863), ed. H.F. Mallgrave (2004), especially introduction, prolegomena, Chapters 1, 2, 3, 7, 8. (NA2500 .S46213). See Mallgrave's books Gottfried Semper and Modern Architectural Theory (2005).
18. Shone & Stonard, eds. The Books That Shaped Art History (2013); includes Gombrich, Wölfflin.
19. "Style" essays: Schapiro, M. "Style," in Anthropology Today, ed. A.L. Kroeber (1953); Gombrich, "Style," in International Encyclopedia of the Social Sciences (1968); Ackerman, J. "Style," in Art & Archaeology (1963), pp. 164-186; Kubler, "Toward a Reductive Theory of Visual Style," in The Concept of Style, ed. B. Lang (1979), pp. 118-127.
20. Szambien, W. "The Meaning of Style," in Comparison to Contemporary Architectural Thought, eds. Farmer & Louw (1993), pp. 444-448.
21. Wölfflin, H. Kunstgeschichtliche Grundbegriffe = Principles of Art History: The problem of the development of style in later art (1915), especially pp. vii-32, parts on architecture, & pp. 221-237. (N5300 .W82).
Lecture 6 - Gothic Light, Savageness & Divinity
1. Burke, E. Philosophical Enquiry into the Origin of our Ideas of the Sublime and the Beautiful (1756), Parts II & IV.
2. Collins, P. "The Influence of the Picturesque," in Changing Ideals in Modern Architecture (1965), pp. 42-58.
3. Donahue, N.H. "Worringer's Theory of Transcendental Space in Gothic Architecture," in Invisible Cathedrals: The Expressionist Art History of Wilhelm Worringer (1995), pp. 105-114.
4. Dynes, W.R. "Gothic Aesthetics," in Encyclopedia of Aesthetics at http://www.oxfordartonline.com/.
5. Goethe, Wolfgang von. "On German Architecture," and "On Gothic Architecture," (1772, 1822), in Goethe, Essays on Art & Literature, ed. J. Geary (1986), pp. 3-14.
6. Gronlund, M. "Return of the Gothic: Digital Anxiety in the Domestic Sphere," in e-flux journal 51 (2014).
7. Hugo, V. "This Will Kill That," and "A Bird's-eye View of Paris," in Notre Dame de Paris (1831), Book III, Chapter 2 & Book V, Chapter 2.
8. Hunt, P. "Abbé Suger and a Medieval Theory of Light in Stained Glass: Lux, Lumen, Illumination," in Philolog (2006).
9. Jantzen, H. "Ecclesia Spiritualis," in High Gothic (1962), pp. 169-181.
10. Panofsky, E. Gothic Architecture and Scholasticism (1957). (NA440 .P23 1957)
11. Leach, N. "Swarm Tectonics," in Neil Leach, David Turnbull, Chris Williams (eds.), Digital Tectonics (2004), pp. 70-77.
12. Pugin, A.W.N. True Principles of Christian or Pointed Architecture (1841, 1973), pp. 1-12, 50-60.
13. Robinson, S. "Prologue," and "Mixture," in Inquiry into the Picturesque (1991), pp. xi-27.
14. Ruskin, J. "Nature of Gothic," in The Stones of Venice (1851-3, 1989).
15. Spuybroek, L. "Radical Picturesque," in The Architecture of Variation (2009), pp. 34-39; expanded version in Spuybroek, The Sympathy of Things: Ruskin and the Ecology of Design (2011), pp. 207-268.
16. Von Simson, O. "Gothic Form," in Gothic Cathedrals: Origins of Gothic Architecture and the Medieval Concept of Order (1956), Part I = pp. 3-20, 50-58.
Lecture 7 - Baroque Science & Exuberance
1. Bazin, G. "Definitions," in The Baroque: Principles, Styles, Modes, Themes (1968), pp. 14-19.
2. Beard, P. "San Carlino & the Cultivated Wild," AA Files no. 31 (1996), pp. 31-38.
3. Carpo, M. "Ten Years of Folding," in Folding in Architecture, rev. ed. (2004), pp. 14-19.
4. Colletti, M. "CyberBaroque and other DigiTales," in Nordic Talking (2009), at http://marjan-colletti.blogspot.co.uk/.
5. Colletti, M. "Exuberance and Digital Virtuosity," in Exuberance: New Virtuosity in Contemporary Architecture, AD Profile no. 204 (2010).
