FA193: History of Architectural Drawings. Professor: Jordan Kauffman e- mail: Class Schedule: Tuesdays 2:00-5:00PM Room: Mandel G10

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1 FA193: History of Architectural Drawings Professor: Jordan Kauffman e- mail: Class Schedule: Tuesdays 2:00-5:00PM Room: Mandel G10 Course Description: This seminar traces the historical development of architectural drawings as objects within the design process. It examines the origins of architectural drawings, their development in the Renaissance and shifts in their use and form in Modern and Contemporary periods. We will explore shifts in technologies, such as graphite, paper, and computers, and representational methods that influence design, such as perspective, axonometry, and abstraction. The course also considers when and how architectural drawings came to be understood as constituent parts of cultural history, separate from their role in the building process. Objectives: The objectives of the course are for students: To gain general knowledge about the history and development of architectural drawings and their techniques. To understand the relationship between a designer, a drawing, and a final product and the changeable nature of this relationship. To become conversant in different representational techniques and their histories. To understand that what architectural drawings are shifts through time. 1

2 REQUIRED READINGS All required readings are available on LATTE RECOMMENDED BOOKS Eve Blau & Edward Kaufman, Eds., Architecture and Its Image (Montreal: CCA, 1989). Robin Evans, Translations from Drawing to Building and Other Essays (London: Architectural Association, 1997). Robin Evans, The Projective Cast (Cambridge: MIT Press, 1995). Edward Robbins, Why Architects Draw (Cambridge: MIT Press, 1994). BOOKS ON RESERVE NA2707.B78 B Michelangelo, drawing, and the invention of architecture / By Brothers, Cammy, (Yale University Press c2008.) NA E34 A69 The Architecture of the École des beaux- arts / (Museum of Modern Art c1977.) NA2700.E Translations from drawing to building / By Evans, Robin, (MIT Press c1997.) N7480.A Origins, imitation, conventions : representation in the visual arts / By Ackerman, James S. (MIT Press c2002.) NA2706.U6 A7 Architectural drawing : the art and the process / (Whitney Library of Design 1981.) NA2705.V57 Visionary drawings of architecture and planning : 20th NA2705.V57 century through the 1960s : developed for travel and circulated by the Smithsonian Institution Traveling Exhibition Service (SITES) / (MIT Press 1979.) NA682.D43 J Deconstructivist architecture : the Museum of Modern Art, New York / By Johnson, Philip, (Little Brown 1988.) NA682.P67 R Postmodern visions : drawings, paintings, and models by contemporary architects / (Abbeville Press 1985.) NA2700.M Masterpieces of architectural drawing / (Abbeville Press 1983, 1982.) NA2700.B years of architectural drawing : / By Bingham, Neil R., (Laurence King Publishing Ltd 2013.) NA8460.A Follies : architecture for the late- twentieth- century landscape : Raimund Abraham, Agrest & Gandelsonas, Emilio Ambasz... : [an exhibition at Leo Castelli Gallery, New York, James Corcoran Gallery, Los Angeles] / By Archer, B. J. (Rizzoli 1983.) NA2700.M Envisioning architecture : drawings from the Museum of Modern Art / By McQuaid, Matilda (Museum of Modern Art c2002.) T353.P Picturing machines / (MIT Press 2004.) NA2700.K NA2706.U6 G42 Perfect acts of architecture / By Kipnis, Jeffrey. (Museum of Modern Art c2001.) 200 years of American architectural drawing / By Gebhard, David (Whitney Library of Design for the Architectural 2

3 League of New York and the American Federation of Arts 1977.) NA2760.E The projective cast : architecture and its three geometries / By Evans, Robin, (MIT Press c1995.) NA1123.B8 M33 The life of Brunelleschi, By Manetti, Antonio, (Pennsylvania State University Press [1970]) NA2445.C2 M Architecture and its image : four centuries of architectural representation : works from the collection of the Canadian Centre for Architecture / (Centre Canadien d'architecture/canadian Centre for Architecture 1989.) NA1053.L4 V Claude- Nicolas Ledoux : architecture and social reform at the end of the Ancien Régime / By Vidler, Anthony (MIT Press c1990.) NA1053.B69 R Boullée & visionary architecture / By Rosenau, Helen (Academy Editions 1976.) 3

