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    2008 Gsd4401 Transparency Syllabus

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    rajyamgar
    This course examines the concept of transparency in modern architecture from the early 20th century to present. The first part of the course focuses on the development of "abstract space" and anti-perspectival models of space in the works of architects, artists, and theorists associated with early modernism. The second part analyzes the impact of theories of phenomenal transparency by Rowe and Slutzky and connections to media studies. The course concludes by exploring more recent conceptions of transparency involving dematerialization, diffusion, and the environment as information. Students are required to write a 10-page research paper on a topic related to the concept of transparency in architecture.

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    2008 Gsd4401 Transparency Syllabus

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    rajyamgar
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    This course examines the concept of transparency in modern architecture from the early 20th century to present. The first part of the course focuses on the development of "abstract space" and anti-perspectival models of space in the works of architects, artists, and theorists associated with early modernism. The second part analyzes the impact of theories of phenomenal transparency by Rowe and Slutzky and connections to media studies. The course concludes by exploring more recent conceptions of transparency involving dematerialization, diffusion, and the environment as information. Students are required to write a 10-page research paper on a topic related to the concept of transparency in architecture.

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    This course examines the concept of transparency in modern architecture from the early 20th century to present. The first part of the course focuses on the development of "abstract space" and anti-perspectival models of space in the works of architects, artists, and theorists associated with early modernism. The second part analyzes the impact of theories of phenomenal transparency by Rowe and Slutzky and connections to media studies. The course concludes by exploring more recent conceptions of transparency involving dematerialization, diffusion, and the environment as information. Students are required to write a 10-page research paper on a topic related to the concept of transparency in architecture.

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    182 views4 pages

    2008 Gsd4401 Transparency Syllabus

    Uploaded by

    rajyamgar
    This course examines the concept of transparency in modern architecture from the early 20th century to present. The first part of the course focuses on the development of "abstract space" and anti-perspectival models of space in the works of architects, artists, and theorists associated with early modernism. The second part analyzes the impact of theories of phenomenal transparency by Rowe and Slutzky and connections to media studies. The course concludes by exploring more recent conceptions of transparency involving dematerialization, diffusion, and the environment as information. Students are required to write a 10-page research paper on a topic related to the concept of transparency in architecture.

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    GSD 4401 TRANSPARENCY Spring 2008 Instructor: Eve Blau Monday 2:00-5:00 517 Gund Hall Course Description

    The concept of transparency is critical, not only to understanding early and mid-20th century modernism, but also to engaging current architectural concerns with mediation, density, surface, light, movement, and information. The purpose of the course is twofold: to recover the theoretical, ideological, and formal complexity of transparency in the discourses of modernism, and to explore the significance of the concept of transparency for architecture today. This exploration is founded on two working propositions: First that the discourse of transparency constitutes a kind of subtext of the discourses of modernism a text that continuously negotiates between the technological, aesthetic, social, and psychological dimensions of architecture. Second, that modes of representational discourse outside architecture film, photography, electronic and digital media have figured in important ways in the architectural conception of transparency. The first part of the course is concerned with the conceptualization of abstract space, in the early decades of the 20th century. This includes models of kinesthetic and haptic modes of perception and space formation around 1900 and the development in the 1920s and 1930s of an anti-perspectival conception of relational space or space-time by architects, artists, and theorists associated with the Bauhaus (van Doesburg, MoholyNagy, Gropius, Giedion, etc.); by experimental cimematographers (Hans Richter, in particular); as well as Le Corbusiers plans libres (or free plans) and the betonte Leere (or heightened emptiness) of Miess interiors in the late 20s. The Second part of the course will examine the art/science of camouflage, theories of pattern recognition, as well as Rowe and Slutzkys seminal articles (in Perspecta, 1963, 1971) on phenomenal transparency and their impact on design and architectural education in the 1960s and 70s: Peter Eisenman and the New York Five as well as connections to media studies (Marshall McLuhan) and object art in the 1960s. The course ends with the conception of transparency in the 1990s and 2000s what Terry Riley called light construction (1995) and others have characterized as manifestations of dematerialization and diffusion, of deep surface, of environment become information. Prerequisites: GSD 4201-4206 or equivalent or post-professional-degree status [MArch 2, MDesS, etc] Requirements/assignments: Course requirements include weekly readings and informed participation in class discussions. A careful preparation of the assigned reading for each week is expected of everyone. Throughout the semester students will be responsible for initiating discussion of selected weekly readings or topics relating to the

    readings. The principal assignment is a 10 page research paper on a topic chosen by you in consultation with me. [Abstract due April 21; paper due May 16]