6. Damasio, A. Looking for Spinoza: Joy, Sorrow and the Feeling Brain (2003).
7. Deleuze, G. & J. Strauss, "The Fold," in Yale French Studies, no. 80 (1991), pp. 227-247.
8. Denman, M. "Has there been a Baroque Turn in Modern Architecture?," MS (2012), at http://www.marydenman.co.uk/.
9. Fineout, M. "Parametric Design as Contemporary Expression," in para·meter. inter·punct. Journal of Architectural Discourse (2013), pp. 14-21.
10. Frichot, H. "Stealing into Gilles Deleuze's Baroque House," in Deleuze and Space, ed. I. Buchanan & G. Lambert (2005), pp. 61-79.
11. Gargus, J. "Guarino Guarini: Geometrical Transformation and the Invention of New Architectural Meanings," in The Making of Architecture = Harvard Architecture Review, no. 7 (1989), pp. 116-131.
12. Gelernter, Sources of Architectural Form, Chapter 5.
13. Harbison, R. "Baroque Exuberance: Frivolity or Disquiet?," in Exuberance: New Virtuosity in Contemporary Architecture, AD Profile no. 204 (2010), pp. 8-15.
14. Hersey, G. "Stretched Circles and Squeezed Spheres," in Architecture and Geometry in the Age of the Baroque (2000), pp. 132-155.
15. Hollander, M. "Baroque Aesthetics," in Encyclopedia of Aesthetics at http://www.oxfordartonline.com/.
16. Lambert, G. Excerpts from The Return of the Baroque in Modern Culture (2004), pp. 1-9, 17-21, 39-42.
17. Mallgrave, H.F. Architectural Theory Volume I: An Anthology from Vitruvius to 1870 (2006), pp. 48-55, 57-117, 223-248; focus especially on readings #29, 31, 32, 34, 35, 37, 39, 40, 92, 94, 99, 100.
18. Nero, Irene. "The Guggenheim Bilbao," in Baroque Tendencies in Contemporary Art, ed. Kelly A. Wacker (2007), pp. 189-212.
19. Piranesi, G.B. "Thoughts on Architecture" = Parere su l'architettura (1764), translated in Oppositions 26 (Spring 1984), pp. 5-25.
20. Rauterberg, H. "Cognitive Baroque: The Digital Modern," in Log 8 (2008), pp. 41-45.
21. Wölfflin, H. Renaissance and Baroque (1888, 1964), pp. 15-17, 73-88.
Lecture 8 - Enlightenment Character
1. Bédard, J.F. "The Measure of Expression: Physiognomy and Character in Lequeu's "Nouvelle Méthode"," Chora vol. 1, (1996).
2. Di Palma, V. "Architecture, Environment and Emotion: Quatremère de Quincy and the Contempt of Character," AA Files no. 47 (2002), pp. 45-56; and Quatremère de Quincy, "Character," in Dictionnaire d'architecture, translated in S. Younes, ed., The True, The Fictive and the Real: The Historical Dictionary of Architecture of Quatremère de Quincy (1999), pp. 103-111.
3. Forty, A. "Character," in Words & Buildings: A Vocabulary of Modern Architecture (2000), pp. 120-131.
4. Grignon, M. & J. Maxim, "Convenance, Caractere, and the Public Sphere," in Journal of Architectural Education vol. 49 (1995), pp. 29-37.
5. Hamlin, T. "Character: What is it? Do we need it in our architecture?," Pencil Points vol. 19 (Jan. 1938), pp. 5-9.
6. Johnson, P.-A. "Character as 'Evident Particularity'," in "Architecture Expression," in The Theory of Architecture (1994), pp. 410-414.