4 Requirements and Notes Exams Assignments There will be no exam for this course. As a seminar, participation and completion of each week s assignments are of utmost importance. Presentations During the first class period, students will be assigned to participate in presentations. All students will be required to participate in two presentations. These presentations are intended to be introductions to that week s topics and readings. Students will also lead discussion of the readings during the second half of class. Drawing Examples All students will be required to come to class each week (except for the weeks they are presenting) with one drawing that piques their interest from the course reserve books that relates to that week s topic. These will be for class discussion. Please know the author, the date, the project, and any other pertinent information about the drawing and be prepared to say why that drawing appealed to you. Written notes All students should come to class each week (except for the weeks they are presenting) with 3 questions and/or thoughts that the readings triggered. These will help facilitate the discussions that we will have. Please come to class with two copies of the questions with your name and date on them. One will be turned in at the beginning of each class. Term Project This class is designed to explore both history and design. Final projects will be geared to the interests of individual participants. Students may choose one of the following two options: 1. A 5- page paper detailing the history of and analyzing an architectural drawing or series of drawings. 2. A well- composed, synthetic board, 2 by 2, that presents the most significant things about a building or urban complex that students analyze. You will use at least three different methods of representation in the composition. A short essay discussing the reasons for making the board how you did and how the means of representation chosen represents the most important characteristics of the architectural project will accompany the submission. Languages and Writing Students with limited experience or difficulties writing in English are encouraged seek help at the writing center. The center offers one- on- one professional advice covering the full range of academic writing and oral presentations. The services they provide would help anyone develop their writing and speaking skills. Attendance Attendance in class is mandatory and will factor in your term grade. Missing more than 3 classes will result in a reduction of your final class grade. Each class missed over 3 will reduce your final grade by at least 1/3 of a letter grade. 4

5 From Brandeis s Student Handbook: All students are expected to attend classes regularly. Students on probation are compelled by university policy to attend every class meeting. In addition, an individual faculty member may establish attendance requirements for all students in the course, and may insist on the completion of all assignments even if a student was not in attendance for the period. In rare circumstances, a student may have to miss more than a week of class due to serious illness or to family emergencies. In these cases, a student should be in immediate contact with his or her class adviser to discuss what options may be available. Because class participation and peer learning are important aspects of the Brandeis educational experience, students who miss more than two weeks of class ordinarily withdraw from the semester. Grading Grades are based on 10% participation, 15% weekly assignments, 30% Presentations, 45% Final paper. Readings Office Hours Honor Code Plagiarism Readings are assigned for each class. You are required to complete the readings BEFORE each class for which they are assigned. You should come to class prepared to discuss the readings. See required books for the books you must purchase. All readings not in the two required books are available on LATTE. Office Hours require scheduling. I am available by appointment. Please e- mail me at jsk1@brandeis.edu to schedule. I also encourage you to speak with me before and after class if your question can be handled in a timely fashion. Students are expected to abide by the honor code. Your integrity, honesty, and hard work are what will make this class fun, interesting, and successful. Plagiarism is directly copying any text or using someone else s ideas in your writing without accurate attribution. If there is any confusion about what constitutes plagiarism, please contact me so we can review. Plagiarism will result at minimum in a 0 for the offending project. In the worst cases plagiarism can result in academic probation and expulsion. The following sites help to recognize and avoid plagiarism in your own work: integrity/index.html Computers Mobile Phones Disabilities Computers may NOT be used during class time. During discussions and presentations ONLY the person or team presenting can use their computers. If you are caught using your computer, you will receive a 0 for the day without warning. NO phones are allowed. All phones must be kept in your bags and on silent. Anyone with a phone outside of their bag will receive a 0 for the day without warning. If you are a student with a documented disability on record at Brandeis University and wish to have a reasonable accommodation made for you in this class, please see me immediately. 5

