Composition vs. Diagram
Each week there will be an illustrated lecture of 1-½ hours and a drawing review of 1-½ hours. The purpose of the drawing each week will be to see if you can conceptualize in drawing what has been presented in your reading and the lecture. Seeing, therefore, becomes a way of thinking, and drawing as a way of reading. Thus, each week there will be three aspects to your work: assigned reading, assigned drawing, and attendance at the lecture and drawing review. The drawing reviews will take place from 11:00 AM to 12:30 PM on Thursdays. All drawings must be turned in to your section Teaching Fellows (TFs) by 9:00 PM on Wednesday night before the corresponding Thursday lecture. Late drawings will not be accepted; see Policy on Late Drawings and Absences. The “pencils down” rule has been instituted in order to better coordinate assignment deadlines between the design studio, the history/theory sequence, and the visualization curriculum.
The class will be divided into five sections, each of which will meet on Tuesday nights with an assigned TF for drawing instruction and reading discussion. Weekly paragraphs (no more than 300 words) must be submitted to assigned TFs Monday evening before individual meetings on Tuesday. The paragraph should outline an idea for the drawing or put forth a critique of the readings/lecture that may in turn inform the drawing. Each section will meet with Professor Eisenman and Miroslava Brooks twice during the course of the semester, once every five weeks at 8:30 AM on Thursdays in the drawing room to review in a small group the progress of student work. In addition, the teaching fellows are available to any student throughout each week.
Teaching assistants and 8:30AM Thursday section meetings are as follows:
Section A: Dima Srouji (17 September, 29 October)
Section B: Sarah Kasper (24 September, 5 November)
Section C: Wesley Hiatt (8 October, 12 November)
Section D: Anthony Gagliardi (15 October, 19 November)
Section E: Elaina Berkowitz (22 October, 3 December)
Final Project and Portfolio Review
Policy on Late Drawings and Absences
Review of Work
1. Close Reading as a Critical Pedagogical Model
Thursday, 10 September 2014, 9:30 AM
Rowe, Colin. “The Mathematics of the Ideal Villa,” in The Mathematics of the Ideal Villa and Other Essays. New York: MIT Press, 1976, p. 2-27.
Wölfflin, Heinrich. “Part Two: The Causes of the Change in Style” in Renaissance and Baroque, p. 71-88.
2. Brunelleschi—The Humanist Origins of Close Reading
Thursday, 17 September 2015, 9:30 AM
San Lorenzo and Santo Spirito – Florence, Italy
Argan, Giulio Carlo. “The Architecture of Brunelleschi and the Origins of Perspective Theory in the Fifteenth Century.” Journal of the Warburg and Courtauld Institute 8, London: 1945, p. 96-121.
Drawing #1: Draw ‘what cannot be seen’–the critical difference between Brunelleschi’s Church of San Lorenzo and Santo Spirito in Florence.
Drawing #1 is to be drawn by hand. All drawings throughout the semester should be done in ink on 11” x 17” Mylar sheets. They should be saved, along with the paragraphs, in a bound portfolio for evaluation at the end of the semester and a digital copy should be saved on Yale Box.
3. Alberti—The Definition of Space as the Production of What is Not Seen
Thursday, 24 September 2015, 9:30 AM
San Andrea–Mantua, Italy
San Sebastiano–Mantua, Italy
Tempio Malatestiano–Rimini, Italy
Borsi, Franco. Leon Battista Alberti: The Complete Works. New York: Rizzoli, 1989, Chapter 7.
Rykwert, Joseph. On the Art of Building: In Ten Books. Cambridge, Mass; London: MIT Press, 1992, Introduction, Book One: Lineaments, Book Two: Materials.
Tafuri, Manfredo. “Discordant Harmony from Alberti to Zuccari,” Architectural Design 5/6, 1979, p. 36-44.
Drawing #2: Draw the critical elements of the front façade of Alberti’s Sant’Andrea in Mantua and their relationship to the interior facades.