7. Kaufmann, E. "Three Revolutionary Architects," in Transaction of the American Philosophical Society (1952), pp. 433-450.
8. Lavin, S. Quatremère de Quincy and the invention of a modern language of architecture (1992).
9. Middleton, R. Excerpt from "Introduction," to N. Camus de Mézières, The Genius of Architecture = Génie de l'architecture, ed. Middleton (1780, 1992), pp. 17-31; then skim Le Camus's book, pp. 69-79, 87-92.
10. Patterson, R. "Three Revolutionary Architects," in Architecture and the Sites of History, eds. Borden & Dunster (1995), pp. 149-162.
11. Pelletier, L. "Introduction," and "Architecture as an Expressive Language," in Architecture in Words: Theatre, Language and the Sensuous Space of Architecture (2006), pp. 1-24.
12. Ryckwert, J. "Order in the Body," in The Dancing Column: On Order in Architecture (1996), pp. 26-66.
13. Szambien, W. Symétrie, goût, caractère: Théorie et terminologie de l'architecture à l'âge classique, 1550-1800 (1989).
14. Van Eck, C. Excerpt from "Introduction," in Boffrand, Book of Architecture = Livres d'architecture (1759, 2002), pp. xviii-xxiii; and Boffrand's "Principles of Architecture Derived from Horace's Art of Poetry," pp. 8-12.
15. Vesely, D. "Towards a Poetics of Architecture," Chapter 8 in Architecture in the Age of Divided Representation (2004), read pp. 356-367, then skim to p. 389.
16. Vidler, A. "From the Hut to the Temple: Quatremère and the Idea of Type," in Writing in Walls (1987), pp. 147-164.
17. Vidler, A. "Languages of Character: Hotels and Chateaux 1765-1780," in Claude-Nicolas Ledoux: Architecture and Social Reform at the End of the Ancien Regime (1990), pp. 19-73.
Lecture 9 - Tectonics: Structure & Ornament
1. Bédard, J.F. Decorative Games: Ornament, Rhetoric, and Noble Culture in the Work of Gilles-Marie Oppenord (2011).
2. Bloomer, K. The Nature of Ornament: Rhythm and Metamorphosis in Architecture (2000).
3. Bötticher, K. "Theories of Raiment," from Die Tektonik der Hellenen (1844), in Otto Wagner, Adolf Loos, and the Road to Modern Architecture, by Werner Oechslin (2002), pp. 189-197.
4. Brolin, B.C. Architectural Ornament: Banishment and Return (Norton Books for Architects & Designers).
5. Frampton, K. "Reflections on the Scope of the Tectonic," in Studies in Tectonic Culture (1995), pp. 1-27.
6. Frascari, "The Tell-the-Tale Detail," VIA 7 (1984), pp. 23-37.
7. Gombrich, E.H. "The Force of Habit," in The Sense of Order: A Study in the Psychology of Decorative Art; also in The Essential Gombrich.
8. Kohler, K., ed. The Built Surface (2002).
9. Levit, R. "Contemporary Ornament: The Return of the Symbolic Repressed," Harvard Design Magazine, no. 28 (2008), pp. 70-85.
10. Loos, "Ornament & Crime."
11. Massey, J. "Ornament and Decoration," in The Handbook of Interior Architecture and Design (2013), pp. 497-513.
12. Nilsson, F. "Architectural assemblages and materializations - Changing notions of tectonics and materiality in contemporary architecture," in Structures and Architecture: Concepts, Applications and Challenges (2003), pp. 408-416.
13. Ochshorn, J. "Structure vs. the Expression of Structure," first published in Proceedings of the Symposium on Architecture and ACSA Technology Conference, 1989.
14. Payne, A. "Introduction," in From Ornament to Object: Genealogies of Architectural Modernism (2012), pp. 1-24.
15. Pell, B. "Introduction," in The Articulate Surface: Ornament and Technology in Contemporary Architecture (2010), pp. 7-17.