6 Jan. 19 Understanding Architectural drawings. What is drawing? How is drawing used? What is the relationship between the artist/designer and the drawing? What is architectural drawing? What are the similarities and differences between drawings is in art and in architecture. Robin Evans, Translations from Drawing to Building, Translations from Drawing to Building and Other Essays. (Cambridge: MIT Press, 1997). Edward Robbins, Why Architects Draw (Cambridge, MA: MIT Press, 1994), ( Drawing as a Social Act, Privilege, Control, and Essentialization: Drawing the Social Place of the Architect ), (interview with John Young of Richard Rogers Partnership). Gerald Allen and Richard Oliver, Architectural Drawing: The Art and The Process (New York: Whitney Library of Design, 1981), Jan. 26 Building without drawings and The origins of architectural drawing What is the role of drawing in design ; Egypt, Statue of Gudea, Greece J. J. Coulton, The Problem of Design, Ancient Greek Architects at Work: Problems of Structure and Design (Ithaca: Cornell University Press, 1977), Lothar Haselberger, The Construction Plans for the Temple of Apollo at Didyma. Scientific American, vol. 253, no. 6 (December 1985), pp Lon R. Shelby, The Geometrical Knowledge of Medieval Master Masons, in The Engineering of Medieval Cathedrals, ed. Lynn T. Courtenay (Brookfield, USA: Ashgate Variorum, 1997), David Friedman, Urban Design without Maps, Arnolfo s Moment: Acts of an International Conference, Florence, Villa I Tatti, May 26-27, 2005 (Florence: Villa I Tatti, 2009), Feb. 2 Middle Ages, uses of architectural drawing St. Gall Plan, Sansedoni Contract, Reims Palimpsest, York Minster Inscription ; Villard de Honnecourt, Strasbourg Cathedral, Cologne Cathedral Toker, Franklin. "Gothic Architecture by Remote Control." Art Bulletin 67 (1985): Branner, Robert. "Villard De Honnecourt, Reims and the Origin of Gothic Architectural Drawing." Gazette des Beaux Arts 61 (1963): James S. Ackerman, The Origins of Architectural Drawing in the Middle Ages and Renaissance. Origins, Imitation, conventions. Representation in the Visual Arts (Cambridge: MIT Press, 2002), Francois Bucher, Design in Gothic Architecture: A Preliminary Assessment, Journal of the Society of Architectural Historians 27 (1968):

7 Feb. 9 Renaissance: Perspective, including cavalier perspective and anamorphosis; orthographic drawings Giotto, Alberti, Leonardo da Vinci, Paolo Uccello, Piero Della Francesco, Brunelleschi, Philibert de l Orme, Pozzo, et al. ; Perspective instruments: Vignola, Durer. Manetti, Antonio. The Life of Brunelleschi (University Park Pennsylvania State University Press, 1970), Alberto Perez- Gomez, Architectural Representation and the Perspective Hinge. (Cambridge: MIT Press, 1997), and Hubert Damisch. The Origin of Perspective. Trans. John Goodman. (Cambridge: MIT Press, 1995), Jurgis Baltrušaitis. Anamorphic Art. Trans. W.J. Strachan (New York: Harry N. Abrams, 1977). Feb. 16 No class Midterm Recess Feb. 23 Renaissance, uses of architectural drawing, and Sketching in architectural design St. Peter s: Bramante, Giuliano da Sangallo, Antonio da Sangallo and Baldassare Peruzzi; Michelangelo: San Giovanni dei Fiorentini. Laurentian Library, Porta Pia; Raphael: Letter to Pope Leo X ; Bernini, Borromini Ernst Gombrich, Leonardo s Method for Working out Compositions, in Gombrich, Norm and Form: Studies in the Art of the Renaissance, 2 ed. (London and New York: Phaidon, 1971), Thoenes, Christof. "St. Peter's: First Sketches." Daidalos 5 (1982): James Ackerman, Architectural Practice in the Italian Renaissance, Journal of the Society of Architectural Historians, Vol. 1, No. 3 (October 1954): Kendra Schank Smith, Introduction, Architects Drawings (Boston: Elsevier, 2005), Cammy Brothers, Michelangelo, Drawing and the Invention of Architecture (New Haven: Yale University Press, 2008); Jordan Kauffman The Possibilities of Sketching: Michelangelo s Porta Pia (Working Paper). Mar. 1 Drawing and The École des Beaux- Arts The École des Beaux- Arts (Concours d émulation: Esquisse, Projet Rendu ; Prix de Rome restoration.) Viollet le Duc, Auguste Choissy Annie Jacques, The Programmes of the Architectural Section of the Ecole des Beaux- Arts, , Robin Middleton, Ed., The Beaux- Arts: Nineteenth Century French Architecture (Cambridge: The MIT Press, 1982), Arthur Drexler, Ed., The Architecture of the École des beaux- arts. (New York: 7