    Syllabus and Reading: (schedule subject to change) 2/04 2/11 Introduction: Concerns, problematics, methods, structure of the course; assignments; schedule Shifting Eyes, Moving Bodies: Spatial Paradigms at the Turn of the 20th Century Reading: Adolf Hildebrand, Visual and Kinaesthetic Ideas, Form and Effect, The Idea Of Space and its Expression in the Appearance, The Problem of Form in the Fine Arts, in H.F.Mallgrave and E. Ikonomou (eds) Empathy, Form, and Space (Santa Monica: Getty Center, 1994): pp. 229-243. August Schmarzow, The Essence of Architectural Creation, in H.F. Mallgrave and E. Ikonomou (eds) Empathy, Form, and Space (Santa Monica: Getty Center, 1994): pp. 281-296. Camillo Sitte, City Planning According to Artistic Principles (1889) in Collins and Collins, Camillo Sitte: The Birth of Modern City Planning (NY: Rizzoli, 1986), pp. 243-250, 271-278. 2/18 2/25 [PRESIDENTS DAY: NO CLASS] Abstract Space, Figured Ground: Stereography, Cubism, De Stijl Reading: Jonathan Crary, Techniques of the Observer (MIT Press, 1990), pp. 97-150. Rosalind Krauss, Analytic Space: futurism and constructivism, Passages in Modern Sculpture (The MIT Press, 1981), pp. 39-67. Yve-Alain Bois, Metamorphosis of Axonometry, Daidalos #1 (1981), pp. 40-59. Also Recommended: Yve-Alain Bois, Kahnweilers Lesson, in Painting as Model (The MIT Press, 1990), pp.65-97. 3/03 Museum Visit: Busch-Reisinger [Bauhaus Collection] Reading: Rosalind Krauss, Grids, The Originality of the Avant-Garde and Other Modernist Myths (The MIT Press, 1986), pp. 8-22. Yve-Alain Bois, The De Stijl Idea, Painting as Model (The MIT Press, 1990):

    101-122. 3/10 Space-Time: Giedion, Moholy-Nagy, and the Bauhaus Reading: Sigfried Giedion, Building in France, Building in Iron, Building in FerroConcrete (1928) reprint (Santa Monica: Getty Center, 1995): 85-93, illustrations and captions throughout the book. Sigfried Giedion, Space Time and Architecture (1941) Sixth printing. (Harvard U. Press, 1976): 491-496. Laszlo Moholy-Nagy, Space, The New Vision (1929), reprinted (NY: Wittenborn, 1947): 55-64, 77-85. Also recommended: Sergei M. Eisenstein, Montage and Architecture, including Introduction by Yve- Alain Bois, Assemblage 10 (December 1989): 111-131. Detlef Mertins, Transparency:Autonomy & Relationality AAFiles 32 (1996):3-11. 3/17 The Film Thickened Moment: Richter, Le Corbusier, Mies and the Remembering Eye Reading: Eve Blau, Transparency and the Irreconcilable Contradictions of Modernity, PRAXIS 9 (fall 2007): 50-59 Bruno Reichlin, Jeanneret-Le Corbusier, Painter-Architect, in Eve Blau and Nancy Troy (eds) Architecture and Cubism (MIT, 1997): 195-218. Robin Evans, Mies van der Rohes Paradoxical Symmetries, Translations from Drawing to Building (London: AA, 1997): 233-276. Hans Richter, The Badly Trained Sensibility in P.Adams Sitney (ed) The Avant-Garde Film (NYU Press, 1978), pp. 22-23. 3/24 3/31 [SPRING BREAK: NO CLASS] The Aerial Perspective: Camouflage + Pattern Recognition Reading: Roy R. Behrens, Camouflage, Art and Gestalt, Art & Camouflage: Concealment and Deception in Nature, Art, and War. (Cedar Falls: Univ of Northern Iowa, 1982): 9-20 Gyorgy Kepes, The three dimensional field, The spatial forces, Fields of spatial forces Language of Vision (Dover, 1944), pp. 19-29. Marshall McLuhan, The Invisible Environment: The Future of Erosion, Perspecta 11 (1967): 162-167.

    Also recommended: Marshall McLuhan, The Medium is the Message, Understanding Media (NY: The New American Library, 1967): 23-35. 4/07 Rowe and Slutzky + Phenomenal Transparency: The Birth of a Paradigm Reading: Colin Rowe and Robert Slutzky, Transparency: Literal and Phenomenal, Perspecta 8 (1963): 45-54. [reprinted in Todd Gannon, editor, The Light Construction Reader (NY: Monacelli, 2002), pp. 91-101.] Rowe and Slutzky, Transparency: Literal and Phenomenal. Part 2, Perspecta 13/14 (1971): 286-301. [repr. Light Construction Reader, pp.103-113.] Rosalind Krauss, Death of a Hermaneutic Phantom: Materialization of the Sign in the Work of Peter Eisenman, in Eisenman, Houses of Cards (Oxford U. Press, 1987), pp. [repr. Light Construction Reader, pp.157-169.] Jeffrey Kipnis, P-trs Progress, (1996), [repr. Light Construction Reader, pp. 147-155.] Also Recommended: Bernard Hoesli, Transparency Instrument of Design, in Colin Rowe and Robert Slutzky, Transparency (Basel: Birkhuser, 1997), pp. 97-119. 4/14 Light Construction Reading: Anthony Vidler, Transparency, The Architectural Uncanny (1992), [repr. Light Construction Reader, pp.267-273]] Terence Riley, Light Construction Light Construction (MoMA,1995), pp. 9-32. Alejandro Zaera, Herzog and de Meuron: Between the Face and the Landscape, El Croquis 60 (1993): 24-36 Hans Ibelings, Supermodernism: Architecture in the Age of Globalization (Rotterdam: NAI Publishers, 2002): 55-127 4/21 Transparency Today [Paper Abstracts due] Reading: Alejandro Zaera, A Conversation with Kazuyo Sejima and Ryue Nishizawa, El Croqius: Kazuyo Sejima + Ryue Nishizawa 1995-2000 (2000): 8-20 Ben Van Berkel, Afterimage, UN Studio Design Models: Architecture, Urbanism, Infrastructure (London: Thames and Hudson, 2006): 370-379. Michael Speaks, Intelligence After Theory, Perspecta 38 (2006): 103-107. 4/28 Individual Meetings re. Papers

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