16. Picon, A. Ornament: Politics of Architecture and Subjectivity (2013), pp. TBA.
17. Ryckwert, "Ornament is No Crime," in Necessity of Artifice.
18. Sekler, E. "Structure, Construction, Tectonics," in Structure in Art and Science, ed. G. Kepes, "Vision & Value" series (1965), pp. 89-95.
19. Semper, G. "On Architectural Symbols," Res 9 (Spring 1985), pp. 61-67.
20. Trilling, L. "Preface," and "Introduction," in The Language of Ornament (2001), pp. 6-21.
Lecture 10 - Expressionism: Art, Sculpture & Formalism
1. Beil, R. "Forward," and "'For me there is no other work of art': The Expressionist Total Artwork - Utopia and Practice," in The Total Artwork in Expressionism... 1905-1925, eds. Beil & Dillmann (2011), pp. 14-45.
2. Benson, T.O. "Fantasy and Functionality: The Fate of Utopia," in Expressionist Utopias: Paradise, Metropolis and Architectural Fantasy (1994), pp. 12-55.
3. Brüderlin, M. "Introduction: Ornament and Abstraction," in Ornament and Abstraction (2001), pp. 17-27 (catalogue from Beyeler Museum).
4. Conrads, U. The Architecture of Fantasy: Utopian Building and Planning in Modern Times (1960).
5. De Wit, W. The Amsterdam School: Dutch Expressionist Architecure, 1915-1930 (1980).
6. Dickermann, L. "Inventing Abstraction," in Inventing Abstraction 1910-1925: How a Radical Idea Changed Modern Art (2012), pp. 12-37.
7. Dottori, R. "Expressionism and Philosophy," in German Expressionism: Art & Society, eds. Barron & Dubbe (1997), pp. 69-74.
8. Eggener, K.L. "Expressionism and emotional architecture in Mexico: Luis Barragán's collaborations with Max Cetto and Mathias Goeritz," Architectura 25:1 (1995), pp. 77-94.
9. Kandinsky, Concerning the Spiritual in Art (1911).
10. Kuspit, "The Inner Conflict of Expression," in Expressive, ed. M. Brüderlin (2003), pp. 11-23 (catalogue from Beyeler Museum).
11. Lum, E. "Pollock's Promise: Toward an Abstract Expressionist Architecture," Assemblage no. 39 (1999), pp. 62-93.
12. Mendelsohn, E. Letters from an Architect, ed. O. Beyer (1967).
13. Morowski, "Expression," Journal of Aesthetic Education 8:2 (1974), pp. 37-56.
14. Mount, C. "Forward," and "The Foundation of a New Sculpturalism," in A New Sculpturalism: Contemporary Architecture from SoCal (2013), pp. 20, 28-42.
15. Pehnt, W. Expressionist Architecture (1973).
16. Sharp, D. Modern Architecture and Expressionism (1966), pp. 3-30.
17. Vidler, A. "Angelus Novus: Coop Himmelb(l)au's Expressionist Utopia," in Warped Space (2000), pp. 193-201; and W. Prix, "The End of Space is the Beginning of Architecture," and "The Architecture of Clouds," in Get Off of My Cloud: Wolf D. Prix Coop Himmelb(l)au Texts 1968-2005 (2005), pp. 69-70, 72-73.
18. Worringer, W. Abstraction and Empathy: A Contribution to the Psychology of Style (1910).
19. Zevi, B. "Three Periods of Expressionist Architecture," in German Expressionism: Art & Society, eds. Barron & Dubbe (1997), pp. 99-149.
20. Zevi, Towards an Organic Architecture (1949).
Lecture 11 - Functional Form: Nature & Dynamism
1. Adorno, T. "Functionalism Today," in Rethinking Architecture: A Reader in Cultural Theory, ed. N. Leach (1997), pp. 5-19.
2. Banham, R. "Conclusion: Functionalism and Technology," in Theory and Design in the First Machine Age (1960), pp. 320-330.
3. Behne, A. Der moderne Zweckbau (1923) = Modern Functional Building, ed. R.H. Bletter (1996), pp. TBA.
4. Collins, P. "Functionalism," in Changing Ideals in Modern Architecture (1965), pp. 149-182 (includes section on: Biological Analogy; Mechanical Analogy; Gastronomic Analogy; Linguistic Analogy).