8 Museum of Modern Art, 1977) (On reserve, please browse). Jacques Lucan, Composition, Non- Composition: Architecture and Theory in the 19 th and 20 th Centuries (Oxford: Routledge, 2012). See Part 3: The Beaux- Arts System. Mar. 8 Visionary and Utopian Drawings Piranesi, Ledoux, Boullée ; Russian Avant- Garde, Futurism and Sant Elia, Expressionist Architecture, Frederik Kiesler, Hugh Ferris, Mies van Der Rohe, Corbusier, Archigram, Metabolists, et al. ; Abrahams, Eisenman, Graves, Rossi, et al. Kaufmann, Emil. Three revolutionary architects: Boullée, Ledoux, and Lequeu Transactions of the American Philosophical Society, , , , Helen Powell and David Leatherbarrow. Masterpieces of Architectural Drawing (Edmonton: Hurtig Publishers, Ltd., 1982), George R. Collins, Visionary Drawings of Architecture and Planning, 20th Century through the 1960s (New York: The Drawing Center, 1979). Exhibition Catalog. (Please browse Images.) Heinrich Klotz, Postmodern Visions: Drawings, Paintings and Models by Contemporary Architects (New York: Abbeville Press, 1985), Matilda McQuaid and Terence Riley, Eds. Envisioning Architecture: Drawings from the Museum of Modern Art (New York: The Museum of Modern Art, 2002), (Plates of drawings in MoMA Collection). Anthony Vidler, Claude- Nicolas Ledoux (Cambridge: MIT Press, 1990). Helen Rosenau, Boulée and Visionary Architecture (Harmony Books: New York, 1976). Mar. 15 Visual Information and Axonometrics Chinese Axonometrics, Early Machine Drawings, Choisy, De Stijl, Russian Constructivism, Theo van Doesburg, Cornelius van Eesteren, El Lissitzky, Alberto Sartoris Picturing Machines, ed. Wolfgang Lefevre (Cambridge: MIT Press, 2004): Wolfgang Lefevre, Introduction, 1 8. Marcus Popplow, chapter 1, Why Draw Pictures of Machines? The Social Contexts of Early Modern Machine Drawings, Yves- Alain Bois, Metamorphosis of Axonometry, Daidalos 1 (1981): Mar. 22 Representation in Postmodernism: Architectural drawings as architecture John Hejduk, Peter Eisenman, Daniel Libeskind ; Robin Evans Review: Gerald Allen and Richard Oliver, Introduction, in Architectural 8