[Note: There will be no class during advanced studio travel week on Thursday, 01 October 2015]
4. Bramante—Organism From Concinnitas
Thursday, 8 October 2015, 9:30 AM
Prevedari etching – Rome, Italy Cortile of Sta. Maria della Pace – Rome, Italy Plans for St. Peter’s – Rome, Italy
Bruschi, Arnaldo. Bramante. London: Thames + Hudson, 1977, Chapters 3,5,9.
Analyze the difference between the corners at Bramante’s Santa Maria della Pace in Rome and Laurana’s Palazzo Ducale in Urbino as they define the space of the cortile.
5. Serlio—A First Critique of Homogeneous Space
Thursday, 15 October 2015, 9:30 AM
Friedlaender, Walter. Mannerism and Anit-Mannerism in Italian Painting. New York: Columbia University Press, 1990 edition, p. 3-43.
Serlio, Book VI.
Analyze one of Serlio’s palazzo inventions.
6. Giulio Romano
Thursday, 22 October 2015, 9:30 AM
Palazzo del Te–Mantua, Italy
Hartt, Frederick. Giulio Romano. New Haven: Yale University Press, 1958, p. tbd.
Forster, Kurt W. and Richard Tuttle. “The Casa Pippi: Giulio Romano’s House in Mantua.” Architectura 1, 1973, p. 104-30.
Lotz, Wolfgang. Architecture in Italy 1500-1600 (rev. by Deborah Howard). New Haven: Yale University Press, 1995, p. 67-82.
Analyze the façade of Giulio Romano’s Palazzo del Te in Mantua.
Thursday, 29 October 2015, 9:30 AM
San Giorgio Maggiore and Il Redentore–Venice, Italy
Aureli, Pier Vittorio. “The Geopolitics of the Ideal Villa,” in The Possibility of an Absolute Architecture. Cambridge: MIT Press, 2011, p. 47-84.
Wittkower, Rudolf. “5. Palladio and the Problem of Harmonic Proportions.” Principles of Palladio’s Architecture II, p. 68-106.
Compare the compositional elements of the plan and facades of Il Redentore and San Giorgio Maggiore.
8. Borromini—Surface As Space
Thursday, 5 November 2015, 9:30 AM
Sant’ Ivo and San Carlo alle Quattro Fontane–Rome, Italy
Wölfflin, Heinrich. Renaissance and Baroque, p. 44-70.
Analyze the difference in the underlying geometries of Sant’ Ivo and San Carlo.
9. Bernini and Rainaldi—Baroque Heterogeneity
Thursday, 12 November 2015, 9:30 AM
Sta. Maria in Montesanto (Bernini) and Sta. Maria dei Miracoli (Rainaldi)–Piazza del Popolo, Rome
Wittkower, Rudolf. Carlo Rainaldi and the Roman Architecture of the Full Baroque, p. 242-313.
Draw the critical differences between the two churches at the Piazza del Popolo in Rome.
10. Nolli and Piranesi—Figural Space as Ground
Thursday, 19 November 2015, 9:30 AM
Nolli: Map of Rome–Rome, Italy 1762 Piranesi: Campo Marzio–Rome, Italy
Aureli, Pier Vittorio. “Instauratio Urbis,” in The Possibility of an Absolute Architecture. Cambridge: MIT Press, 2011, p. 85-140.
Tafuri, Manfredo. “The Wicked Architect: G.B. Piranesi, Heterotopia, and the Voyage,” In The Sphere and the Labyrinth. Cambridge: MIT Press, 1990, p. 25-54.
Analyze the critical differences between Nolli’s Map of Rome and Piranesi’s Campo Marzio.
A one-page précis of the paper topic is due at the beginning of the class.
11. Drawing Contest
Thursday, 03 December 2015, 9:30 AM
From all of your drawings, make a synthetic diagram of one idea that you will take away from this class. Cartoons are not counted for this architectural exercise.
12. Eyes Which Do Not See—The Phenomenology of the Digital
Thursday, 10 December 2015, 9:30 AM
Mario Carpo. The Alphabet and the Algorithm. Cambridge: MIT Press, 2011.
Greg Lynn. Archeology of the Digital. Montréal: Canadian Centre for Architecture, 2013.
No drawing required.
Thursday, 17 December 2015, 5:30 PM
Sing-along: required participation.
Friday, 18 December 2015, 5:00 PM
All work due.