5. Forty, A. "Function" in Words & Buildings: A Vocabulary for Modern Architecture (2000), pp. 174-195.
6. Gartman, D. "Introduction: Problem Aesthetics of Fordism," in From Autos to Architecture (2009), pp. 10-23; and skim the rest of the file on Blackboard.
7. Guillén, M. "Enduring Promise of Modernist Architecture," in The Taylorized Beauty of the Mechanical (2006), pp. 137-147.
8. Grobman, Y. and E. Newman, eds. Performalism: Form and Performance in Digital Architecture (2012), pp. 3-7, 9-13, 15-19, skim 21-52.
9. Heidegger, M. "The Question Concerning Technology" (1954) in The Question Concerning Technology, ed. W. Lovitt (1977), pp. 3-35.
10. Hersey, G. The Monumental Impulse: Architecture's Biological Roots (2001).
11. Kronenburg, R. "Technology, Architecture and Meaning," part 1 in Spirit of the Machine: Technology as an Inspiration in Architectural Design (2001), pp. 9-42.
12. Lynn, G. "Forms of Expression: The Proto-Functional Potential of Diagrams in Architectural Design," (1995) in Folds, Bodies & Blobs (1998), pp. 223-232.
13. Michl, J. "Form Follows WHAT? The Modernist notion of function as a carte blanche," 1:50 - Magazine of the Faculty of Architecture & Town Planning [Technion, Haifa] (1995), pp. 31-20.
14. Pallasmaa, J. "Alvar Aalto: Toward a Synthetic Functionalism," in Alvar Aalto: Between Humanism and Materialism, ed. P. Reed (1998), pp. 21-39.
15. Steadman, P. "Introduction," and "The Organic Analogy," in The Evolution of Designs (1979), pp. 1-22.
16. Van Eck, C. "The Character of Organicism," and "From Purposive Unity to Functionality," in Organicism in nineteenth-century architecture: inquiry into its theoretical and philosophical background (1994), pp. 18-28, 268-278.
17. Various functionalist manifestos: L. Mies van der Rohe: "Solved Problems: A Demand on our Building Methods" (1923); "Working Theses" (1923); "Industrialized Building" (1924); H. Haring, "Formulations towards a reorientation in the applied arts" (1927); "The House as an Organic Structure" (1932); Le Corbusier, "Argument" from Towards a New Architecture (1923); and "Architecture, the Expression of the Materials and Methods of Our Times" (1929); W. Graeff, "The New Engineer is Coming" (1923); E. Mendelsohn, "Dynamics and Function" (1923); A. Korn, "Analytical and Utopian Architecture" (1923); ABC, "Demands Dictatorship of the Machine" (1928); H. Meyer, "Building" (1928); A. Aalto, "The Latest Trends in Architecture" (1928); and "The Humanizing of Architecture" (1940).
18. Weinstock, M. "Emergence in Architecture" and "Morphogenesis and the Mathematics of Emergence," in Emergence: Morphogenetic Design Strategies AD Profile (2004).
19. Wigley, M. "Introduction," in White Walls Designer Dresses (1995), pp. xiv-xxvi; also quickly read "Whiteout," pp. 301-362.
Lecture 12 - Monumentality, Materiality & Brutalism
1. Banham, R. "The New Brutalism," Architectural Review (1955).
2. Banham, R. The New Brutalism : Ethic or Aesthetic? (1966).
3. "Brutalism," special issue of CLOG (2011), especially beginning & end.
4. http://fuckyeahbrutalism.tumblr.com/.
5. Gargiani, R. & A. Rosellini. "The Discovery of beton brut with malfacons: the worksite of the Unité d’habitation at Marseilles,” Chapter 1 in Le Corbusier: Beton brut and ineffable space, 1940-1965: surface materials and psychophysiology of vision (2011), pp. 2-61.