9 Drawing: The Art and the Process (New York: Whitney Library of Design, 1981), Jeffrey Kipnis, Introduction, Perfect Acts of Architecture, Ed. Jeffrey Kipnis. (Columbus: Wexner Center for the Arts, 2001). Exhibition Catalog published by the Museum of Modern Art, New York. Robin Evans, In Front of Lines That Leave Nothing Behind, AA Files 6 (May 1984). Reprinted in K. Michael Hays, Architecture Theory from 1968 (Cambridge: MIT Press, 2000), Colin Rowe, Introduction, Five Architects (Oxford University Press, 1975), 3 9. Mark Wigley and Philip Johnson, Deconstructivist Architecture (New York: MoMA,1989). Exhibition catalog on reserve; pay particular attention to the drawings reproduced. Architecture as Conceptual Art. Harvard Design Magazine, No. 19 (Fall 2003/Winter2004). Mar. 29 Digital Design David Ross Sheer, The Death of Drawing: Architecture in the Age of Simulation (New York: Routledge, 2014), (on computational design), and Scheer, The Death of Drawing, Introduction, part 3, 9 14, Chapter 1, Representation and Simulation, Stan Allen, Postscript: The Digital Complex: 10 years Later, in Stan Allen, Practice: Architecture, Technique, and Representation (New York: Taylor and Francis, 2009), [Revision of Stan Allen, The Digital Complex, Log 5 (Spring/Simmer 2005), ] Vladimir Bazjanac, The Promises and the Disappointments of Computer- Aided Design, in Computer Aids to Design and Architecture, ed. Nicholas Negroponte (New York: Petrocelli/Charter, 1975), Mark Wigley, Back to Black Art on Paper (2002), Apr. 5 Drawings as Objects: Episodes in the History of Collecting and Display (or, how collecting, exhibitions, and the market affect drawing practices) Vasari, Palladio, Scamozzi, Inigo Jones, John Webb, Lord Burlington ; Barbara Pine ; Gilman Collection ; L. J. Cella ; Sergei Tchoban ; MoMA Penthouse Exhibitions, Castelli Gallery shows, Max Protetch Gallery, Antonia Jannone Gallery, Luce van Rooy Gallery, Aedes Gallery, Sotheby s and Christie s Sales ; International Council of Architecture Museums ; RIBA, CCA, DAM, FRAC Centre, Tchoban Museum for Architectural Drawings Robert Campbell, MoMA Display Weak, Timid, The Boston Globe (March 23, 1975): F14 (Review of Architectural Studies and Projects). Paul Goldberger, Architectural Drawings Raised to an Art, New York Times (December ): 50. (Review of Architecture 1) Ada Louise Huxtable, Architectural Drawings as Gallery Art, New York Times (October 23, 1977): D27. (Review of Architecture 1) Michael Sorkin, Drawings for Sale, Village Voice (November 19, 1979). Reprinted in Michael Sorkin, Exquisite Corpse: Writing on Buildings (London and New York: Verso, 1991), (Review of Architecture II: Houses for Sale) 9

10 Hal Foster, Pastiche/Prototype/Purity: Houses for Sale, Leo Castelli Gallery, New York, Artforum (March 1981), (Review of Architecture II: Houses for Sale) Paul Goldberger, Architectural Drawings Make Comeback to Respectability. The New York Times (September 22, 1977), 23. (Review of Drawing Toward a More Modern Architecture) The Changing of the Avant- Garde: Visionary Architectural Drawings from the Howard Gilman Collection. Edited by Terence Riley (New York: Museum of Modern Art, 2002). Exhibition Catalog (On Reserve. Read interview at end and browse entire catalogue for images). Terence Riley, Drawing into a Collection: A Context of Practices, Envisioning Architecture (New York: MoMA, 2002), Matilda McQuaid, Acquiring Architecture: Building a Modern Collection, Matilda McQuaid and Terence Riley, Eds. Envisioning Architecture: Drawings from the Museum of Modern Art (New York: The Museum of Modern Art, 2002), (Plates of drawings in MoMA Collection), Monica Platzer, Ed. ICAM Print 03. (Rotterdam: Netherlands Architecture Institute, 2009). Canadian Centre for Architecture: The First Five Years, (Montreal: Candian Centre for Architecture, 1988). Fabrizio Gallanti, Marking a New Territory, Journal of Architectural Education 68, no. 1 (2014), Deutsches Arckitecturemuseum Frankfurt am Main. (Frankfurt am Main: Das Architekturmuseum, 1989). Nicholas Savage, Exhibiting Architecture: Strategies of Representation in English Architectural Exhibition Drawings, Art on the Line: The Royal Academy Exhibitions at Somerset House, Ed. David H. Solkin. (New Haven: Yale University Press, 2001). Apr. 12 Field Trip to see Drawings Apr. 19 Presentation of papers and Drawing Projects May 10 Final Papers and Drawing Projects Due to my office at 6PM 10