6. Giedion, Sert & Leger, "Nine Points on Monumentality"; and Kahn, L. "Monumentality," both in J. Ockman, ed., Architecture Culture 1943-1968 (1993), pp. 27-30, 47-54.
7. Goldhagen, S.W. "Monumentality, 1944," excerpt of Chapter 1 of Louis Kahn's Situated Modernism (1991), pp. 24-40.
8. Hatherley, O. "The Brutishness of British Modernism," in Militant Modernism (2008), pp. 15-42.
9. Higgott, A. "The Shift to the Specific: The New Interpretation of Materiality in Brutalism and the Functional Tradition," in Mediating Modernism: Architectural Cultures in Britain (2007), pp. 85-116.
10. Lefebvre, H. Excerpt on "Monumentality," from The Production of Space (1991), pp. 220-228.
11. Meades, J. "The incredible hulks: Jonathan Meades' A-Z of brutalism," The Guardian (Feb. 13, 2014).
12. Pelkonen, E.L. "The Search for (Communicative) Form," in Pelkonen & Albrecht, eds., Eero Saarinen: Shaping the Future (2006), pp. 83-96.
13. Potts, A. "New Brutalism and Pop," in Neo-avant-garde and Postmodernism (2010), eds. M. Crinson & C. Zimmerman, pp. 29-49.
14. Rohan, T.M. "Introduction: Rudolph's Search for Expression," in The Architecture of Paul Rudolph (2014), pp. 1-7.
15. Rohan, T.M. "The Yale Art & Architecture Building," Chapter 4 in The Architecture of Paul Rudolph (2014), pp. 84-113.
16. Stalder, L. "'New Brutalism', 'Topology',and 'Image': some remarks on...England around 1950," Journal of Architecture 13:3 (2008), pp. 263-281.
17. Steiner, H. "Life at the Threshold," October 136 (2011), pp. 133-155.
18. Vidler, A. "Another Brick in the Wall," October 136 (2011), pp. 105-132.
19. Vidler, A. "Troubles in Theory V: The Brutalist Moment(s)," Architectural Review (2014), pp. 96-101.
Lecture 13 - Political Expression & Morality
1. Aureli, P. The Project of Autonomy: Politics and Architecture Within and Against Capitalism (2008).
2. Aureli, P. "Redefining the Autonomy of Architecture: The Architectural Project and the Production of Subjectivity," Harvard Design Magazine 35 (2011), pp. 106-111.
3. Barnstone, D.A. The Transparent State: Architecture and Politics in Postwar Germany.
4. Cunningham, D. "Metropolitics, or Architecture and the Contemporary Left," in Architecture Against the Post-Political: Essays in Reclaiming the Critical Project, ed. N. Lahiji (2014), pp. 11-26.
5. Daemer, P., ed. Architecture and Capitalism: 1845 to the Present (2013).
6. D'Alleva, A. "Art's Contexts: Marxism," in Methods and Theories of Art History (2012), pp. 46-53.
7. Dunham-Jones, E. "Irrational Exuberance: Rem Koolhaas and the 1990s," in Architecture and Capitalism: 1845 to the Present, ed. P. Daemer (2013).
8. Fischer, O. "Architecture, Capitalism, and Criticality," in The SAGE Handbook of Architectural Theory (2012), pp. 56-69.
9. Hartoonian, G. "Capitalism and the Politics of Autonomy," in Architecture Against the Post-Political: Essays in Reclaiming the Critical Project, ed. N. Lahiji (2014), pp. 69-81.
10. Harvey, D. A Brief History of Neoliberalism (2007).
11. Hosagrahar, J. "Interrogating Difference: Postcolonial Perspectives in Architecture and Urbanism," in The SAGE Handbook of Architectural Theory (2012), pp. 70-84
12. Jameson, F. "Architecture and the Critique of Ideology," (1982).
13. Jameson, F. "Is Space Political?," in Rethinking Architecture, ed. N. Leach (1997), pp. 255-269.
14. Kaminer, T. "Crisis and Withdrawal," part 1 in Architecture, Crisis and Representation: The Reproduction of Post-Fordism in Late-Twentieth Century Architecture (2011), pp. 15-70.
15. Lahiji, N. ed. The Political Unconscious of Architecture: Re-Opening Jameson's Narrative.
16. Leach, N. "Architecture or Revolution," in Architecture or Revolution: Contemporary Perspectives on Central and Eastern Europe (1999), pp. 112-127.
17. Picon, A. "Politics of Ornament," in Ornament: Politics of Architecture and Subjectivity (2013), pp. 103-128.
18. Schumacher, P. "Architecture and Politics," Chapter 9 in Autopoeisis of Architecture: A New Agenda for Architecture, vol. 2 (2011), pp. 439-483.
19. Tafuri, M. Architecture and Utopia: Design and Capitalist Development (1979).
20. Vale, L. Architecture, Power, and National Identity (1992, 2008).
21. Watkin, D. "Introduction," in Morality and Architecture (1977), pp. 1-14.
22. Zaera Polo, A. "The Politics of the Envelope: A Political Critique of Materialism," Volume 17 (2008), pp. 76-105.
Lecture 14 - Postmodern Historical Expression
1. Delevoy, Krier, et al. Rational Architecture (1978).
2. Graves, M. ed. Roma Interrotta, AD Profiles (1979).
3. Haddad, E. "Charles Jencks and the Historiography of Post-Modernism," Journal of Architecture 14:4 (2009), pp. 493-510.
4. Hassan, I. "Pluralism in Postmodern Perspective," in The Postmodern Turn; also in Jencks, Postmodern Reader, pp. 196-207.
5. Jencks, C. & N. Silver. Adhocism: The Case for Improvisation (1973).
6. Jencks, C. "Free Style Classicism: The Wider Tradition," in Free Style Classicism, AD Profiles (1982), pp. 5-21.
7. Jencks, C. "Introduction," to Post-Modern Classicism, AD Profile (1980), pp. 4-17.
8. Jencks, C. Language of Postmodern Architecture (1977).
9. Jencks, C. "Postmodern Evolutionary Tree," from The Story of Postmodern Architecture: Five Decades of Ironic, Iconic, and Critical in Architecture (2011), pp. 48-49.
10. Jencks, C. "Towards Radical Eclecticism," in Presence of the Past, ed. P. Portoghesi (1980), pp. 30-37.
11. Klotz, H. History of Postmodern Architecture (1984), pp. 2-5, 127-130; also in Jencks, Postmodern Reader, pp. 234-244.
12. Kolb, D. Postmodern Sophistications: Philosophy, Architecture and Tradition (1990).
13. Lyotard, J.F. "Answering the Question: What is Postmodernism," in The Postmodern Condition (1979); also in Jencks, Postmodern Reader, pp. 138-150.
14. Mitias, M.H. "Is Architecture an Art of Representation?," in Architecture and Civilization, ed. Mitias (1999), pp. 59-80.
15. Norberg-Schulz, C. "Towards an Authentic Architecture," in Presence of the Past, ed. P. Portoghesi (1980), pp. 21-29.
16. Porphyrios, D., ed. Classicism is Not a Style, AD Profiles (1982).
17. Portoghesi, P. "The American Situation," and "The European Horizon," in After Modern Architecture (1980), pp. 76-108.
18. Portoghesi, P. "Introduction," and "Italy in Retreat," in After Modern Architecture (1980), pp. vii-viii, 3-6, 34-43.
19. Portoghesi, P. "What is Postmodern?," in Postmodern (1982), pp. 6-13; also in Jencks, Postmodern Reader, pp. 208-214.
20. Rossi, A. Architecture of the City (1966), excerpts.
21. Rowe, C. & F. Koetter, Collage City (1978).
22. Rowe, et al. Five Architects (1972).
23. Smith, C.R. "Introduction," in Supermannerism: New Attitudes in Post-Modern Architecture (1977), pp. xxii-xxviii.
24. Venturi, R. Complexity and Contradiction in Architecture (1966), pp. 16-33.
25. Venturi, R., D. Scott-Brown, & S. Izenour, Learning from Las Vegas (1977).